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Articles de revues sur le sujet "Frankenstein (fictional character) – fiction"
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Shen, Fanxi. « Freud’s Psychoanalysis Perspective on the Characteristics of the Monster in Frankenstein ». IRA International Journal of Education and Multidisciplinary Studies 20, no 1 (13 mars 2024) : 36. http://dx.doi.org/10.21013/jems.v20.n1.p3.
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The famous English writer Mary Shelley wrote <em>Frankenstein</em> in 1818, which is regarded as the world’s first science fiction novel, and thus Mary Shelley was awarded the title of Mother of Science Fiction. With a gothic plot, this novel contains the philosophy of technology, psychology and epistemology, expressing the author’s exploration of human nature. The psychological and action descriptions of the characters in this novel, to a certain extent, show the psychological characteristics of the character’s id, ego and superego. Therefore, this paper will elaborate the psychological characteristics of the characters from the aspects of id, ego and superego from Freud’s psychoanalysis theory, thus exploring the character traits of the novel and providing a new perspective for the interpretation of the novel.
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Ensslin, Astrid. « The Interlocutor in Print and Digital Fiction : Dialogicity, Agency, (De-)Conventionalization ». Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, no 3 (10 août 2018) : 21–34. http://dx.doi.org/10.14195/2182-8830_6-3_2.
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Digital fiction typically puts the reader/player in a cybernetic dialogue with various narrative functions, such as characters, narrative voices, or prompts emanating from the storytelling environment. Readers enact their responses either verbally, through typed keyboard input, or haptically, through various types of physical interactions with the interface (mouseclick; controller moves; touch). The sense of agency evoked through these dialogic interactions has been fully conventionalized as part of digital narrativity. Yet there are instances of enacted dialogicity in digital fiction that merit more in-depth investigation under the broad labels of anti-mimeticism and intrinsic unnaturalness (Richardson, 2016), such as when readers enact pre-scripted narratees without, however, being able to take agency over the (canonical) narrative as a whole (Dave Morris’s Frankenstein), or when they hear or read a “protean,” “disembodied questioning voice” (Richardson, 2006: 79) that oscillates between system feedback, interior character monologue and supernatural interaction (Dreaming Methods’ WALLPAPER). I shall examine various intrinsically unnatural examples of the media-specific interlocutor in print and digital fiction and evaluate the extent to which unconventional interlocutors in digital fiction may have anti-mimetic, or defamiliarizing effects.
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Pikun, Lesia. « The Frank Einstein Books by Jon Scieszka as a Variant of the Literary Game with Cultural Heritage ». Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 14, no 25 (2021) : 79–86. http://dx.doi.org/10.34079/2226-3055-2021-14-25-79-86.
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The article is dedicated to the study of the literary mirror game with the cultural heritage in the Frank Einstein books by Jon Scieszka. The Frank Einstein books were first translated and published in Ukraine in 2019. This article is the first investigation of the Frank Einstein series by J. Scieszka as a literary game. Six Frank Einstein books (“Frank Einstein and the Antimatter Motor” (2014), “Frank Einstein and the Electro-Finger” (2015), ‘Frank Einstein and the BrainTurbo” (2015), “Frank Einstein and the EvoBlaster Belt” (2016), “Frank Einstein and the Bio-Action Gizmo” (2017) and “Frank Einstein and the Space-Time Zipper” (2019)) demonstrate vivid examples of the literary game in the contemporary children’s literature from the positions of the author as a game creator and the reader as a game opponent. J. Scieszka was born in 1954 in Flint, Michigan, USA. The future writer received a varied education. He attended the military academy, then studied English and pre-med at Albion College for his B.A., and in 1980 received a master's degree of Fine Arts in fiction writing at Columbia University. After graduation J. Scieszka worked as a teacher at an elementary school. Teaching schoolchildren, Jon re-discovered how smart they are. School children turned to be the best audience for the weird and funny stories he had always liked to read and write. The books by Jon Scieszka are based on recognizable archetypal plots and iconic characters, which are not presented to the reader in a conserved form, but focused on the current stage of culture and science development. The writer cheerfully and humorously manipulates well-known plots, rewrites established ideas, and interprets familiar literary themes, motives, characters, etc., presented in world-famous science fiction, well-known to the modern young reader. J. Scieszka says that he got his ideas from other books, his kids, kids he had taught, kids he had learned from, watching movies, playing with his cat, talking to his wife. He also includes allusions to his favourite writers – Cervantes, Kafka, Borges, Pynchon, Sterne, Barth, Heller (Scieszka, 2014). J. Scieszka uses a repertoire of prominent scientific and literary samples in his work, such as the character of the scientist Frankenstein by M. Shelley and the theoretical physicist Albert Einstein, the inventor and businessman Thomas Edison, a fictional character Dr. Watson in the Sherlock Holmes stories by Sir Arthur Conan Doyle, the primatologist Jane Goodall. There is a mechanism of mirror doubling in the system of characters: Frankenstein and Frank Einstein, Albert Einstein and Al. Einstein, Klink and Klank, and the complex mirror refraction of Frank Einstein and Watson as Sherlock Holmes and Dr. Watson, Frank Einstein and T. Edison as Sherlock Holmes and Professor Moriarty. The article analyses the well-known literary and scientific achievements that acquire a mirror replay in the books about Frank Einstein. The researcher concludes that the books by J. Sciezska are a source of vivid emotional experiences and motivation for serious readers’ reflection. The author of the article draws attention to the fact that the play field created by J. Scieszka is a product of accumulated cultural content, which activates the human tendency to imitate, assimilate and repeat. This game is a form of conscious assimilation and processing of the universe of intangible and material artifacts, objectified actions and relations created by mankind in the process of mastering nature.
