1.1.1 'Apart from the odd storm at sea, weather was given scant attention in prose fiction until the late eighteenth century. in the ninetheenth century, novelists always seem to be talking about it. This was the consequence partly of the heightened appreciation of Nature engendered by Romatic poetry and painting, partly of a growing literary interest in the individual self, in the states of feeling that affaect and are affected by our perceptions of the externale world'
3.1 Donna Heiland
3.1.1 'The transhressive acts at the heart of gothic fiction generally focus on corruption in, or resistance to, the patriarchal structures that shaped the country's political life and its family life, and gender roles within those structures come into particular scrutiny'
3.2 David Punter
3.2.1 'Where the classical was well ordered, the Gothic was chaotic; where simple and pure, Gothic was ornate and convoluted; where the classics offered a world of clear rules an dlimits, Gothic represented excess and exaggeration, the product of the wild and the uncivilised'
4.1 Anne Mellor
4.1.1 Monster= emblem of French Revolution
184.108.40.206 'gigantic body politic which began 'in a desire to benefit all mankind' but absued so 'that it is driven into an uncontrollable rage'
5 Breaking Boundaries
5.1 Angela Wright
5.1.1 Enter text here
6 Loneliness and Isolation
10.1 Devandra Varma
10.1.1 Diff between terror and horror 'is the difference between awful apprehension and sickening realisation: between the smell of death and stumbling against a corpse'
10.2 Ann Radcliffe
10.2.1 Terror: uncertainty surrounding the 'dreaded evil'
10.2.2 Horror: clear display of the 'dreaded evil'
10.2.2.1 In Frankenstein: workshop & dream
11 Paradise Lost
11.1 Chris Baldick
11.1.1 'elaborates upon the connections between two kinds of myth: a myth of creation and a myth of trangression. Frankenstein does this too, but its sinister travesty collapses the two kinds of myth together so that noe creation and transgression appear to be the same thing'
12 Rime of the Ancient Mariner
12.1 Martin Montgomery
12.1.1 'An adequate reading of a literary or other cultural text will need to recognise the significance of the ways it interacts with earlier texts. This involves trying to work out the similarities and differences between the two texts that are momentarily brought together by an allusion'
13 Myth of Prometheus
14.1 Anne McWhir
14.1.1 'Frankenstein's monster can be educated as a human being only if societyis willing to accept him as such... Otherwise, he can be ecucated only to know the full extent of his exclusion, dnied by social identity by the very society he longs to join'
15.1 Joanna Bourke
15.1.1 Boundaries between humans and non-humans are not concrete, change constantly throughout time. Marking these boundaries is an exercise in power not an exercise to establish facts
15.2 Chrisopher Craft
15.2.1 Gothic fictions of 19th century have three part structure
220.127.116.11 The text 'first invites or admits the monster, then entertains and is entertained by monstroisty for some extended duration, until in its closing pages it expels or repudiates the monster and all disrpution that he/she/it brings'
16.1 Ronald Thomas
16.1.1 'Despite his commitment to science, Frankenstein fails to realise what Mary Shelley realises in her introduction: in the modern world, human beings are not spoken to in dreams; they are speaking to themselves. The dream does not invade the dreamer'