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• W229968278 abstract "MARY SHELLEY'S VALPERGA, PUBLISHED IN 1823, OFFERS A REVISION OF fourteenth-century Italian political history by inserting two fictional characters into Life and Adventures of Castruccio, Prince of Lucca, as subtitle reads. Careful examination of rhetoric of bargain, promise, and exchange in novel reveals a persistent concern with contract not yet addressed in critical literature. Specifically, novel exposes how contractual relations between characters lead to inequities that require coveting up, in form of for others, in to validate economic and moral aspects of contract. Given this concern, novel may be read as a displacement of Shelley's nineteenth-century present that offers a sustained critique of role of contract in prevailing economic thought. Valperga tells story of childhood friends Euthanasia, Countess of Valperga, and Castruccio, future prince of Lucca. (1) Euthanasia, educated in history and classics by her father, rules benevolently over her ancestral estate. Castruccio, on other hand, is exiled with his Ghibelline family from his homeland as a child, and schooled in arts of war and political intrigue. He returns to Italy intent on accumulating political power, and his increasing ambition, corruption, and cruelty estrange him from Even after conquering Florence and capturing Euthanasia's palace, Castruccio continues to insist that she be his. In course of securing political allies in Church, Castruccio seduces and abandons a young girl, Beatrice, who is convinced until her fall that she is chosen prophet of God. Neither woman survives machinations of Castruccio. Beatrice succumbs to madness and death after a severe, self-inflicted atonement, and Euthanasia dies in a shipwreck after being exiled from Italy for her participation in an assassination plot against Castruccio. Reading Euthanasia, Countess of Valperga, as representative of a feminine Romantic ideology, critics have argued for and against her triumph over masculine Romantic of Castruccio. (2) Kari Lokke maintains that [w]ith ... characters ... Shelley sets women ... in radical opposition to male power and privilege and to values which represent and sustain them. Joseph Lew argues that novel illustrates failure of female Romantic ideology to overcome threat of male Romantic because its ideological bases (at least in Euthanasia's enunciation of them) might themselves be tainted. Most recently, Daniel White's analysis of the correspondence between Romantic aesthetic categories and visions of social and political order presents Euthanasia's externally directed of domesticity and enlightened bourgeois politics as an alternative to Castruccio's egotistical emptiness Shelley identifies as end of masculine Romantic desire--empty because unable to accept humanist or domestic values of an alternative on their own terms, those offered by Euthanasia. (3) Rather than investigating novel along these oppositional lines, I theorize a structural relation that operates as a contract, one that at times incorporates and at others excludes characters' ideological values as each attempts to negotiate within it. Elements of both feminine and masculine Romantic are implicated in functioning of contractual relations in a manner that begins to blur this gendered designation. What may look like an ethic of care from perspective of gendered oppositions begins to resemble a necessary component in economic and moral underpinnings of nationalism when considered in a contractual light. Whereas critics emphasize oppositional nature of Euthanasia and Castruccio's worldviews, they posit complementary nature of Euthanasia and Beatrice's character. (4) The implicit assumption of such characterizations is that some unspoken promise or potential has been left unfulfilled. …" @default.
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• W229968278 date "2007-12-22" @default.
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• W229968278 title "Do You Then Repair My Work: The Redemptive Contract in Mary Shelley's Valperga" @default.
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