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Religion in Frankenstein: Dialectics of Authority

August 30, 2019

academia, criticism, frankenstein, Gothic, religion

Note: the following article on religion in Frankenstein is a modified excerpt (pp. 110-111) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which is available for free from the repository of the Tampere University Press. For a list of my other academic publications, presentations, etc. feel free to visit the relevant page on the main Home for Fiction website.

You can also find an article about religion in Charles Dickens’s A Christmas Carol and another about religion on Bram Stoker’s Dracula.

Religion in Frankenstein: A Secular or Religious World?

In the context of Frankenstein, a story replete with moral dilemmas and dichotomies based on otherness, it is perhaps not surprising to discover a multitude of religiously charged temporal dichotomies.

Punter and Byron argue that Victor, although a modern Prometheus (as the subtitle of the novel underlines), lives in “a notably secular world with no gods against whom to rebel, and … his search is conceived of in scientific terms” (2004, 199).

religion in Frankenstein — Religion in *Frankenstein* is a matter of understanding the dialectics of authority involved in the story

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Religion in Dracula: Christian, Pagan, and Jewish Narratives

September 19, 2018

Criticism

academia, criticism, Dracula, Gothic, literature, religion

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Note: the following article on religion in Dracula is a modified excerpt (pp. 115-117) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which can be downloaded (for free) from the repository of the Tampere University Press. For a list of my other academic publications, see the relevant page on the main site.

You can also find an article about religion in Charles Dickens’s A Christmas Carol and Mary Shelley’s Frankenstein

Religion in Dracula is a matter of oppositions. Bram Stoker’s Dracula presents the narrative as a whole and the Count in particular as an opposition to Christianity. Jacques Coulardeau argues that “Dracula [is] the heir of an older tradition than Christianity, that is to say paganism … Older religions are centered on a cult to nature: the night and the day, as well as the earth, the sun, and the moon” (2007, 130).

At the same time, Norma Rowen adds that the inverted Christian imagery in Dracula essentially renders the Count an antichrist, with Renfield’s phrase “the blood is the life” a parody of the Eucharist (1997, 241).

Furthermore, by calling Mina his “bountiful wine-press” (D 306), Dracula introduces a metaphor often argued to carry religious connotations. The reason is due to the fact that wine is part of the Eucharist (Kreitzer 1999, 125), but also because of the allusion to Genesis, with Mina’s vampiric baptism becoming a parody of the creation of Eve (Loughlin 2004, 204).

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Religion in A Christmas Carol

May 15, 2018

Criticism

academia, criticism, Gothic, literature, religion

0 comments

Note: the following article on religion in A Christmas Carol is a modified excerpt (pp. 112-115) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which can be downloaded (for free) from the repository of the Tampere University Press. For a list of my other academic publications, see here.

You can also find an article about religion in Bram Stoker’s Dracula and Mary Shelley’s Frankenstein

Religion in A Christmas Carol: a remarkably Secular Affair

Although religion in A Christmas Carol is mostly absent, the text still creates a framework of otherness based on Scrooge’s background and, in particular, his possible Jewishness. His occupation as a moneylender and the fact that he does not celebrate Christmas would have been obvious characteristic markers of Jewish origins for that time. Such stereotypes were not uncommon in Dickens’s works at large.

In Oliver Twist, the character of Fagin is referred to as “the Jew” almost three hundred times and the novel abounds in descriptions “that directly link him to Judas Iscariot and even Satan” (Muller 2003, xxvii), with connotations of the classic depiction of the Wandering Jew also present (Felsenstein 1995, 241). The process of shifting from a racially motivated wariness – if not outright hostility – to an absolution has been suggested to exist within Dickens’s works, although not without controversy, as Grossman argues:

[T]his understanding of Dickens’ Jews elides how Dickens’ narrators engage the problem of narrating this racial and religious other. This elision has most obviously resulted in an institutionalized disregard for Dickens’ final 1867 revision of Oliver Twist, in which he only selectively deleted the term “the Jew”. (1996, 37; emphasis in the original)

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