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Opreanu, Lucia. « Word Havens : Reading One’s Way out of Trauma in Contemporary Fiction ». University of Bucharest Review. Literary and Cultural Studies Series 9, no 2 (19 novembre 2020) : 93–102. http://dx.doi.org/10.31178/ubr.9.2.10.
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Prompted by the attention received in recent years by the collateral benefits of reading and the growing prominence of bibliotherapy in the literary marketplace, this paper aims to investigate the therapeutic effects of books as they emerge from the experience of fictional characters, a perhaps less scientifically sound endeavour than empirical studies and clinical trials targeting real-life readers but one likely to occasion interesting perspectives on reading as a coping mechanism in the face of trauma. By focusing on a variety of reading experiences gleaned from a selection of novels ranging from Mary Shelley’s Frankenstein to William Styron’s Sophie’s Choice, Graham Swift’s Waterland, Michael Ondaatje’s The English Patient, Azar Nafisi’s Reading Lolita in Tehran: A Memoir in Books, Markus Zusak’s The Book Thief, Lloyd Jones’ Mister Pip and Mary Ann Shaffer and Annie Barrows’ The Guernsey Literary and Potato Peel Pie Society and targeting acts of solitary communion with narrative as well as illicit seminars, informal book clubs and impromptu public readings, the analysis intends to highlight the extent to which literature can provide more than a mere pastime or intellectual challenge to its most vulnerable readers. Whether such benefits entail a sense of community, a temporary shelter from the hardships of war, a reprieve from the abuses of a totalitarian government or sanctuary from the less brutal but nevertheless haunting scars of broken relationships, parental disapproval or social rejection, the ultimate goal is to identify and assess the various survival strategies employed within these fictional universes. The
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Akhmedov, Rafael Sh. « The concept of “robotics” in Isaac Asimov’s science fiction : clash of traditions and innovations ». Philological Sciences. Scientific Essays of Higher Education, no 4 (juillet 2022) : 114–23. http://dx.doi.org/10.20339/phs.4-22.114.
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The image of a mechanical (artificial) creature constructed thanks to the achievements of mankind in the field of science and technology has been present in literature since its inception, since the first oral myths and legends. Only towards the end of the 19th — beginning of the 20th century, the emphasis in the image of the robot in the literature shifted from religious-mystical to philosophic-technical. The purpose of this study is to assess the legitimacy of the statement that the work of the American science fiction writer Isaac Asimov was a turning point in the development of the image of a robot in world literature. For this purpose, the following research was done: a comparative historical overview of the development of the image of a robot in literary works; the analysis of the scientific literature on the issue; a thorough analysis of several key works of Isaac Asimov (particularly, stories from the “I, Robot” collection), in which the robot character plays a central role and participates in the formation of the main idea of the work revealing the theme and the construction of the plot. Being a supporter of the idea of the humanistic role of science fiction, Isaac Asimov abandoned the established tradition of a monster robot, endowed it with Three Laws so that humanity could overcome the Frankenstein complex and look at the achievements of technology from a new perspective. This new approach of Isaac Asimov to the robot character and to the question of the relationship between human being and technology, which initially caused a negative response from literary critics, subsequently became one of the components of the reform of American science fiction and the advent of the Golden Age of science fiction. The concept of “robotics” of Isaac Asimov became the cornerstone of not only modern science fiction but also other branches of human activity, including information technology and robotics industry.
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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, no 2 (1 novembre 2023) : 298–307. http://dx.doi.org/10.1515/jcde-2023-0024.
