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Academic literature on the topic 'Frankenstein’s monster'

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Published: 25 July 2024

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Journal articles on the topic "Frankenstein’s monster"

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McCormack-Clark, Jack Alexander. "Night of the resurrected pets: The popular monsters of Tim Burton’s Frankenweenie." Australasian Journal of Popular Culture 10, no. 1 (December 1, 2021): 141–53. http://dx.doi.org/10.1386/ajpc_00043_1.

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Tim Burton’s stop motion-animated remake of his 1984 short film, Frankenweenie was produced and released by Walt Disney Studios. In the film, a young suburban Victor Frankenstein’s dog, Sparky, dies in an accident. In keeping with Burton’s absurd, macabre and Gothic auteurism’s, Frankenstein resurrects his pet. This ultimately leads to a series of chaotic events where the other students discover Frankenstein’s creation and subsequently resurrect of all of their deceased pets which reflect the form of other popular monsters such as, Frankenstein’s monster, Dracula, the Wolfman, the Mummy and the Creature from the Black Lagoon, among many others. I will analyse these satirical reflections of popular monsters through the lens of the whimsical Gothic and seek to identify the implications of Burton’s work to Disney’s brand and aesthetic through the popular monster outside of Disney’s popular repertoire of ‘child friendly’ fairy tales.
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Olivato, Giulia Maria. "Is Dr. Frankenstein Still Alive? From Twix to Apple: Commercializing Monstrosity." Pólemos 12, no. 1 (March 26, 2018): 167–83. http://dx.doi.org/10.1515/pol-2018-0010.

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Abstract Contemporary popular culture uses mythical and cultural symbols like monsters as metaphors in order to analyse and shape society and its trends. A perfect example is Frankenstein’s creature, who is a modern monster able to embody human crisis, desires, and fears about self-identity, inclusiveness and social recognition. In particular, in the field of advertising, the use of monsters sets new boundaries between human society and monstrousness. Indeed, advertising acts as a modern Dr Frankenstein by manipulating and determining who the modern monsters are.
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Paré, Zaven. "Frankenstein’s lectures." Remate de Males 39, no. 1 (June 28, 2019): 482–503. http://dx.doi.org/10.20396/remate.v39i1.8652889.

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Frankenstein’s creature is twice-made; firstly, Frankenstein is an organic being without any real biological parentage, and literary being through his own reading, which makes him aware of his intellectual and emotional affinities with humans. The trap closes around Frankenstein’s creature, imprisoning him in the values he assimilates through reading, which inform him of the full scope of his monstrous identity. Nonetheless, it is important to underline that Mary Shelley never made the creature’s readings insignificant, insubstantial or incomprehensible. On the contrary, they could be said to be ideologically, mythologically and symbolically edifying. Frankenstein is thus first and foremost the story of a monster who reads, and since it takes him a while to acquire language, learn to read and express himself orally, he only gradually begins to understand human nature. Mirroring his patchwork of a body, put together piecemeal, the monster begins to understand the world, an awareness that leaves him prey to the gravest doubts.
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Cañete Vera, Marcela. "Frankenstein’s Monster and the Qualitative Experience." English Studies in Latin America: A Journal of Cultural and Literary Criticism, no. 4 (June 22, 2023): 1–16. http://dx.doi.org/10.7764/esla.61903.

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The most fascinating topic treated in Mary Shelley’s novel, Frankenstein, is human nature and consciousness in non human beings. The novel’s character Viktor Frankenstein plays the role of the inventor of a being brought to life only by artificial means. This creature, though possessing the same physiological characteristics as human beings, has no conscience due to its non human, artificial precedence. However, he is constantly giving signs that he could be regarded as a conscious being, principally because of his use of language throughout the novel that expresses he is actually experiencing qualia. The present research paper will attempt to question the possibility of the existence of qualia phenomena in non human entities, based on the example of Frankenstein’s creature. The representation of Viktor Frankenstein’s creature in the novel as a subject with qualitative experience raises the question of whether he is conscious or rather an imitator of qualia, thus a philosophical zombie.
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Alhashmi, Rawad. "The Grotesque in Frankenstein in Baghdad: Between Humanity and Monstrosity." International Journal of Language and Literary Studies 2, no. 1 (March 16, 2020): 90–106. http://dx.doi.org/10.36892/ijlls.v2i1.120.

