Abstract
Goodson seeks to reform "our habit of considering the environment as something external to ourselves." By tracing the mood trajectory of literature written since the Romantic period, the author posits that "depressive pain is the native environment of romantic poetry." Through a close reading of actor/director Kenneth Branagh's film version of Mary Shelley's Frankenstein, Goodson suggest that Branagh's film version of the text is true to the depressive mood of the 1990s. He notes that Frankenstein is a medical student, a suicide, and a poète maudit. According to this reading the monster is both a symptom and a product of depression.
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