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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.
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Al-Shamali, Farah. « The City of Baghdad in Iraqi Fiction : Novelistic Depictions of a Spatiality of Ruin ». Middle East Research Journal of Linguistics and Literature 3, no 02 (9 décembre 2023) : 12–24. http://dx.doi.org/10.36348/merjll.2023.v03i02.002.
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The Iraqi novel has contended with brutish forms of violence for the better part of the past century that have essentially reshaped the narrative experience unto space. Writers are confronted with the challenge of typifying a search for meaning in and amongst character-altering ruin. At the height of its maturity today, as various works convey spatial woundedness particularly in the city of Baghdad, there is a relationship between fiction and urban reality symbolizing an image of complexity. They play host to a fantastical blending of the real and unreal. They see through to the mediational potencies of absurdist violence, one that is acted out this performativity on the page a matter of survival. The selected works respectively depict the pre-revolutionary capital before moving into the bitter decades to follow. Many build worlds that are mired in the crippling present day engaging the normativity of the spatial wound to make sense of the nonsensical. The novels Hunters in a Narrow Street, The Corpse Washer, Frankenstein in Baghdad and Tashari and short story “The Corpse Exhibition” work towards that end. They critically ponder decrepitude and death as it joins life in the realm of the real, legitimate ruination of place as aesthetic in the liminal imaginary and create the conditions with which to imagine the spatial afterlife of destruction. The extracted articulations and thoughts around each are informed by the critical theoretical lenses of three landmark thinkers of space and place and how the latter equates to the emotionality of man. Keywords: Baghdad, Space and place, Literature, Fiction, Wounded identity, War, Ruination, Dystopia.
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Romanyshyn, Robert D. « Diagnostic Fictions ». Journal of Humanistic Psychology 59, no 1 (26 juillet 2018) : 107–20. http://dx.doi.org/10.1177/0022167818790300.
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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.
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Milerius, Nerijus. « UTOPIJOS IR ANTIUTOPIJOS VIZIJOS KINE. FILOSOFINĖS BANALAUS ŽANRO PRIELAIDOS ». Problemos 79 (1 janvier 2011) : 81–89. http://dx.doi.org/10.15388/problemos.2011.0.1325.
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Straipsnyje tęsiami apokalipsės kino tyrinėjimai, pirmą kartą pristatyti praėjusiame „Problemų“ tome (78). Siekiant detalizuoti apokalipsės kino analizę, pasitelkiami nauji – utopijos ir antiutopijos – kinematografiniai aspektai. Apžvelgiamos utopinio diskurso mitologinės ir religinės prielaidos, parodoma, kaip utopinis diskursas išreiškiamas Platono idealios visuomenės projekte. Thomas More’o „Utopija“ apibrėžiama kaip jungiamoji grandis tarp klasikinių filosofinių ir religinių utopinių vizijų ir vėlesnių mokslinių technologinių pasaulio perkonstravimo modelių. Technologinis pasaulio perkonstravimas kaip moderniųjų utopijų pagrindas neišvengiamai susijęs su nekontroliuojamo pasaulio antiutopinėmis vizijomis. Mary Shelley „Frankenšteinas“ apibūdinamas kaip dažnas utopinių modelių fonas. Kaip utopinių ir antiutopinių motyvų sampynos kine pavyzdys analizuojamas Steveno Spielbergo „Dirbtinis intelektas“. Įrodoma, jog postapokaliptinė šio kino kūrinio aplinka konstruojama tam, kad būtų išryškintas pačios kasdienybės utopiškumas.Pagrindiniai žodžiai: kino filosofija, apokalipsės kinas, mokslinė fantastika, utopija, antiutopija.Visions of Utopia and Dystopia in Cinema. The Philosophical Presuppositions of the Banal GenreNerijus Milerius SummaryThe article continues researching the apocalypse film genre. The first results of such research were presented for the first time in the last volume of “Problemos”. In this article, aspects of utopia and dystopia are introduced into the analysis. Firstly, the mythological and religious presuppositions of utopian discourse are overviewed. Secondly, it is shown how utopian discourse is manifested in Plato’s project of ideal society. “Utopia” of Thomas More is considered as the medium between classical visions of utopia and subsequent models of technological transformation of the world.The technological transformation of the world is such basis of modern utopias, which is inevitably tied with the dystopian visions of uncontrollable reality. M. Shelley’s “Frankenstein” appears to be frequent background of utopian models. As the example of interconnection of utopian and dystopian motifs, S. Spielberg’s “The Artificial Intelligence” is presented. It is argued that the post-apocalyptic milieu of this film is constructed with the purpose of revealing the utopian character of the everyday itself.Keywords: film philosophy, apocalypse movie, science fiction, utopia, dystopia.
