トームさんのインスタグラム写真 - (トームInstagram)「I was taken by this portrait of #MaryShelley (by #RichardRothwell 1840) at the  #NationalPortraitGallery in London 2 days before flying back to lockdown in #NYC Its her birthday today! Mary Wollstonecraft Shelley (30 August 1797 – 1 February 1851) was an English novelist who wrote the Gothic novel #Frankenstein; or, The Modern Prometheus (1818). She also edited and promoted the works of her husband, the Romantic poet and philosopher Percy Bysshe Shelley. Her father was the political philosopher William Godwin and her mother was the philosopher and feminist #MaryWollstonecraft. . From @medium by Ayla O’Shea Nov 5, 2016  .  The Fear of Femaleness: How “Frankenstein” Acts as a Feminist Platform .  When the term “feminist text” comes to mind in regard to literature, we typically think of a novel with a strong female lead. Mary Shelley’s Frankenstein, a predominately male oriented novel, strays from this stereotype and instead includes an abundance of subordinate female characters that shape the novel into the feminist text that it is. These characters range from the soft spoken love interest of Victor, Elizabeth, to the strong-willed Safie, to the near creation of the Monster’s female companion. Through male narration, Shelley depicts how these women are thought of and treated by the male characters, even deliberately putting them in situations that subtly frame her own opinion pertaining to feminist ideologies. Frankenstein brings to light the various problems that were, and still are, prominent in the world of women by deliberately portraying them as something weak, disposable, and subservient to men. .  Perhaps the strongest figure that is representative of Shelley’s social feminist commentary is the female monster that Victor had agreed to create as a companion for the Monster. Upon beginning the second experiment, Victor begins to doubt his decision, jumping to conclusions regarding the not-yet-existent creature such as: .  She who, in all probability, was to become a thinking and reasoning animal, might refuse to comply with a compact made before her creation. They might even hate each other; the creature who already lived loathed his own deformity...」8月31日 11時09分 - tomenyc

トームのインスタグラム(tomenyc) - 8月31日 11時09分


I was taken by this portrait of #MaryShelley (by #RichardRothwell 1840) at the #NationalPortraitGallery in London 2 days before flying back to lockdown in #NYC Its her birthday today! Mary Wollstonecraft Shelley (30 August 1797 – 1 February 1851) was an English novelist who wrote the Gothic novel #Frankenstein; or, The Modern Prometheus (1818). She also edited and promoted the works of her husband, the Romantic poet and philosopher Percy Bysshe Shelley. Her father was the political philosopher William Godwin and her mother was the philosopher and feminist #MaryWollstonecraft.
.
From @medium by Ayla O’Shea
Nov 5, 2016
.

The Fear of Femaleness: How “Frankenstein” Acts as a Feminist Platform
.

When the term “feminist text” comes to mind in regard to literature, we typically think of a novel with a strong female lead. Mary Shelley’s Frankenstein, a predominately male oriented novel, strays from this stereotype and instead includes an abundance of subordinate female characters that shape the novel into the feminist text that it is. These characters range from the soft spoken love interest of Victor, Elizabeth, to the strong-willed Safie, to the near creation of the Monster’s female companion. Through male narration, Shelley depicts how these women are thought of and treated by the male characters, even deliberately putting them in situations that subtly frame her own opinion pertaining to feminist ideologies. Frankenstein brings to light the various problems that were, and still are, prominent in the world of women by deliberately portraying them as something weak, disposable, and subservient to men.
.

Perhaps the strongest figure that is representative of Shelley’s social feminist commentary is the female monster that Victor had agreed to create as a companion for the Monster. Upon beginning the second experiment, Victor begins to doubt his decision, jumping to conclusions regarding the not-yet-existent creature such as:
.

She who, in all probability, was to become a thinking and reasoning animal, might refuse to comply with a compact made before her creation. They might even hate each other; the creature who already lived loathed his own deformity...


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