Auswahl der wissenschaftlichen Literatur zum Thema „Frankenstein, victor (fictional character)“
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Inhaltsverzeichnis
Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Frankenstein, victor (fictional character)" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Zeitschriftenartikel zum Thema "Frankenstein, victor (fictional character)"
1
Romanyshyn, Robert D. „Diagnostic Fictions“. Journal of Humanistic Psychology 59, Nr. 1 (26.07.2018): 107–20. http://dx.doi.org/10.1177/0022167818790300.
Der volle Inhalt der QuelleAnnotation:
Beginning with a case in Part 1 of this article, I illustrate a key difference between the person who comes to therapy and the figure(s) who come for therapy. In Part 2, I describe some features of a literary approach that attend to this difference and animate diagnostic descriptions with images and stories found in literature. Using Mary Shelley’s Frankenstein and drawing on my rereading of her tale, I demonstrate in Part 3 how the character of Victor Frankenstein and his story vividly personify and enrich the DSM category of narcissistic personality disorder. This approach does not reduce Victor Frankenstein and his story to the diagnosis; it magnifies the diagnostic category through the lens of his image and his story.
2
Bowta, Femilia, und Yulan Puluhulawa. „DECONSTRUCTIVE ANALYSIS OF MAIN CHARACTER IN FRANKENSTEIN NOVEL BY MERY SHELLEY“. British (Jurnal Bahasa dan Sastra Inggris) 7, Nr. 1 (26.11.2019): 60. http://dx.doi.org/10.31314/british.7.1.60-71.2018.
Der volle Inhalt der QuelleAnnotation:
The purpose of this research is to deconstruct the main character of Frankenstein novel. This is qualitative research with deconstructive approach. Deconstruction is a method of reading texts which shows that in every text there is always an absolute presumption. Deconstruction is used to find other meanings hidden in a text. The steps taken by the writer in deconstructing Frankenstein's novel are describing Victor's character, finding binary opposition in the character then deconstructing Victor's character. The results are the portrayal of Victor after deconstruction that Victor himself was the cause of all the chaos done by his creatures. Victor's ambitions that are too deep in science make him a different person, from a good character to very selfish and cruel.Keywords: Deconstructive, Main Character, Binary Opposition, Frankenstein Novel
3
Heggestad, Jon. „On Frankenstein and How (Not) to Be a Queer Parent“. Victoriographies 13, Nr. 2 (Juli 2023): 131–50. http://dx.doi.org/10.3366/vic.2023.0489.
Der volle Inhalt der QuelleAnnotation:
Reflecting on Mary Shelley’s Frankenstein (1818) nearly two centuries after its original publication, Ernest Larsen observes that Shelley ‘opened the lid on a new way of thinking about pregnancy – the narrative in which a male gives birth to a monster’ (236). And while we might regard such a narrative as inherently queer, the queerness of Victor Frankenstein’s methods for cultivating life are rarely explored. This article aims to remedy this gap in the abundant scholarship surrounding the novel. In negotiating feminist readings (which have historically highlighted the role of reproduction in the novel while ignoring or indemnifying Victor Frankenstein’s queerness) and queer and trans readings (which better recognise the novel’s alternative affirmations), this work ultimately highlights the novel’s exploration of queer generativity – an effort that is muddied not by the protagonist’s methods but by his own irresponsibility and failures in character. Although the focus of this work remains on the critical response to Frankenstein, it concludes by suggesting ways in which future scholarship might adopt the analytical framework outlined here in further engagement with the text.
4
Sasani, Samira, und Hamidreza Pilevar. „Modern Prometheus: Marry Shelley's Frankenstein and Rejection of Romanticism“. International Journal of Applied Linguistics and English Literature 6, Nr. 2 (04.01.2017): 214. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.2p.214.