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Varis, Essi. « The Monster Analogy : Why Fictional Characters are Frankenstein's Monsters ». SubStance 48, no 1 (2019) : 63–86. http://dx.doi.org/10.1353/sub.2019.0005.
Texte intégralThèses sur le sujet "Frankenstein (fictional character) – fiction"
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Griswold, Amy Herring. « Detecting Masculinity : The Positive Masculine Qualities of Fictional Detectives ». Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3971/.
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Detective fiction highlights those qualities of masculinity that are most valuable to a contemporary culture. In mysteries a cultural context is more thoroughly revealed than in any other genre of literature. Through the crimes, an audience can understand not only the fears of a particular society but also the level of calumny that society assigns to a crime. As each generation has needed a particular set of qualities in its defense, so the detective has provided them. Through the detective's response to particular crimes, the reader can learn the delineation of forgivable and unforgivable acts. These detectives illustrate positive masculinity, proving that fiction has more uses than mere entertainment. In this paper, I trace four detectives, each from a different era. Sherlock Holmes lives to solve problems. His primary function is to solve a riddle. Lord Peter Wimsey takes on the moral question of why anyone should detect at all. His stories involve the difficulty of justifying putting oneself in the morally superior position of judge. The Mike Hammer stories treat the difficulty of dealing with criminals who use the law to protect themselves. They have perverted the protections of society, and Hammer must find a way to bring them to justice outside of the law. The Kate Martinelli stories focus more on the victims of crime than on the criminals. Martinelli discovers the motivations that draw a criminal toward a specific victim and explains what it is about certain victims that makes villains want to harm them. All of these detectives display the traditional traits of the Western male. They are hunters; they protect society as a whole. Yet each detective fulfills a certain cultural role that speaks to the specific problems of his or her era, proving that masculinity is a more fluid role than many have previously credited.
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Crosier, Erik R. « Character development through non-linear story format : its creation, use, and applications ». Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390655.
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The purpose of this creative project is to explore the concept of character development as it appears in non-linear story formats. These formats are those of relatively recent technological advances that have paved the way for stories to be related to an audience in ways that are completely unique to each individual audience member. This project specifically is a murder mystery story, told in such a non-linear fashion. The story is capable of being viewed in a completely unique manner by each individual audience member. From this story, viewer's opinions have been examined, and conclusions have been drawn of the value and significance of non-linear story formats in relation to character development.Department of Telecommunications
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Goile, Joanne Elizabeth. « Fascinations of fiction an examination of devices used within the television programme Buffy the Vampire Slayer that succeed in blurring the boundaries between viewers and the fictional diegesis of the show : thesis submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design, 2003 ». Full thesis. Abstract, 2003.
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Larrivé, Véronique. « Du bon usage du bovarysme dans la classe de français : développer l'empathie fictionnelle des élèves pour les aider à lire les récits littéraires : l'exemple du journal de personnage ». Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30044/document.
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Avec les neurones miroirs et les théories de la simulation, les découvertes récentes des neurosciences sur les relations intersubjectives offrent à la théorie littéraire de nouvelles données pour approcher le récit fictionnel. Elles permettent de réhabiliter le bovarysme littéraire dont la version cognitiviste, l’empathie fictionnelle, est l’objet de cette thèse. Il apparaît que dans le monde créé par la fiction, c’est l’empathie fictionnelle qu’il éprouve pour les personnages qui permet au lecteur de comprendre leurs états mentaux et d’anticiper leur comportement. Ainsi, les émotions fictionnelles, véritable catalyseur du processus de simulation qui permet au lecteur d’éprouver corporellement le point de vue du personnage, participent-elles pleinement au processus de compréhension et d’interprétation de l’histoire. L’objectif est donc de repenser l’activité du lecteur de fiction en axant la réflexion sur la manière dont le lecteur appréhende le monde fictionnel et s’y investit émotionnellement. L’aptitude à l’empathie fictionnelle devient alors une compétence de lecteur, indispensable pour qu’il puisse s’immerger dans l’univers fictionnel. Ce point de vue soulève une question concernant la didactique de la lecture littéraire. Lors de la lecture d’œuvres de fiction, en quoi et comment est-il souhaitable de solliciter l’empathie fictionnelle des élèves pour les personnages ? Cette thèse répondra à cette question en proposant un dispositif d’accompagnement de la lecture par l’écriture : le « journal de personnage ». L’expérimentation présentée, menée en classe de CM2 et de 6e, concerne le journal de Gilgamesh, héros mythologique dont le récit des aventures