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This paper analyzes Ahmed Saadawi’s Frankenstein in Baghdad (2018) with a special emphasis on the grotesque bodily images of the monster, the novel’s exploration of justice, and the question of violence. I draw on the theoretical framework of the Russian philosopher and literary critic Mikhail Bakhtin (1895–1975), the ethics philosopher Emmanuel Levinas (1906–1995), and the German-American philosopher and political thinker Hannah Arendt (1906–1975). Saadawi’s unnamed monster, “The Whatsitsname,” comes into being via an accidental if honorably intentioned act, when the main character, Hadi, compiles remnant corpses that he finds in the streets of Bagdad into one body with the aim of conducting “a proper burial” in order to dignify the dead. Interestingly, while the monster is the enemy in the eyes of the Iraqi government, he is a savior for the ordinary people— their only hope of putting an end to the violence and achieving justice. In this paper, I argue that Saadawi draws on the metaphor of Frankenstein’s monster not only to capture the dystopian mood in post-2003 Baghdad, but also to question the tragic realities, and the consequence of war, as well as the overall ramification of colonialism. In addition, Saadawi’s embodiment of the metaphor of Frankenstein’s monster actualizes a new literary role for Frankenstein in literature—the representation of the Other: In this instance, the entire Iraqi community is literary represented in Frankenstein’s body. Of equal importance, is the fragmented nature of his body, which is literally compiled of different body parts from different people, perhaps symbolizing the urgent need for unity in Iraq.
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Kowal, Justyna. "Frankensteinowska hybryda." Literatura i Kultura Popularna 25 (July 28, 2020): 529–32. http://dx.doi.org/10.19195/0867-7441.25.30.

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The review of Frankenstein — 100 lat w kinie describes a unique form of the book proposed by Rafał Donica, Polish film critic and expert in popular culture. The shape of the book remains the object of its deliberations; fragmentary, heterogeneous narration by Donica reflects an idea of Frank-enstein’s monster body. Donica builds his narration with quotations, critical essays, historical re-constructions and original illustrative material. The author examines the character of Frankenstein’s monster in cinema and visual culture, which — as Donica accounts — brought about the transform-ation of the monster picture, extremely distant from Shelley’s prototype. The heterogeneity of Don-ica’s book manifests itself in several fields; the form of character appearance (from feature films, through animated films, TV series to commercials), temporal (from the beginnings of the cinema to present day) and territorial range — the author makes an attempt to present an objective, non-Euro-pocentric point of view, including examples of Frankenstein’s monster appearance in Asia or South America. Donica also proves his sensitivity to sociological mechanisms which guides popular cul-ture; he shows how “faces” of famous actors (like Boris Karloff) affected the monster image.
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Prosser, Ashleigh. "Resurrecting Frankenstein: Peter Ackroyd’s The Casebook of Victor Frankenstein and the metafictional monster within." Australasian Journal of Popular Culture 8, no. 2 (September 1, 2019): 179–96. http://dx.doi.org/10.1386/ajpc_00004_1.

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This article examines Peter Ackroyd’s popular Gothic novel The Casebook of Victor Frankenstein (2008), which is a reimagining of Mary Shelley’s famous Gothic novel Frankenstein, or, The Modern Prometheus ([1818] 2003). The basic premise of Ackroyd’s narrative seemingly resembles Shelley’s own, as Victor Frankenstein woefully reflects on the events that have brought about his mysterious downfall, and like the original text the voice of the Monster interrupts his creator to recount passages from his own afterlife. However, Ackroyd’s adaption is instead set within the historical context of the original story’s creation in the early nineteenth century. Ackroyd’s Frankenstein studies at Oxford, befriends radical Romantic poet Percy Bysshe Shelley, moves to London to conduct his reanimation experiments and even accompanies the Shelleys, Byron and Polidori on that fateful holiday when the original novel was conceived. This article explores how Ackroyd’s novel, as a form of the contemporary ‘popular’ Gothic, functions as an uncanny doppelgänger of Shelley’s Frankenstein. By blurring the boundaries between history and fiction, the original text and the context of its creation haunt Ackroyd’s adaptation in uncannily doubled and self-reflexive ways that speak to Frankenstein’s legacy for the Gothic in popular culture. The dénouement of Ackroyd’s narrative reveals that the Monster is Frankenstein’s psychological doppelgänger, a projection of insanity, and thus Frankenstein himself is the Monster. This article proposes that this final twist is an uncanny reflection of the narrative’s own ‘Frankenstein-ian’ monstrous metafictional construction, for it argues that Ackroyd’s story is a ‘strange case(book)’ haunted by the ghosts of its Gothic literary predecessors.
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Gelbin, Cathy S. "Was Frankenstein’s Monster Jewish?" Publications of the English Goethe Society 82, no. 1 (March 2013): 16–25. http://dx.doi.org/10.1179/0959368312z.00000000014.

