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Books on the topic 'Frankenstein’s monster'

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Author: Grafiati

Published: 25 July 2024

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1

Shelley, Mary Wollstonecraft, and Anthony Williams. Frankenstein. [Not specified]: Arcturus Publications, 2021.

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2

The secret laboratory journals of Dr. Victor Frankenstein. Woodstock, N.Y: Overlook Press, 1995.

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3

Field, Barbara. Playing with fire (after Frankenstein). New York, N.Y. (440 Park Ave. South, New York 10016): Dramatists Play Service, 1989.

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4

Snyder, Bethany. Frankenstein. Franklin, Tenn: Dalmatian Press, 2011.

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5

Ackroyd, Peter. The casebook of Victor Frankenstein. New York: Nan A. Talese, 2009.

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6

Ackroyd, Peter. The Casebook of Victor Frankenstein. New York: Knopf Doubleday Publishing Group, 2009.

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7

O'Keefe, Susan Heyboer. Frankenstein's monster: A novel. New York: Three Rivers Press, 2010.

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8

O'Keefe, Susan Heyboer. Frankenstein's monster: A novel. New York: Three Rivers Press, 2010.

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9

Louise, Dorothy. Frankenstein. Chicago: Ivan R. Dee, 2004.

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10

Copyright Paperback Collection (Library of Congress), ed. Frankenstein, the legacy: A novel. New York: Pocket Books, 2001.

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11

Zarimba, Lance. Oh no, my brother is Frankenstein's monster. Albion, NY: Featherweight Press, 2012.

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12

Steve, Parker. Frankenstein. Brookfield, Conn: Copper Beech Books, 1995.

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13

Woog, Adam. Frankenstein. San Diego, Calif: KidHaven Press, 2006.

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14

Weinberg, Larry, and Robert Henry. Frankenstein. New York: Golden Book, 1992.

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15

Roza, Greg. Drawing Frankenstein. New York: Windmill Books, 2011.

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16

Roza, Greg. Drawing Frankenstein. New York: Windmill Books, 2010.

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17

Shelley, Mary Wollstonecraft, Webb Robert H, Ann Brewster, and Norman B. Saunders. Frankenstein. Newbury, Berkshire, UK: CCS Books, 2016.

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18

Downing, Martin. The house of Frankenstein!: A comedy-horror. London: S. French, 1989.

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19

Harry, Greenberg Martin, DAW Books Inc, and Copyright Paperback Collection (Library of Congress), eds. Frankenstein: The Monster Wakes. New York, NY, USA: DAW Books, 1993.

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20

Downing, Martin. The house of Dracula: A comedy-horror. London: S. French, 1992.

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21

Harbo, Christopher L. Frankenstein's monster and scientific methods. North Mankato, Minn: Capstone Press, 2014.

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22

Bell, Neal. Monster. New York, NY: Broadway Play Pub., 2003.

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23

Burgan, Michael. Frankenstein. New York, NY, USA: Harper, 1996.

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24

Burgan, Michael. Frankenstein. New York, NY, USA: Harper, 1996.

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25

Frankenstein. Minneapolis: Millbrook Press, 2007.

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26

Weinberg, Larry. Frankenstein. Carmel, CA, USA: Hampton-Brown, 1993.

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27

Weinberg, Larry. Frankenstein. New York, NY, USA: Random House, 1988.

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28

Weinberg, Larry. Frankenstein. New York, NY, USA: Random House, 2005.

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29

Weinberg, Larry. Frankenstein. New York: Random House, 2005.

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30

Weinberg, Larry. Frankenstein. New York, NY, USA: Random House, 2005.

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31

Weinberg, Larry. Frankenstein. New York, NY, USA: Random House, 2005.

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32

Abdo, Kenny. Frankenstein. [Place of publication not identified]: ABDO Zoom, 2018.

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33

Frankenstein. Minneapolis, MN, USA: Bolt!, an imprint of Abdo Zoom, 2018.

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34

Abdo, Kenny. Frankenstein. [Place of publication not identified]: ABDO Zoom, 2018.

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35

Monster. New York: Overlook Hardcover, 2012.

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36

Averill, Ric. Frankenstein: An adaptation of Mary Shelley's classic. Woodstock, Ill: Dramatic Publishing, 2006.

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37

ill, Andrews Gary, and Shelley Mary Wollstonecraft 1797-1851, eds. Frankenstein. New York: Skyview Books, 2010.

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38

Mould, Chris. Frankenstein. Oxford: Oxford University Press, 1997.

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39

McFadden, Deanna. Frankenstein. New York: Sterling Pub. Co., 2006.

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40

Allman, Sheldon. Frankenstein unbound: Another monster musical. Woodstock, Ill: Dramatic Pub., 1995.

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41

Curran, Bob. Frankenstein & other man-made monsters. New York: Rosen Publishing, 2014.

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42

Byron, Preiss, ed. The Ultimate Frankenstein. New York: Dell Pub., 1991.

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43

Campton, David. Mary Shelley's Frankenstein. New York, NY, USA: Barron's, 1988.

