Photo of the dust jacket of the edition of Literary Women by Ellen Moers, in which “Female Gothic” was printed. Photo found at. When Ellen Moers wrote of the “Female Gothic” in Literary Women in , she coined a new What specifically differentiates between the “Female Gothic”. When Ellen Moers first used the term ‘Female Gothic’ in Literary Women () the Female Gothic articulated women’s dissatisfactions with patriarchal society.

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Jessica’s Blog: Ellen Moers: Female Gothic: The Monster’s Mother

In short, Shelley does not simply copy from the numerous books she reads, she creates and recreates. Moers focuses on the trials the creature faces joers he grapples with his own psychological development without a parental figure as scared and possibly unhelpful as Victor would have been in that role to guide him through, rather than the violent acts that he commits after Victor rejects him.

Retrieved from ” http: Instead of transgressing morality to gain immortality like his fellow literary overreachers, Victor Frankenstein does so in order to create human life.


Photo elle at http: Contents [ show ]. More importantly, and more interestingly Moers argues, that life is not cast in the stereotypical candy and roses most birth myths are during this time period.

“Female Gothic” by Ellen Moers | Mary Shelley Wiki | FANDOM powered by Wikia

Sign In Don’t have an account? It also includes an entry on “Female Gothic”.

She refers to him as more of a pitiable, neglected child than femalf a monster. This essay seems to have been written with a larger audience than the feminist scholarly community in mind, though it hits a lot of the same points that the works of other feminist scholars do such as defending Shelley as a writer and including biographical information garnered from her letters and journals.

Also, as stated above, Victor overreaches in order to create life, rather than extending his own, which was unheard of before Shelley. Also, the unwarranted use of tabloid-like sensationalism can only be assumed to have been a misguided attempt at keeping the attention of that larger, non-scholarly audience.

Like many of her feminist scholar contemporaries who were writing in the s, Moers relied pretty heavily on biographical information. Unfortunately, she also fell into the trap that is speculation and some of her comments are surprisingly sensationalist.


Because of this, Moers also reads the creature in a more positive light than some of her counterparts. To Moers, Victor is an ill equipped father and overreaching creative who underestimates the gravity of his creation and runs when he faces it, but he is also and more importantly a counterpart to a scared, young Meors Shelley coping with the death of her first child and the magnitude of being a mother.

While postpartum depression and anxiety are common after the birth of a baby, discussions of it were not the norm in cultural mythology or literature at the time and remain taboo for the most part. The essay overall takes on a readable, conversational tone which communicates its point clearly and mores without overusing jargon moegs high academic language, indicating that the essay and the larger work was intended for a wider audience.