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Kowalczyk, Andrzej Sławomir. "“I know not […] what I myself am”: Conceptual Integration in Susan Heyboer O’Keefe’s ”Frankenstein’s Monster” (2010)." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 109. http://dx.doi.org/10.17951/lsmll.2019.43.2.109-123.

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<p>The article proposes a cognitive-poetic reading of Susan Heyboer O’Keefe’s novel <em>Frankenstein’s Monster </em>(2010) – a modern rendition of the myth of Victor Frankenstein and his Creature – with regard to the theory of conceptual integration proposed by G. Fauconnier and M. Turner (2002). It is argued that the reader’s conceptualization of the eponymous Monster emerges in the proces of conceptual blending, where several input mental spaces, constructed around elements of the philosophical concept of the Great Chain of Being, are merged to produce a novel entity. Thus, the reader’s active participation in meaning construction allows her/him to redefine her/his perception of monstrosity.</p>
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Heller, Peter B. "Frankenstein’s Monster: The Downsides of Technology." International Journal of Technology, Knowledge, and Society 6, no. 3 (2010): 121–32. http://dx.doi.org/10.18848/1832-3669/cgp/v06i03/56098.

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Dissertations / Theses on the topic "Frankenstein’s monster"

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Linter, 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.

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Mary Shelley’s novel Frankenstein has been the direct source for many adaptations on stage, television and film, and an indirect source for innumerable hybrid versions. One of the central premises of Julie Sanders’s Adaptation and Appropriation (2006) is that adaptations go through a movement of proximation that brings them closer to the audience’s cultural and social spheres. This essay looks at how this movement of proximation has impacted the monster’s form and behaviour and concludes that this is the main reason Shelley’s vision of her monster has rarely been accurately reproduced on screen. It is clearly impossible for an essay of this length to adequately cover the vast number of adaptations spawned by Frankenstein. It is clear that James Whale’s Frankenstein (1931), where the monster has a bolt through its neck and a stitched forehead, created the stereotype that has been the source for many other Frankenstein film adaptations. However, contemporary film adaptations cater to target audiences and specific genres, while also reflecting the current political climate and technological innovations. The conclusion reached here is that while the form and behaviour of Frankenstein’s monster in film has inevitably been revised over the years, precisely as a result of social and cultural factors, it is the stereotype created by Whale that has prevailed over the figure produced by Shelley. This, in turn, supports and confirms Sanders’s theory of movement of proximation.
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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.

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Lange, 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.

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Lange, 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.

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Nidesjö, 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.

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This essay challanges one of the worlds most famous horror story, Mary Shelley'sFrankenstein.Who is the monster in this novel? People know the story but they often tend to blend the two head characters, Victor Frankenstein and his creature. Based on the psychoanalysis, founded by Sigmund Freud, this essay argues that Victor Frankenstein is not the nice guy he seems to be. Appearances are not always what they seem and Victor Frankenstein turns into a "monster of the soul" due to suppressed feelings. His creature never stands a chance without any guidence and love. The creature is instead turned into a "monster of the body" since it is constantly badly treated from the start
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Hawley, 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/.

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Frankensteinian monsters have appeared on our screens since the early days of cinema. Indeed, across the history of film we see Mary Shelley’s “hideous progeny” rewritten as alchemical creations, animated corpses, lumbering fiends, robots, cyborgs, replicants, dinosaurs, artificial intelligences and digital constructions. In particular, Shelley’s text shares its speculative depiction of a posthuman future with fantastic and science-fictional cinema of the digital age. At the same time, posthuman bodies are being created by filmmakers. New possibilities in the digital imaging of human presence – from the replacement of actors with computer-generated imagery to the quest for photorealism in digital animation – themselves evoke the Frankenstein tale and consequently make interesting contributions to the evolving Frankenstein myth. This thesis investigates the retelling of Frankenstein in popular cinema of the digital age. Through close analysis of a series of chosen texts, I examine the figure of the Frankensteinian monster and his/her/its equivalents in today’s popular culture: posthuman figures who negotiate uneasily with the organic world, boundary creatures who both define and unsettle our understandings of human being. I consider the way the tale, its themes and characters have both endured and evolved over time. I also examine the way these new filmic “machines” and animated “monsters” embody crucial problems associated with the technologies that screen them and the media that contain them. My concern in this project is twofold. Firstly, I seek to map the (changing) relationship between Frankenstein and film. Since the early 1900s, cinema has provided a fertile ground for the retelling of Shelley’s tale. At the same time, cinema itself has always been a sort of Frankensteinian experiment: a means of breathing life into stillness, of constructing and re-constructing human presence, of stitching together fragmented moments to create a semblance of wholeness. In the digital age, this experiment grows and changes: new modes of production are continually being trialled, allowing us to re-create and re-present human presence in new and often bizarre ways. The figure of the Frankensteinian monster confronts and responds to these concerns, embodying and performing the uncanny, spectacular, mechanical, or organic-mechanical nature of screen presence. Secondly, this thesis reads the Frankensteinian monster as a mythic figure for the digital age. I move towards the assertion that Frankenstein is a tale about the artificial body and its negotiation with a lost or disrupted origin in the organic world, and that this particular problem reverberates strongly in an age of digital representation. The analyses that constitute this thesis contribute to the argument that each time the Frankenstein tale is retold, re-technologised, and re-imagined using new filmic techniques, the problem of the screen body and its troubled origin stories is revisited and complicated.
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Edfors, 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.