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44

Preiss, Byron. The Ultimate Frankenstein. New York: Dell Pub., 1991.

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45

A monster's notes. New York: Alfred A. Knopf, 2009.

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46

Boley, Rob E. That Rotten Puppet: A SCARY TALE OF THE FROG PRINCE & FRANKENSTEIN’S MONSTER. Howling Unicorn Press, 2020.

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47

Maienschein, Jane, and Kate Maccord. Changing Conceptions of Human Nature. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/9780262533287.003.0008.

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Abstract:

To understand Mary Shelley’s Frankenstein in modern terms, it is useful to go back several millennia to Aristotle’s ideas of what it takes to become fully and normally human. Victor Frankenstein’s creation acts like and is perceived to be a monster. As Aristotle noted millennia ago, a monster is a being that has not developed normally. Victor’s creature definitely did not develop normally, resulting in an incomplete being – something with the structure and material of a living, human type but without having gone through the process of emerging gradually and acquiring all the components to become a whole individual. Perhaps Victor’s own incomplete and imperfect education left him also “monstrous” in some ways and let him create a being and then run away from it before it was complete. Seeing Victor and his creature this way, we also gain insight into current practical and policy assessments about why a developing embryo or fetus is not a fully normal human.

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48

Webling, Peggy. Peggy Webling and the Story behind Frankenstein. Edited by Dorian Gieseler Greenbaum and Bruce Graver. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350371682.

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The 1931 Universal Pictures film adaptation of Frankenstein directed by James Whale and starring Boris Karloff as the now iconic Monster claims in its credits to be ‘Adapted from the play by Peggy Webling’. Webling’s play sought to humanize the creature, was the first to position Frankenstein and his creation as doppelgängers, and offered a feminist perspective on scientific efforts to create life without women, ideas that suffuse today’s perceptions of Frankenstein’s monster. Buried in a private archive, scholars have never had access to the original play script and so could not fully chart the evolution of Frankenstein from book to stage to screen. In Peggy Webling’s Frankenstein, Dorian Gieseler Greenbaum (Webling’s great grandniece) and Bruce Graver present the full texts of Webling’s unpublished play for the first time. A vital critical edition, this book includes: - the 1928 Library of Congress version of the play Frankenstein with a short manuscript census - the 1927 British Library version of the first production of the play in Preston, Lancashire - the 1930 Prompt Script for the London production, held by the Westminster Archive, London - Webling’s private correspondence including negotiations with theatres managers and Universal Pictures, family letters about the production process, and selected contracts - Text of the chapter ‘Frankenstein’ from Webling’s unpublished literary memoir, The Story of a Pen for additional context - Exposition on Webling’s life that bears directly on the sensibilities and skills she brought to the writing of her play - History of how the play came to be written and produced - The relationship of Webling’s play to earlier stage adaptations - An exploration of playwright and screenwriter John L. Balderston’s changes to Webling’s play and how the 1931 film compares

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49

Mellor, Anne K. Frankenstein, Gender, and Mother Nature. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/9780262533287.003.0011.

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Why did Mary Shelley create THE myth of modern science on June 16, 1816? This essay explores the autobiographical and scientific origins of Frankenstein, or the Modern Prometheus, focusing on the ways in which the sexual division of labor in 19th Century Britain shaped the novel. Victor Frankenstein’s project – to have a baby without a woman (and thus eliminate the biological necessity for females) – points to the myriad ways in which the women in the novel, from Elizabeth Lavenza, Caroline Beaufort, and Justine Moritz to the female creature, are de-valued or destroyed. But in Mary’s feminist novel, Mother Nature fights back, killing Victor and transforming his creature into a monster. Shelley’s novel implicitly argues that human beings must co-operate with rather than dominate the natural order of reproduction.

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50

Ahmed, Maaheen. Monstrous Imaginaries. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825261.001.0001.

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This books engages with studies on Romanticism and on monsters in order to map out the heritage, functions, and affects of good monsters in contemporary comics and graphic novels. It shows how Romantic inclinations and themes are continued through comics monsters that question the distinction between human and monster, self and other. Taking as its point of departure Romantic artists such as Goya and Blake and protagonists such as Mary Shelley’s Frankenstein's monster as well as figurations of the trickster and Baudelairian ennui, the book gleans recurrent Romantic features that are then drawn out through monstrous protagonists in English- and French-language comics: dark romantic predilection for ruins and the sordid, the solitary protagonist, his quest, nostalgia, the prominence of the spectacle, excessive emotions, and above all, the characters' ambiguity and rebelliousness. In addition to insights from studies on comics, monsters, and Romanticism, the book also engages with the concepts of the imaginary, presence, and remediation. In blurring the otherness of the monster, these protagonists retain the exaggeration and uncontrollability of all monsters while incorporating Romantic elements and thus exemplifying the continuation of one of the most significant transformations of Western consciousness. Each theme is highlighted through close readings of well-known but often overlooked comics: Enki Bilal's Monstretetralogy, Alan Moore's Swamp Thing run, Mike Mignola'sHellboy, and James O'Barr'sThe Crow.

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