Der volle Inhalt der QuelleAnnotation:
The tool for Mary Shelley to criticize and satirize Romanticism is her famous character, Victor Frankenstein, or as the subtitle of the novel suggests: The Modern Prometheus. In Romantic beliefs, Prometheus was the symbol of limitless ability and freedom to whom many Romantic Poets pay tribute. In contrast, in Mary Shelley’s opinion, this ‘metaphysical revolt’ cannot go unpunished. The aim of this paper is to examine, through a Foucauldian reading, the mythic character of Prometheus in Romantic era, and the differences existing between Marry Shelley’s presentations of the modern version of the character and the Romantic version, and to show how Mary Shelley, belonging to other discourses rather than the dominant one, opposes the Romantic-related ideas. As Foucault believes there exist other discourses along with the dominant one all of which are in a constant struggle over power in a hierarchy. Mary Shelley follows some marginalized discourses, and her opposition to Romantic ideals stems from her relationship with other major Romantic Poets, and also from getting influence from some scientific experimentations of her day. She witnesses the harshness in her relationships with Romantic Poets, and their doomed aspirations, which agonizingly affect her life.Keywords: Foucault, Discourse, Romanticism, Prometheus, Mary Shelley, Frankenstein
5
Gomar Calatayud, Marc. „La Lucrècia Borja de ficció en el drama d’Hugo i els seus derivats“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 6, Nr. 6 (29.12.2015): 100. http://dx.doi.org/10.7203/scripta.6.7825.
Der volle Inhalt der QuelleAnnotation:
Resum: El drama Lucrèce Borgia de Victor Hugo confereix al personatge històric una sèrie d’atributs en sintonia amb el gust sensacionalista de l’època: en ser dona, poderosa, bella i formada. Lucrècia Borja és el millor exemple d’allò que Kristeva anomena «l’abjecte» en les Pouvoirs de l’horreur (1980). Una imatge de femme fatale lligada al verí o l’incest que es popularitzarà gràcies a les nombroses obres derivades del drama: de l’òpera de Donizetti als romanços populars de manera que les característiques del personatge de ficció s’imposaran a l’històric en l’imaginari col·lectiu. Lucrècia Borja, que fins aleshores havia estat considerada un instrument al servei de les polítiques familiars, entrarà a formar part per «mèrits» propis del triangle del mal junt amb l germà, Cèsar Borja, i son pare, el papa Alexandre VI. Paraules clau: Lucrècia Borja, Victor Hugo, Gaetano Donizetti, llegenda negra, literatura de cordell, paròdia, segle XIX, Francesc Godó, abjecte Abstract: The Victor Hugo’s drama Lucrezia Borgia gives to the historical character some attributes in line with the sensationalist preferences of that time: being a female, powerful, beautiful and educated. Lucrezia Borgia is the best example of what Kristeva names «the abject» in Pouvoirs de l’horreur (1980). The character is a femme fatale image linked to poison or incest and it was popularized thanks to the many works resulting from this drama. So that, the features of the fictional character prevailed to the real historical character in the popular beliefs, this happened in Donizetti's opera, but also in the chapbooks of that time. Lucrezia Borgia had previously been considered an instrument in the service for family policies, but she became part of an evil triangle, thanks to her own attitude, along with her brother, Cesare Borgia, and her father, the pope Alexander VI. Keywords: Lucrezia Borgia, Victor Hugo, Gaetano Donizetti, black legend, chapbook, parody, nineteenth century, Francesc Xavier Godó, abject
6
Koloshuk, Nadiia. „IMAGE OF V. PETROV-DOMONTOVYCH IN MEMOIRS AND CORRESPONDENCE OF HIS CONTEMPORARIES-EMIGRANTS“. LITERARY PROCESS: methodology, names, trends, Nr. 17 (2021): 45–54. http://dx.doi.org/10.28925/2412-2475.2021.17.6.
