When Mary was in her teens, these lecturers included her fathers friend, the chemist and inventor Sir Humphry Davy; the Italian physicist and philosopher Dr Luigi Galvani and his nephew Giovanni Aldini, each of whom gave demonstrations of how to pass an electric current through. We find her today in debates about the Womens prize for fiction, in magazine articles comparing the fortunes of male and female writers, in the horrors of the casting couch. Both were part of the early 19th-century cultural canon and, growing up in a literary household, Mary will have been aware of them.
As Ann Campbell writes: The characters and plot of Frankenstein reflect.
Shelleys conflicted feelings about the masculine circle which surrounded her.
This is the first introduction of a theme that continues throughout the book, that of the necessity for female figures in parenting and in society.
Mary Shelleys Frankenstein can be viewed as a notice in direction of this perception, or for scientific discipline and medical know-how.
Her parents were two of the most notorious radicals of her day: her mother, who died of complications 11 days after her birth, was Mary Wollstonecraft, author. Mary never had the chance to be a prig. Frankenstein identifies the mismatch between human experience and what we are expected to become as technology and science advance. Of course this reduces cultural history to the folk wisdom that everyones got a book in them, and ignores the labour and technique entailed in producing a work that is publishable not to mention a great one. But Frankenstein is no memoir. A second sceptical response to Marys astonishing achievement disparages her more slyly, suggesting that the archetypes of Frankenstein and his creature arent in fact original.