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This paper examines the relationship between literature and philosophy, with special regards to how literature can contribute to deepen the understanding in philosophical matters. This is executed by a comparison between how a work of fiction, versus works of philosophy, can tackle the issue of personhood. Mary Shelley’s Frankenstein is being compared with philosopher Lynne Rudder Baker’s Persons and Bodies and Jacques Maritain’s The Person and the Common Good in order to map out how literature can contribute to the philosophical discourse regarding personhood. The paper finalizes that the main character in Frankenstein, “the monster” displays several issues that may show up when trying to define what it means to be a person, and where the line is to be drawn between a person and a non-person. The paper thus serves a two-folded purpose: to expand and challenge the traditional philosophical methodology, and find new understanding within the subject of personhood.
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Atkins, 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.

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This thesis details the Costume Design process for David Emerson Toney’s Frankenstein: Dawn of a Monster at Virginia Commonwealth University. Toney’s original adaptation interprets Mary Shelley’s genre-defying novel as biography, directly influenced by the tragic events of her young life. Costumes differentiate the two narratives, with Mary Shelly in gray scale, regency-inspired modern dress and the novel in period and color. This follows the design process from concept to production to execution.
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Heidenescher, 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.

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Van, 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.

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Magister Artium - MA
This 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.
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Books on the topic "Frankenstein’s monster"

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

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

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

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

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

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

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

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

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

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Book chapters on the topic "Frankenstein’s monster"

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Basham, Diana. "Frankenstein’s Monster: Lady Byron and Victorian Feminism." In The Trial of Woman, 1–39. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1057/9780230374010_1.

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Hardwicke, Natalie. "Frankenstein’s Monster as Mythical Mattering: Rethinking the Creator-Creation Technology Relationship." In IFIP Advances in Information and Communication Technology, 191–97. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-04091-8_14.

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Metze, Tamara, and Sabine van Zuydam. "Chapter seven Frankenstein’s Monster: the Amsterdam Case of Good Collaborative Governance." In The Quest for Good Urban Governance, 127–46. Wiesbaden: Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-10079-7_7.

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Eckermann, Simon. "Avoiding Frankenstein’s Monster and Partial Analysis Problems: Robustly Synthesising, Translating and Extrapolating Evidence." In Health Economics from Theory to Practice, 57–89. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50613-5_3.

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Jensen, Carsten, and Kees van Kersbergen. "Goldilocks’ Frankenstein monster." In The Routledge Handbook of Scandinavian Politics, 69–79. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315695716-6.

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Soccio, Anna Enrichetta. "Victorian Frankenstein: From Fiction to Science." In Monsters and Monstrosity, edited by Daniela Carpi, 131–40. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110654615-008.

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Romanyshyn, Robert D. "Who is the Monster?" In Victor Frankenstein, the Monster and the Shadows of Technology, 87–100. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429028335-8.

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Alder, Emily. "Our Progeny’s Monsters: Frankenstein Retold for Children in Picturebooks and Graphic Novels." In Global Frankenstein, 209–25. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78142-6_12.

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Wyse, Bruce. "‘The Human Senses Are Insurmountable Barriers’: Deformity, Sympathy, and Monster Love in Three Variations on Frankenstein." In Global Frankenstein, 75–90. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78142-6_5.

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Dubowsky, Jack Curtis. "Queer Monster Good: Frankenstein and Edward Scissorhands." In Intersecting Film, Music, and Queerness, 173–207. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137454218_7.

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