Der volle Inhalt der QuelleAnnotation:
Actuality. The modern study of literature now does not give the answer for a question, if it is possible to create a character of a man from the life by facilities of nonfiction narration, however, it is convincing and full-blooded in the reader’s perception as an artistic image. Stating the Subject of the Study: forming of character-image of writer V. Petrov-Domontovych in the circle of the Ukrainian emigrants of the post-war wave due to their remembrances, letters, and essays. Research methodology: through the comparative hermeneutic interpretation of texts, and also later fiction texts that formed the character-image of V. Petrov. Stating the Aim of the Study. Other mechanisms of reader reception work in nonfiction genres, then in fiction, id est it becomes possible another result – the character of real V. Petrov. Results of the Study and originality. The image of Victor Petrov, formed in the memory of representatives of Ukrainian literary emigration and recorded in their memoirs and correspondence, is no less ambivalent, than images of characters in the fictional works of Victor Domontovych. Expatriate contemporaries saw their colleague differently and remembered in different situations, however, it is significant that people, in many respects disagree with moral assessments, hostile to others (as Ihor Kachurovsky, who always biased towards Yuri Sherekh-Shevelov and even repeated stereotyped allegations against him after his death) they were largely controversial in the estimation of V. Petrov. On the one hand, V. Domontovych deserved respect as a talented prose writer; on the other hand, V. Petrov was a mystery as a person. His collaboration with the Soviet special services did not cause unequivocal condemnation, since the circumstances of his "disappearance" from Munich in 1949 remained unclear. Most of those people who spoke about this event immediately after it was treated to the disappeared man with compassion because they suspected the "human beings"-brothers (Yuriy Lavrinenko) from the Soviet side. Image of V. Petrov mostly appears "split", as well as images of characters in the novels of V. Domontovich. The practical significance. In non-fictional texts, the researcher can trace the path of the formation of the image and stereotype, returning and approaching the prototype.
7
Saddik, Annette J. „Exploring the Line between Creation and Creator in Mabou Mines’s Glass Guignol: The Brother and Sister Play“. Journal of Contemporary Drama in English 11, Nr. 2 (01.11.2023): 298–307. http://dx.doi.org/10.1515/jcde-2023-0024.
Der volle Inhalt der QuelleAnnotation:
Abstract During the last ten years of his life, Lee Breuer, who passed away in 2021, had been interested in framing Tennessee Williams’s canon, particularly the late plays, through the perspective of the grotesque and the Grand Guignol. Mabou Mines’s Glass Guignol: The Brother and Sister Play (2017), directed by Breuer and conceived by Breuer and Maude Mitchell, views Williams’s work alongside Mary Shelley’s Frankenstein (1818) in order to expose the grotesque truth of the messy and complex creative process. On one level, Glass Guignol is a multilayered exploration of the relationship between Williams and his sister Rose, whose story of courage in facing the mental and emotional challenges that culminated in an eventual lobotomy in 1943 was the inspiration for several of the female characters in both his canonical early plays and his less familiar later works. Developed through various workshops and staged scenes since 2011, the finalized version of Glass Guignol interweaves the story of Rose herself with Williams’s various fictional creations of women who reflect her spirit, if not necessarily her actual experiences: Laura in The Glass Menagerie (1945), Catherine in Suddenly Last Summer (1958), Clare in The Two-Character Play (revised between 1967 and 1976), and Nance in A Cavalier for Milady (c. 1976). While a symbiotic brother-sister love is at the center of The Two-Character Play, which serves as the primary framework of Breuer’s piece, it was also a common preoccupation for Romantic poets. Glass Guignol uses this relationship to delve into broader territory, asking questions about the relationship between creator and creation, and taking Frankenstein as yet another framework for the complexities and contradictions of this partnership. With its nineteenth-century asylum staging, the play foregrounds the grotesque and the Grand Guignol, both sensibilities that embrace contradiction, instability, and a lack of boundaries. Ultimately, Breuer explores how the artist sews together bits and pieces of identity, emotion, and experience in the pursuit of that seamless and perfect illusion of reality.
8
Toorawa, Shawkat M. „The Modern Literary (After)lives of al-Khiḍr“. Journal of Qur'anic Studies 16, Nr. 3 (Oktober 2014): 174–95. http://dx.doi.org/10.3366/jqs.2014.0172.