appartient à nos textes fondateurs. À travers l’observation de productions écrites d’élèves et l’analyse d’entretiens et de questionnaires individuels, il apparaîtra que les écritures fictionnelles en première personne demandées aux élèves sont un moyen d’exercer leur aptitude à l’empathie fictionnelle et par voie de conséquence de développer leurs compétences en matière de lecture littéraireWith mirror neurons and simulation theories, recent findings in neuroscience on inter-subjective relations offer new data to literary theory about fictional narrative. They help restore literary bovarysm of which cognitive version, the fictional empathy, is the subject of this thesis. It appears that, in a world created by fiction, the fictional empathy that the reader feels for characters allows him to understand their mental states and anticipate their behavior. Thus, the fictional emotions, real catalyst of the simulation process that allows the reader to physically experience the perspective of the character, fully participate in the process of understanding and interpreting the story. The objective is therefore to rethink the mental activity of the reader of fiction, with a focus on how the reader grasps the fictional world and gets involved emotionally. The capacity for fictional empathy then becomes a reader’s skill, essential to immerse himself in the fictional universe. This approach raises a question about the teaching of literary reading. When reading fiction, in which way and how is it advisable to seek the students’ fictional empathy for the characters? To address this issue, this thesis proposes that a reading-cum-writing support mechanism be envisaged: the "character’s diary". The experiment conducted in CM2 and 6th grade classes, relates to the diary of Gilgamesh, mythological hero whose adventure stories belong to our founding texts. Through the observation of students' written along with the analysis of interviews and individual questionnaires, it would appear that fictional writing requested from students in the first person are a means to exercise their capacity for fictional empathy and as a corollary develop their skills in literary reading
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Cosgrove, Shady Ellen. « The fictional character as a site of agency : a theoretical and practical exploration ». Phd thesis, 2002. http://hdl.handle.net/1885/148657.
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Girardová, de Villars Hana. « Rozlišování fikce a skutečnosti ve filmu ». Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-306940.
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This diploma thesis deals with the distinction between fiction and reality in the film using the theory of fictional worlds. It analyzes the effect of fictional worlds and their characters on the viewer's perception and interpretation of fiction. It emphasizes the difference of the impact of fiction on reality, depending on whether the recipient evaluates the fictional work by its relation to reality or realizes that the film doesn't refer to the actual world. The thesis describes the main concepts and problems of the theory of fictional worlds and applies them to the examples of films to show the importance of distinguishing the line between fiction and reality.
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Dires, Demeke Tassew. « Narrative strategies in selected Amharic novels from 2000 until 2010 ». Thesis, 2014. http://hdl.handle.net/10500/18483.
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The aim of this research entitled Narrative Strategies in Selected Amharic Novels from 2000 until 2010 was to shed light on the relationship among form, meaning (content) and social milieuin establishing the textual and contextual features of fictional narratives. It mainly contends that it is possible to unravel the textual and contextual qualities of fictional narratives by studying form as a narrative strategy. In this research, form, when understood as a narrative strategy, is not only considered as a textual construct which motivates textual meaning but also regarded as a product of the social milieu from which the text emerges. Having this conception, form as a narrative strategy is investigated in selected Amharic novels published from 2000 until 2010 in view of expounding the artistic and thematic features of contemporary Amharic novels, endeavouring to fill the knowledge gap in Amharic literary scholarship about their literary features. The present research applies narratological approaches that range from classical to post-classical
narratology. However, it dominantly uses post-classical conceptions of narratology as guidelines for its discussion. The dissertation comprises six chapters. The first one is an introductory chapter in which the research problems, goals and assumptions are explicated. Chapter two deals with the theoretical framework where the theoretical insight the research utilizes as a guideline is outlined and methodological issues are specified. The following three chapters focus on the analysis. In the third chapter, story is investigated as a narrative strategy in Yeburqa Zemeta (Burka’s Silence) (2000); in the fourth one, focalization is treated as a narrative strategy in Gerač.a Qač.eloč (Grey
Bells) (2005), and in the fifth chapter, characterization is studied as a narrative strategy in
Dèrtogada (Dertogada) (2010). The dissertation concludes with a chapter in which independent findings in the three analysis chapters are summed up and generalizations on the textual and contextual features of the present day Amharic novels are made.Afrikaans & Theory of Literature
D. Litt. et Phil. (Theory of Literature)
Livres sur le sujet "Frankenstein (fictional character) – fiction"
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Sellwood, Richard. Frankenstein. London : Macmillan, 1989.
