Dissertationen zum Thema „Frankenstein's monster“
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Bondy, David J. „Frankenstein's monster and the politics of the black body“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ52516.pdf.
Der volle Inhalt der QuelleLinter, Simon. „Mary Shelley’s Unrealised Vision : The Cinematic Evolution of Frankenstein’s Monster“. Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104476.
Der volle Inhalt der QuelleLange, Dirk. „Warum will Frankensteins Monster sterben? Selbstmord im englischen Roman des 19. Jahrhunderts“. Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2679712&prov=M&dok_var=1&dok_ext=htm.
Der volle Inhalt der QuelleLange, Dirk. „Warum will Frankensteins Monster sterben? : Selbstmord im englischen Roman des 19. Jahrhunderts“. Heidelberg Winter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2679712&prov=M&dokv̲ar=1&doke̲xt=htm.
Der volle Inhalt der QuelleNidesjö, Liselott. „Who is the Monster in Mary Shelley's Frankenstein? : A Psychoanalytic Reading of the Double Nature of Victor Frankenstein“. Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-18981.
Der volle Inhalt der QuelleHawley, Erin. „Filmic machines and animated monsters: retelling Frankenstein in the digital age“. Thesis, Hawley, Erin (2011) Filmic machines and animated monsters: retelling Frankenstein in the digital age. PhD thesis, Murdoch University, 2011. https://researchrepository.murdoch.edu.au/id/eprint/5382/.
Der volle Inhalt der QuelleEdfors, Evelina. „Personer och monster : om litteraturens bidrag till religionsfilosofin“. Thesis, Uppsala universitet, Teologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323604.
Der volle Inhalt der QuelleAtkins, Emily. „An Exploration of Costume Design For David Emerson Toney's "Frankenstein: Dawn of a Monster"“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3963.
Der volle Inhalt der QuelleHeidenescher, Joseph D. „"Listen to my tale": Shelley's Literate Monster“. University of Toledo Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450430867.
Der volle Inhalt der QuelleVan, Wyk Wihan. „Shelleyan monsters: the figure of Percy Shelley in Mary Shelley’s Frankenstein and Peter Ackroyd’s The Casebook of Victor Frankenstein“. University of the Western Cape, 2015. http://hdl.handle.net/11394/4860.
Der volle Inhalt der QuelleThis thesis will examine the representation of the figure of Percy Shelley in the text of Mary Shelley’s Frankenstein (1818). My hypothesis is that Percy Shelley represents to Mary Shelley a figure who embodies the contrasting and more startling aspects of both the Romantic Movement and the Enlightenment era. This I will demonstrate through a close examination of the text of Frankenstein and through an exploration of the figure of Percy Shelley as he is represented in the novel. The representation of Shelley is most marked in the figures of Victor and the Creature, but is not exclusively confined to them. The thesis will attempt to show that Victor and the Creature can be read as figures for the Enlightenment and the Romantic movements respectively. As several critics have noted, these fictional protagonists also represent the divergent elements of Percy Shelley’s own divided personality, as he was both a dedicated man of science and a radical Romantic poet. He is a figure who exemplifies the contrasting notions of the archetypal Enlightenment man, while simultaneously embodying the Romantic resistance to some aspects of that zeitgeist. Lately, there has been a resurgence of interest in the novel by contemporary authors, biographers and playwrights, who have responded to it in a range of literary forms. I will pay particular attention to Peter Ackroyd’s, The Casebook of Victor Frankenstein (2011), which shows that the questions Frankenstein poses to the reader are still with us today. I suggest that this is one of the main impulses behind this recent resurgence of interest in Mary Shelley’s novel. In particular, my thesis will explore the idea that the question of knowledge itself, and the scientific and moral limits which may apply to it, has a renewed urgency in early 21st century literature. In Frankenstein this is a central theme and is related to the figure of the “modern Prometheus”, which was the subtitle of Frankenstein, and which points to the ambitious figure who wishes to advance his own knowledge at all costs. I will consider this point by exploring the ways in which the tensions embodied by Percy Shelley and raised by the original novel are addressed in these contemporary texts. The renewed interest in these questions suggests that they remain pressing in our time, and continue to haunt us in our current society, not unlike the Creature in the novel.
Kindström, Niklas. „Monster och människor : Identitetsbyggande och vetenskap i Mary Shelleys Frankenstein; or the Modern Prometheus ur ett didaktiskt perspektiv“. Thesis, Högskolan i Gävle, Avdelningen för utbildningsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-24664.
Der volle Inhalt der QuelleVisilitskij, Egor. „Människan, naturen, monstret och vetenskapsmannen : En ekokritisk analys av Mary Shelleys Frankenstein; or, The Modern Prometheus (1818) och filmatiseringen Frankenstein (1994)“. Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-42547.
Der volle Inhalt der QuelleGodkänt datum 2021-06-01
Ring, Isa. „Frankenstein; or, the trials of a posthuman subject : An investigation of the Monster in Mary Shelley's "Frankenstein" and his attempt at acquiring human subjectivity in a posthuman state“. Thesis, Södertörns högskola, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34419.