Der volle Inhalt der QuelleAnnotation:
Prominent examples of major Qur'anic characters in modern world literature include Joseph (and Zulaykha) -like characters in the 1984 Arabic novel, al-Rahīna (The Hostage) by the Yemeni writer Zayd Muṭīʿ Dammāj (d. 2000) and the fictionalised portrayal of the women around the Prophet Muḥammad in Algerian filmmaker and novelist Assia Djebar's 1991 French novel, Loin de Médine (Far from Medina). In this article I focus, rather, on a ‘minor’ Qur'anic character, al-Khiḍr (cf. Q. 18:65–82). I begin by looking briefly at the evolution of al-Khiḍr in Islamic literatures generally and then focus on his deployment in several short fictional accounts, viz. the 1995 French novella L'homme du livre (Muhammad, A Novel) by Moroccan author Driss Chraïbi (d. 2007); Victor Pelevin's 1994 Russian short story, ‘Prints Gosplana’ (Prince of Gosplan); the 1998 short story, ‘The Mapmakers of Spitalfields’, by Bangladeshi-British writer Manzu Islam; and Reza Daneshvar's 2004 Persian tale, ‘Mahboobeh va-Āl’ (‘Mahboobeh and Ahl’). I characterise the ways in which these modern authors draw on the al-Khiḍr type, persona, and legend, and go on to suggest how and why the use of al-Khiḍr in modern literature is productive and versatile.
9
Brustur, Ioana Camelia. „Instances of fame in postmodern fictional works an analysis based on Philip Roth’s and Marin Preda’s novels“. Swedish Journal of Romanian Studies 6, Nr. 1 (15.05.2023): 268–82. http://dx.doi.org/10.35824/sjrs.v6i1.24896.
Der volle Inhalt der QuelleAnnotation:
This article will discuss multiple instances of fame in postmodern fictional works. The authors chosen are Philip Roth, the American author well known for works such as “I Married a Communist”, “The Human Stain”, “The Dying Animal” etc. and Marin Preda, the Romanian author who wrote “The Moromete Family”, “The Intruder”, “The Delirium”. The novels representing the postmodern literary current in this article “merican Pastoral (1997)” and “The Most Beloved of Earthlings (1980)”. Through a close analysis of the main characters and the most important events in the novel, the theme of fame will be observed in multiple instances such as the historical point of view, the sociological point of view, the psychological point of view. The first part of the article will introduce the reader to Philip Roth and one of his most famous novels “American Pastoral” in which the theme of fame suffers a metamorphosis because of the events that take place in the novel and therefore affect the main character. In this part the concept of deconstruction will be observed and conceptualized with examples from the novel, the depiction of the utopic world through the American dream, and finally, the transformation of this world into a dystopian one because of the social issues presented in the novel. The social issues presented are related to true historical events which took place in the 1960’s in America. These events are also represented in the micro universe of the main character through the family problems of the main character. The second part of the article will focus on a comparison between the main characters of the novels stated above, Seymour Levov respectively Victor Petrini. This comparison is based on the analysis of their physical and behavioral characteristics and finally, some significant events they are part of. In this section, the concept of dandy will be discussed, and relevant examples will be given to demonstrate that both have traits in this direction. This article aims to prove that the theme of fame in postmodern fictional works is a topic worth studying. It brings new viewpoints upon the American and Romanian postmodern works because of the complexity and multiplicity of concepts that come into its construction. Also, I intend to demonstrate how certain social issues, such as the impact of totalitarian regimes on society, influenced the writers to create works in which the effect of these problems is visible on successful people. The theme of fame in postmodern fictional works in these two novels encompasses myths and literary concepts, creating the impression of the perfect world for the perfect celebrity. Finally, the authors chose to transform everything into chaos and destroy this seducing illusion, converting fame into disgrace.
10
Myslina, Julia N. „The Joyce’s Tradition of V. Pelevin’s Novel «Empire ‘V’»: from Anti-scientism to the Invention of a New Character“. Вестник Пермского университета. Российская и зарубежная филология 14, Nr. 4 (2022): 94–105. http://dx.doi.org/10.17072/2073-6681-2022-4-94-105.