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Hammond, Ray. The modern Frankenstein : Fiction becomes fact. Poole : Blandford Press, 1986.
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Milligan, Spike. Frankenstein. London : Virgin, 1997.
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Pullman, Philip. Frankenstein. Oxford : Oxford University Press, 1990.
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Zimmerman, Phyllis. Shelley's fiction. Los Angeles : Darami Press, 1998.
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Weinberg, Larry. Frankenstein. Carmel, CA, USA : Hampton-Brown, 1993.
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Weinberg, Larry. Frankenstein. New York, NY, USA : Random House, 1988.
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Weinberg, Larry. Frankenstein. New York, NY, USA : Random House, 2005.
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Weinberg, Larry. Frankenstein. New York : Random House, 2005.
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Weinberg, Larry. Frankenstein. New York, NY, USA : Random House, 2005.
Trouver le texte intégralChapitres de livres sur le sujet "Frankenstein (fictional character) – fiction"
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Lüdeke, Roger. « The Sublime Character of Gothic Fiction (1764-1847) ». Dans Therapie der Dinge ?, 249–74. Bielefeld, Germany : transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839464762-014.
Texte intégralRésumé :
This essay argues that the Gothic novel enacts the material precariousness of its fictional worlds through the psychological disposition, equally precarious, of its characters. In Gothic fiction, the precariousness of characters manifests in psychological phenomena based on dubious information, seductive fantasies, and overpowering affects and emotions. Following a psychoanalytic theory of sublimation, I show that these mental states indicate a physiological-material excess within the subject, and I examine how the character-subjects of Gothic fiction develop in relation to this bodily and material dimension of their being. At the same time, this approach is concerned with the measure of autonomy and self-conduct that characters of Gothic fiction are enabled to maintain in response to precisely this corpo-reality. I will put this materialist approach to the test by examining three of the classics: The Castle of Otranto (1764) by Horace Walpole, Emily Brontë's Wuthering Heights (1847), and Northanger Abbey (1817) by Jane Austen. I hope to show that the Gothic novel forms a test case for us to rethink the ontology of literary characters in both literary and ethical terms, while enabling ways of exploration that may as well apply to other, non-Gothic styles of fictional world-making.
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Tranter, Kieran. « From Law and Technology to Law as Technology ». Dans Living in Technical Legality, 17–42. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420891.003.0002.
Texte intégralRésumé :
This chapter argues that law can be seen as technological when, ironically, law is called to respond to technological change. Through a focus on the legal responses to cloning, it is shown that the called-for laws were responding to visions of cloning futures directly sourced from science fiction. Having located these legal acts within science fiction, the essential elements of this future-oriented process – monstrous technology, vulnerable humanity and saving law – can be seen. This will be identified as the ‘Frankenstein myth.’ What is revealed is that science fiction holds the technical and legal together at the level of substantive dreaming and also at the level of basic commitments. The irony intrudes at this point. This saving law that can determine the future has a particular character. It is a species of pure power, manufactured through procedure in the present to determine the future. It appears to have the same characteristics that have been ascribed to technology. With this the categories established by the Frankenstein myth of ‘technology’, ‘humanity’ and ‘law’ seem to be imploded. What is glimpsed is the singularity of technical legality.
3
Harmes, Marcus K. « Cinema Part 2 : Heritage and Horror ». Dans The Curse of Frankenstein, 77–92. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733858.003.0006.
Texte intégralRésumé :
This chapter discusses The Curse of Frankenstein as a hybrid, adapting from a novel but by no means suggesting that the film is subordinate to the literature. The film instead sits in the trajectory established by Gainsborough period dramas, which the 'upstairs/downstairs' aesthetic of the Baron's world indicates. The chapter also discusses Terence Fisher's directing experience before he came to direct The Curse of Frankenstein and how his previous directions influenced his creation of the film. It describes his direction style and how he was able to create dynamic scenes in front of an almost stationary camera. The chapter discusses how The Curse of Frankenstein killed off the science-fiction thrillers that Hammer was producing. It compares and discusses the differences of reactions received by The Curse of Frankenstein with other films of the same genre. The chapter also discusses the portrayal of aristocracy on film and how aristocrats are far more acceptable than working-class characters as features to a horror film.
4
Friend, Stacie. « The Fictional Character of Scientific Models ». Dans The Scientific Imagination, 102–27. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190212308.003.0005.
