As someone who has devoted much of her academic life to the work of Mary Shelley, the relationship between Frankenstein and Halloween has always interested me. In the 21st century, it is hard to think about Halloween without thinking about some of the iconic characters associated with the holiday: the Mummy, Dracula, and, of course, Frankenstein’s monster.
I’m pleased to announce a new initiative sponsored by the Keats-Shelley Association of America and the Byron Society of America: ROMANTIC BICENTENNIALS! This project offers scholars, readers, and the general public the opportunity to get involved and to receive updates about annual symposia, related conferences, networked events, and other media celebrating 200 years of Romanticism.
The project’s main website (still under construction) is located here: http://dev-romantic-bicentenials.pantheon.io/. On the website, read about each day’s events 200 years ago, and stay informed about current scholarly events celebrating bicentennial anniversaries throughout 2016 to 2024 (Geneva to Missolonghi). There will be one major sponsored conference each year: this year, it’ll be on May 21st, at the New York Public Library, celebrating the Genevan Summer of 1816.
Reach out if you would like to get involved — we’re looking for people to live-tweet events with our hashtag #Romantics200! We are also looking for scholars to participate in the annual symposia, as well as to attend the networked events throughout the year. To stay in touch, connect with us through our Facebook page: https://www.facebook.com/romanticbicentennials/. (A twitter handle is coming soon). And write to me if you have questions!
Welcome back, readers! As Managing Editor, I am excited to say that we have an all-star lineup of new bloggers, roundtables, and conferences to share with you this Fall. (For the identities of these mysterious new bloggers, who represent a wide selection of American and Canadian universities, take a look at Our Writers).
In the midst of getting organized for the new semester of NGSC blogging, though, I’m also preparing to give a presentation for my friend Katie Gemmill’s undergraduate seminar at Columbia, which she has brilliantly titled “Miss Behaviour: Transgressive Women in 18th-Century British Fiction.” In response to the assigned primary-source texts on dress, disguise, and gender, I will be providing some historical background for female cross-dressing during this period. Since I think blog readers are just as likely as students to be intrigued by the topic, I’ll introduce to you now some fascinating (and, most importantly, * real *) cases of female cross-dressing and concealed identity — especially in the context of same-sex relationships — in the eighteenth and nineteenth centuries. Continue reading Female Cross-Dressers in 18th-Century and Romantic England
Like Arden, I, too, have been burning with curiosity about the recent critical reactions to several Frankenstein adaptations. But rather than valiantly sacrifice my time to the gods of Hollywood mediocrity as she so nobly does in her last post, I managed to escape the sub-par recreation of I, Frankenstein and instead turned my intrigue towards a much more mainstream and accepted performance: Danny Boyle’s 2011 National Theatre stage production of Frankenstein, featuring the incomparable Jonny Lee Miller and Benedict Cumberbatch. Continue reading More Frankenstein(s): Cumberbatch, Miller, and the National Theatre
This unapologetic lead balloon of a film has created controversy among Romanticists. What gives? I sacrificed myself to find out.
For the last number of months, I’ve been surprised by how often I, Frankenstein has reared its malformed CGI head in discussions about Romanticism. The film, which came out in January 2014 and has a 3% approval rating among critics, seems oddly difficult to dismiss. The film’s “near viral” negative response has resulted in a curious sort of academic Whack-a-Mole, as dismayed scholars continually reject any influence of anything “like this” on their work and teaching. But like any supernatural villain, I, Frankenstein always comes back — and so, it is lamented, the film is bound to make an eventual appearance on some ill-fated undergraduate syllabus. Continue reading I Watch I, Frankenstein