Der volle Inhalt der QuelleAnnotation:
The article examines how Joyce’s detached attitude to progress in the novel Ulysses transforms into the parody-comic anti-scientism of Victor Pelevin’s novel Empire ‘V’. The Russian author not only refuses to recognize positive ontology as of scientific mood but also reduces its mission only to the destruction of reality and return to the basic intuition. The paper proves that Joyce’s methods of splitting the consciousness of the one acquiring scientific knowledge (cognizer) are rethought by Pelevin as the cognizer’s consciousness multiplied to infinity, which produces a subjective multiple reality, turning into a hypertext. Therefore, Pelevin turns Joyce’s hypostatized elements into independent agents, being characters of a new type. These characters are faced with the question of their real / possible existence in a subjective multiple reality. Thus, these new characters are interpreted within the framework of the subject-object antinomy, as fiction proceeds from subject-object relations. The paper aims to determine the influence of the Joycean principle of splitting subjective consciousness in Ulysses on the creation by V. Pelevin of characters and ways of expressing the new type in Empire ‘V’. The subject of study is the features of the invention of the new-type characters as a tool for organizing fictional decisions in Pelevin’s novel Empire ‘V’. The paper is the first study to prove that the artistic method showing the split consciousness in the heroes of the Pelevin’s novel directly develops Joyce’s epistemological tradition of the cognizer’s crisis, but in the era of weird-philosophy. The main research techniques employed: comparative method, historical and cultural contextualization, discourse analysis.
Bücher zum Thema "Frankenstein, victor (fictional character)"
1
Kay, Jeremy. The secret laboratory journals of Dr. Victor Frankenstein. Woodstock, N.Y: Overlook Press, 1995.
Den vollen Inhalt der Quelle finden
2
March, C. Louise. Frankenstein. New York, N.Y: Modern Pub., 2004.
Den vollen Inhalt der Quelle finden
3
Ackroyd, Peter. The casebook of Victor Frankenstein. Waterville, Me: Thorndike Press, 2010.
Den vollen Inhalt der Quelle finden
4
Ackroyd, Peter. The casebook of Victor Frankenstein. New York: Nan A. Talese, 2009.
Den vollen Inhalt der Quelle finden
5
Ackroyd, Peter. The Casebook of Victor Frankenstein. New York: Knopf Doubleday Publishing Group, 2009.
Den vollen Inhalt der Quelle finden
6
Weinberg, Larry. Frankenstein. New York: Scholastic Inc., 2005.
Den vollen Inhalt der Quelle finden
7
Snyder, Bethany. Frankenstein. Franklin, Tenn: Dalmatian Press, 2011.
Den vollen Inhalt der Quelle finden
8
Ackroyd, Peter. The casebook of Victor Frankenstein. Waterville, Me: Thorndike Press, 2010.
Den vollen Inhalt der Quelle finden
9
O'Keefe, Susan Heyboer. Frankenstein's monster: A novel. New York: Three Rivers Press, 2010.
Den vollen Inhalt der Quelle finden
10
Rosie, George. Death's enemy: The pilgrimage of Victor Frankenstein : a novel. London: Heinemann, 2001.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Frankenstein, victor (fictional character)"
1
Zigarovich, Jolene. „Queer Gothic: Romantic Origins and Victorian Innovations“. In Queer Gothic, 38–57. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474494380.003.0003.
Der volle Inhalt der QuelleAnnotation:
Continuing in the Queer Romantic Gothic vein, this chapter delves into female homoerotic readings of Charlotte Dacre’s Zafloya, or, The Moor (1806) and then Mary Shelley’s Frankenstein: Or, The Modern Prometheus (1818) within a trans theoretical framework that includes an exploration of Susan Stryker’s iconic late twentieth century essay, ‘My Words to Victor Frankenstein above the Village of Chamounix: Performing Transgender Rage.’ From the Romantic Age, the chapter moves into the Victorian Era in which a more strict binary culture informed by legal precedents and the growing study of sexology was taking root. This portion of the chapter analyses Bertha as a queer figure in Charlotte Brontë’s Jane Eyre (1847); and, the author also focuses on Jane’s problematic privileged and colonial gaze as she is both terrified of and titillated by Rochester’s first wife. From Brontë, the chapter focuses on Wilkie Collins’s famous queer and gender fluid Marian Halcombe in The Woman in White (1859) as well as Collins’s less scrutinised Miserrimus Dexter the non-binary disabled character at the heart of The Law and the Lady (1875). The chapter concludes with an exploration of Queer Gothic bonds between Lizzie Hexam and Jenny Wren in Charles Dickens’s Our Mutual Friend (1865).