Texte intégralRésumé :
Many philosophers have drawn parallels between scientific models and fictions. This chapter is concerned with a recent version of this analogy, which compares models to the imagined characters of fictional literature. Though versions of the position differ, the shared idea is that modeling essentially involves imagining concrete systems analogously to the way that we imagine characters and events in response to works of fiction. Advocates of this view argue that imagining concrete systems plays an ineliminable role in the practice of modeling that cannot be captured by other accounts. The approach thus leaves open what we should say about the ontological status of model systems, and here advocates differ among themselves, defending a variety of realist or anti-realist positions. I argue that this debate over the ontological status of model systems is misguided. If model systems are the kinds of objects fictional realists posit, they can play no role in explaining the epistemology of modeling for an advocate of this approach. So they are at best superfluous. Defenders of the approach should focus on developing an account of the epistemological role of imagining model systems.
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Ellis, Kate Ferguson. « Subversive Surfaces : The Limits of Domestic Affection in Mary Shelley’s Later Fiction ». Dans The Other Mary Shelley, 220–34. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195077407.003.0012.
Texte intégralRésumé :
Abstract I am by no means indifferent to the manner in which whatever moral tendencies exist in the sentiments or characters it contains shall affect the reader. Yet my chief concern in this respect has been limited to the avoid ing [of) the enervating effects of the novels of the present day and to the exhibition of the amiableness of domestic affection and the excellence of universal virtue. 1818 Preface to Frankenstein Shelley’s conviction that it was “unwomanly to print,” that it was “an offence against the conventionalities of society,” was a learned response, the result of a head-on collision between the aggressive desire epitomized by her mother and reinforced by Percy Shelley’s Romantic ideals and, on the other hand, the conservative, conventional wisdom that delimited the woman’s proper sphere For a woman writer in the early nineteenth entury, some version of this conflict was almost inevitable. While few writers allowed their monstrosity as resonant a voice as Mary Shelley did, many other women followed her into the side streets where propriety permitted women to express desire, resentment, and even rage.
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Freedgood, Elaine. « Hetero-Ontologicality ». Dans Worlds Enough, 99–114. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691193304.003.0005.
Texte intégralRésumé :
This chapter explains how realist fiction of the nineteenth century has been treated by critics, and experienced by readers, as an oasis from the zany ruptures of fiction that is not yet or nor longer realistic precisely because of its referentiality. If the madcap metaleptic adventures between history and fiction remain unnoticed, it would create a vertiginous hetero-ontologicality. Every sentence in which a fictional character traverses an actual city or an actual poet, has dinner with a fictional character, or an actual war is observed or fought in by a fictional character is a rupture of enormous existential proportions. That such ruptures do not feel like ruptures may be the most significant thing about them. The chapter also talks about the possibilities of hetero-ontologicality, in which various kinds of being and beings mingle and mix, allowing readers to imagine future worlds and ways of living with themselves and all of the others they have evicted from having and inhabiting “their own world.”
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Mitchell, Lee Clark. « Dialogue Scaffoldings ». Dans Noir Fiction and Film, 73–98. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192844767.003.0004.
Texte intégralRésumé :
While this third chapter begins by focusing on the same early pioneers, it veers from inanimate descriptions to constructions of character. That is, Hammett conceived his private investigator as fundamentally figurative, the culmination of a flamboyant style expressed more or less entirely through dialogue, with the flaunting of a cool, flip, smart-assed affect. Subsequent fictional detectives likewise gain our attention by being reduced to stick-figure sketches, little more than quirky gestures and colorful banter. In contrast to other genres, where language tends to realistic transparency while character proves more substantial, detective fiction banks on the impeccable thinness of words deftly turned. Chandler grasped the implications of such seemingly superfluous configurations, with arch similes built on Hammett’s tersely sober expressions. Ever since, genre authors have embellished an ideal of self-conscious “attitude,” celebrating in the process a wry immunity to conventional civic and moral discriminations.
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Ryan, Susan. « Blurring Lines and Intersecting Realities in Barbara Kopple’s Fictional Work ». Dans ReFocus : The Films of Barbara Kopple, 159–77. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.003.0010.
Texte intégralRésumé :
In addition to Barbara Kopple’s recognized contributions to documentary filmmaking, she directed several fictional works for both television broadcast and theatrical release. Although she often refers to herself as a director of both non-fiction and fiction, since both are important to her, very little critical attention has been paid to her fictional work such as the television episodes she directed for Homicide: Life on the Street, the PBS production Keeping On (1983), based on a screenplay by Horton Foote, and the independent feature Havoc (2005). This chapter examines the ways that she uses documentary techniques associated with cinema verite to establish a sense of place, character, realism, and social engagement within fictional stories. Rather than see her fictional work as an addendum to her acclaimed documentaries, the chapter argues that there is a continuum in which dramatic form and documentary practice inform one another as part of her style and approach to filmmaking.
