From the cabinets of wonderof the Renaissance to the souvenir collections of today, selecting, accumulating, and organizing objects are practices that are central to our notions of who we are and what we value. Collecting, both private and institutional, has been instrumental in the consolidation of modern notions of the individual and of the nation, and numerous studies have discussed its complex political, social, economic, anthropological, and psychological implications. However, studies of collecting as practiced in colonized cultures are few, since the role of these cultures has usually been understood as that of purveyors of objects for the metropolitan collector. Collecting from the Margins: Material Culture in a Latin American Context seeks to counter the historical understanding of collecting that posits the metropolis as collecting subject and the colonial or postcolonial society as supplier of collectible objects by asking instead how collecting has been practiced and understood in Latin America. Has collecting been viewed or portrayed differently in a Latin American context? Does the act of collecting, when viewed from a Latin American perspective, unsettle the way we have become accustomed to think about it? What differences, if any, arise in the activity of collecting in colonized or previously colonial societies? Spanning the period after the independence wars until the 1980s, this collection of ten essays addresses a broad range of examples of collecting practices in Latin America. Collecting during the nineteenth century is addressed in discussions of the creation of the first national museums of Argentina and Colombia in the post-independence period, as well as in analyses of the private collections of modernistas such as Enrique Gómez Carrillo, Rubén Darío, José Asunción Silva, and Delmira Agustini at the end of the nineteenth century and the beginning of the twentieth. The practice of collecting in the twentieth century is discussed in analyses of the self-described revolutionary practices of Oswald de Andrade, Augusto de Campos and the films of Ruy Guerra, as well as the polemical collections of Pablo Neruda, and the unsettling collections portrayed in Gabriel García Márquez’s One Hundred Years of Solitude.
Mathilda (1959) is a posthumous novella by English writer and Romantic Mary Shelley. Written as a means of self-distraction following the deaths of her young children in Italy, Mathilda is a work haunted by tragic loss. Unpublished for over a century, its posthumous appearance helped cement Shelley’s reputation as a leading Romantic, an artist unafraid of confronting such themes and taboos as incest and suicide in her work. Mathilda, named after its narrator, traces a young woman’s troubled life from birth to her premature deathbed. Following her mother’s death during childbirth and her father’s subsequent abandonment, Mathilda is raised by her aunt in rural Loch Lomond, Scotland. A gifted reader and promising intellectual, she rises from her difficult circumstances to lead a relatively happy childhood. When, at the age of 16, her father reenters her life, the two reconnect and eventually move together to London. As she begins to receive suitors however, her father’s strange jealousy and irrational behavior conceal a terrible secret. When he reveals his incestuous desires to Mathilda, she rejects him, resulting in his suicide and leaving her unmarried, orphaned, and financially unstable. Living in self-imposed exile, she befriends the similarly melancholy Woodville, a young widower and poet who does his best to care for her despite her crushing bouts of depression and frequent suicidal thoughts. Mathilda is an emotionally complex and ultimately difficult novella recognized for its controversial themes and for its parallels to Shelley’s own tragic life. With a beautifully designed cover and professionally typeset manuscript, this edition of Mary Shelley’s Mathilda is a classic of English literature reimagined for modern readers.
Narrating from her deathbed, Matilda tells the story of her unnamed father's confession of incestuous love for her, followed by his suicide by drowning; her relationship with a gifted young poet called Woodville fails to reverse Matilda's emotional withdrawal or prevent her lonely death.
An Anthology is a compilation of several stories by Mary Wollstonecraft Shelley. The collection includes The Heir of Mondolfo, The Invisible Girl, and Maurice, Or, The Fisher's Cot. The stories all revolve around a love that has the power to overcome all evils and transform men deeply. Shelley describes life at sea as perfectly as life on land. She pits family bonds against the destructive forces of nature.
Narrating from her deathbed, Matilda tells the story of her unnamed father's confession of incestuous love for her, followed by his suicide by drowning; her relationship with a gifted young poet called Woodville fails to reverse Matilda's emotional withdrawal or prevent her lonely death.
These eight volumes contain the works of Mary Shelley and include introductions and prefatory notes to each volume. Included in this edition are "Frankenstein" (1818), "Matilda" ((1819), "Valperga" (1823), "The Last Man" (1826), "Perkin Warbeck" (1830) and "Lodore" (1835).
While out walking with his fiancé Juliet in Virginia Waters, a young Neville stumbles across the unmarked grave of his childhood friend, Ellen. Juliet demands to know the truth and Neville is forced to reveal a long held secret and face up to his heart-breaking past. ‘The Mourner (1829) is a classic, short story by the English writer Mary Shelley, famous for her best-selling novel ‘Frankenstein’. This tale is a reflection of the grief and guilt experienced by Shelley after her husband, Percy Bysshe Shelley drowned at sea. Mary Shelley (1797–1851) was an English author and travel writer best known for her ground-breaking Gothic novel ‘Frankenstein’ (1818). Considered one of the first true works of science-fiction, the book became an instant bestseller. It has been adapted for TV, stage and film on many occasions, with Boris Karloff famously playing Frankenstein’s monster on screen in 1933. Other adaptations include ‘Mary Shelley's Frankenstein’ (1994) starring Kenneth Branagh and Robert De Niro and ‘Viktor Frankenstein’ (2015) starring Daniel Radcliffe and James McAvoy. Shelley’s other novels include Valperga (1823), The Last Man (1826), Perkin Warbeck (1830), Lodore (1835), Falkner (1837) and the posthumously published Mathilde (1959). However, she will always be remembered as the creator of Frankenstein. The book continues to influence filmmakers, writers and popular culture to this day, inspiring and terrifying new audiences the world over.
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