Der volle Inhalt der QuelleAndrade, Arancibia Génesis. „Gazing at the creature, gazing at the monster: an insight into monstrosity in Mary Shelley's Frankenstein; or, the modern prometheus“. Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137755.
Der volle Inhalt der QuelleConrad, Courtney A. „Tracing the Origins of the Eighteenth- and Nineteenth-Century Rake Character to Depictions of the Modern Monster“. Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu1560014785115022.
Der volle Inhalt der QuelleParé, Eric Zavenne. „Madame Bovary est une machine“. Thesis, Metz, 2009. http://www.theses.fr/2009METZ003L.
Der volle Inhalt der QuelleAccording to the fact that a machine does not know that it is a machine, and to the supposition that a robot has no conscience, this work explores parallels between the creation of the characters of a novel and the fabrication of machines. Among these figures, Madame Bovary is an archetype. Like any other machine, Emma Bovary does not know that she is one. Emma is machine created from text. She is made from the stuff of books. However, she could not have read the book Madame Bovary. Because Emma is not aware that she is a device of Flaubert, there are some similarities between her and the functions and malfunctions of the Monster of Frankenstein that didn't have a conscience until the moment of epiphany with the books he discovered in the woods. After the definition of the strategic challenges of her readings, Emma is presented as a homeostatic machine, first from the viewpoint of thermodynamics, and secondly from the viewpoint of entropy, a result of the bovarysme caused by distortions between life and reading. Emma's perceptions and feelings depend of the feedback of her readings. She becomes an emotional device, governed by her bovarysme. This feeling is present in all her perceptions and her appetites. Through her desires, Emma demonstrates an ability to compare and project herself, formulating the beginnings of an autobiographical conscience. In the same way as he represents social unconsciousness with ambulatory automatons such as the figure of the club-footed Hippolyte or the blind man, Flaubert is able to induce an idea of consciousness in his machine-creature
Gardner, Kelly. „The emergence and development of the sentient zombie : zombie monstrosity in postmodern and posthuman Gothic“. Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/23901.
Der volle Inhalt der QuelleKapadia, Ninna. „Re-Story : The O.T.M.I* project*O.T.M.I = Obsolete Technical Mechanical Item“. Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5234.
Der volle Inhalt der QuelleAnzaldua, Saraliza, und 愛麗達. „There is No Monster: Monstrosity and the Monstrous in ''Frankenstein'&apos“. Thesis, 2016. http://ndltd.ncl.edu.tw/handle/10383434748644682411.
Der volle Inhalt der Quelle國立臺灣大學
外國語文學研究所
104
To date, the majority of scholars have framed the creature in Frankenstein as a monster. By focusing on a single embodiment, scholars have neglected the monstrous aspects pervasive in the novel and ignored the fact that Shelley’s creature actually reflects nineteenth-century Britain. This thesis argues that there is no monster, and Shelley’s intention was to display the monstrosity of her own society –– not to write a monster novel. Through a textual and historical analysis, this thesis will elucidate the spiritual, physical, mental, and social monstrosities within Frankenstein. Shelley addressed the monstrosities of her society through the creature, nine of which have been selected for this study and assorted into three categories: three spiritual, three physical and mental, and three social. The first three monstrosities connect the creation of the creature, his soul, and the science used to create him with the theological debates of the period regarding Christian resurrection, the status of the slave’s soul, and the changing status of science in Shelley’s era. The three physical and mental monstrosities address the creature’s hybridity, strength, and mental acuity as a reflection of monstrous births, and Shelley’s own experience with human frailty and mental instability. The last three monstrosities examine the role of animals, women, and family in the novel, and how the creature reflects these various aspects in the context of how Shelley experienced them in the nineteenth-century. All nine monstrosities appear to reflect upon Victor’s creature to make him seem more monstrous, but the creature is actually the mirror of a monstrous society and not an embodiment of monstrosity himself.
令狐莉蓮 und Lenka Liskova. „The Portrait of Monster in Frankenstein, The Strange Case of Dr. Jekyll and MR. Hyde and The Picture of Dorian Gray“. Thesis, 2017. http://ndltd.ncl.edu.tw/handle/3tqm29.
Der volle Inhalt der Quelle逢甲大學
外國語文學系
105
This thesis deals with the analysis of monsters in three major novels of British Gothic literature of the 19th Century with an attempt to determine the concept and the identity of these monsters. The thesis also tries to identify the creators of these monsters and explore the complicating relationship between them. The primary texts from which these monsters came from are Marry Shelley’s Frankenstein, Robert Lewis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde and Oscar Wilde’s The Picture of Dorian Gray. The thesis largely focuses on the physical as well as psychological aspects of the monsters portrayed in these three novels and concentrate on the connection of the monster to its creator. The extracts from the three selected novels are used to support the statements and ideas of the author of this thesis, while at the same time, quotations from the secondary sources are also included to support my argument. The thesis is divided into five chapters: the first three chapters provide an introduction to the topic, explanation of the term Gothic literature, monster and monstrosity, and introduction of the psychoanalytical studies relevant for this thesis; the forth chapter tries to thoroughly analyse the main characters of the three novels in terms of the occurence of the monster. The last chapter contains a conclusion and a summary of the main ideas pointed out in the thesis.