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Budelmann, Felix. « Metalepsis and Readerly Investment in Fictional Characters ». Dans Metalepsis, 59–78. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846987.003.0003.
Texte intégralRésumé :
This chapter is a critical discussion of the metaleptic phenomenon of apostrophizing fictional and/or long-dead characters. It asks what model of engagement with fiction emerges if one takes the gesture of speaking to a fictional character literally, not merely as a rhetorical trope but a meaningful speech act. In this mode of reading, modelled by an apostrophizing author as first reader of their own text, apostrophe suggests that characters are, somehow, still available to be interacted with. Apostrophe therefore serves as an invitation for readers to invest in characters and form relationships with them, for instance loving them or mourning for them. By discussing four rather different examples—Homeric epic, Sapphic lyric, a bucolic poem by Theocritus, and a progymnasma by Musonius Rufus—the chapter argues that apostrophe not only repays reading as a model of how readers engage with fiction, but that each text offers its own version of this engagement.
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Mitchell, Lee Clark. « Hard-Boiled Intimations ». Dans Noir Fiction and Film, 9–32. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192844767.003.0002.
Texte intégralRésumé :
The opening chapter explains the sudden advent of hard-boiled writing in the 1920s, to clarify why this curious genre emerged when it did, and what continues to beguile readers as much formally as narratively. If that hardly frames a new critical perspective, the questions are still worth reviewing to show why sociological, historical, even formalist interpretations so often misunderstand the appeal. A more productive approach that focuses on strategies of early hard-boiled writing discloses how it anticipated later, genuinely accomplished detective fiction, which diverts readers’ eyes seductively away from plot and psychology. The most celebrated of early writers—Dashiell Hammett, Raymond Chandler, and James Cain—indelibly stamped the genre by deflecting attention from plot to the interest objects hold in themselves. As well, they created fictional heroes notable for garish self-expression rather than credible character, and who thus finally (if paradoxically) remain winningly two-dimensional.
Actes de conférences sur le sujet "Frankenstein (fictional character) – fiction"
1
Pawlowski, Camila, et Rosilane Ribeiro da Mota. « Do You Choose Him or Does He Choose You ? - Analyzing Character Archetypes in Otome Games ». Dans Anais Estendidos do Simpósio Brasileiro de Jogos e Entretenimento Digital. Sociedade Brasileira de Computação, 2022. http://dx.doi.org/10.5753/sbgames_estendido.2022.224865.
Texte intégralRésumé :
The relationship between fiction and humanity is long-established and can create strong affective bonds. This connection can also be seen in digital games, especially otome games. In this sense, this research was developed in order to obtain a richer understanding of players’ bonds with character tropes from otome games through the archetypal typology developed by Margareth Mark and Carol Pearson, and was able to identify that the analyzed tropes are connected to at least one of the archetypes defined by the authors. This study’s findings can contribute to the understanding of parasocial relationships between fictional characters and humans, and, additionally, aid game developers in creating more intricate characters infused with the power of archetypes.
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Nikolić, Andrijana A. « MOTIVI FANTASTIKE U ROMANU „NA PUTU ZA DARDEL“ SLOBODANA ZORANA OBRADOVIĆA I U PRIPOVJEDNOJ PROZI „ZAPISI IZ HODNIKA VREMENA“ ALEKSANDRA OBRADOVIĆA ». Dans KNjIŽEVNOST ZA DECU U NAUCI I NASTAVI. University of Kragujevac, Faculty of Education in Jagodina, 2022. http://dx.doi.org/10.46793/kdnn21.113n.
Texte intégralRésumé :
Slobodan and Aleksandar Obradović (father and son) from Bijelo Polje are authors whose fiction abounds in fantastic motifs ‒ characters’ actions, their ability to travel through time zones, their mythological features and the mission they are devoted to accomplish. Capable inventors, fliers, beings who transcendentally move from place to place require critical judgment ‒ whether contemporary children’s literature is truly in accordance with their age and whether and to what extent a child can identify with or distance from the characters. By combining symbols and fiction, both writers encourage readers to decipher the symbols and teach them the lesson of the story. The writers express their thoughts about important life issues through fictional characters, using narrative polyphony, skillfully avoiding identification with any character. Crossing the line between literary and non-literary is typical for both writers. In addition, parents’ role in child upbringing and their influence on the development of child’s imagination should be considered.
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Ribeiro Rabello, Rafaelle. « Between absence and presence : Augmented Reality as a self-fiction poetic ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.
Texte intégralRésumé :
This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.