Tesi sul tema "Frankenstein’s monster"
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1
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.
Testo completoAbstract (sommario):
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.
2
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.
Testo completo
3
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.
Testo completo
5
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.
Testo completoAbstract (sommario):
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
6
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/.
Testo completoAbstract (sommario):
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.
7
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.
Testo completoAbstract (sommario):
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.
8
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.
Testo completoAbstract (sommario):
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.
9
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.
Testo completo
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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.
Testo completoAbstract (sommario):
Magister Artium - MAThis 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.
11
Kindström, Niklas. "Monster och människor : Identitetsbyggande och vetenskap i Mary Shelleys Frankenstein; or the Modern Prometheus ur ett didaktiskt perspektiv". Thesis, Högskolan i Gävle, Avdelningen för utbildningsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-24664.
Testo completo
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Visilitskij, Egor. "Människan, naturen, monstret och vetenskapsmannen : En ekokritisk analys av Mary Shelleys Frankenstein; or, The Modern Prometheus (1818) och filmatiseringen Frankenstein (1994)". Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-42547.
Testo completoAbstract (sommario):
The main focus of this essay is to attempt to answer the question of how Mary Shelley in her novel Frankenstein; or, The Modern Prometheus (1818), and Kenneth Branagh in his film Frankenstein (1994) portray nature, the environment and the characters with the help of an ecocritical perspective, and how Frankenstein could be used by high school teachers to teach students about the ecocritical perspective, but also the global sustainability goals. The questions that I have tried to answer in this analysis are: How is nature used in the two versions to reflect the main characters? How can the main characters in the two versions be interpreted from an ecocritical perspective? And how can these two versions of Frankenstein be used to inform students about the environment and sustainable development? The analysis has been conducted with the help of two ecocritical concepts, anthropomorphism and anthropocentrism, and with the help of these two concepts I have been able to draw the conclusion that the author and filmmaker present differences in nature and the environment depending on the situation, and I have also been able to present how a high school teacher could use Frankenstein to inform students about the ecocritical perspective and the global sustainability goals.Godkänt datum 2021-06-01
13
Ring, Isa. "Frankenstein; or, the trials of a posthuman subject : An investigation of the Monster in Mary Shelley's "Frankenstein" and his attempt at acquiring human subjectivity in a posthuman state". Thesis, Södertörns högskola, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34419.
Testo completoAbstract (sommario):
Frankenstein; or, The Modern Prometheus by Mary Shelley and the characters within, tell a prominent story of the posthuman condition in a society where humanist thought is the only conception of subjectivity. The use of not only posthuman studies, but more specifically studies including subjectivity was needed, in order to analyse the relationship between the humanist and the posthuman subjects. Theories of posthuman subjectivity and subjectivity by Rosi Braidotti and Michel Foucault were used in order to examine the posthuman condition of “Frankenstein’s monster” and the role of humanist vs. posthuman subjectivity between Victor Frankenstein and the monster. The tension between Victor and the monster was analysed in order to investigate the monster’s struggle at acquiring subjectivity in a posthuman state, which revealed why it is impossible for the humanist and posthuman subject to peacefully coexist.
14
Andrade, Arancibia Génesis. "Gazing at the creature, gazing at the monster: an insight into monstrosity in Mary Shelley's Frankenstein; or, the modern prometheus". Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137755.
Testo completo
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Conrad, Courtney A. "Tracing the Origins of the Eighteenth- and Nineteenth-Century Rake Character to Depictions of the Modern Monster". Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu1560014785115022.
Testo completo
16
Paré, Eric Zavenne. "Madame Bovary est une machine". Thesis, Metz, 2009. http://www.theses.fr/2009METZ003L.
Testo completoAbstract (sommario):
Partant du principe qu'une machine ne sait pas qu'elle est une machine et du présupposé selon lequel un robot n'a pas de conscience, ce travail étudie le parallèle entre la fabrication des créatures de roman et la fabrication des machines. Parmi ces figures, Madame Bovary est un archétype. Comme tout autre machine, Emma Bovary ne sait pas qu'elle en est une. Emma est une machine à texte, elle est faite de livres. Pourtant, elle ne peut pas avoir lu Madame Bovary. Parce qu'Emma n'est pas consciente qu’elle est l'appareil de Flaubert, nous l'avons rapproché des fonctionnements et des disfonctionnements du Monstre de Frankenstein, encore écervelé avant l'épiphanie des livres qu'il découvre au creux d'un chemin. Après avoir défini les enjeux stratégiques de ses lectures, Emma est présentée comme une machine homéostatique, d'une part du point de vue de la thermodynamique, et d'autre part, du point de vue de l'entropie, une résultante du bovarysme, causée par les distorsions entre la vie et la lecture. Dans un premier temps Emma perçoit, puis ressent, par les feedbacks de ses lectures. Elle se transforme alors en une mécanique à émotions, gouvernée par son bovarysme. Ce sentiment renvoie à toutes ses perceptions et ses appétits. Par ses désirs, Emma démontre une capacité à comparer et à se projeter, formulant les prémices d'une conscience autobiographique. De la même manière qu'il représente l'inconscient social à partir d'automates déambulatoires, tels la figure du pied-bot ou de l'aveugle, Flaubert réussit à induire une idée de conscience dans sa créature machineAccording to the fact that a machine does not know that it is a machine, and to the supposition that a robot has no conscience, this work explores parallels between the creation of the characters of a novel and the fabrication of machines. Among these figures, Madame Bovary is an archetype. Like any other machine, Emma Bovary does not know that she is one. Emma is machine created from text. She is made from the stuff of books. However, she could not have read the book Madame Bovary. Because Emma is not aware that she is a device of Flaubert, there are some similarities between her and the functions and malfunctions of the Monster of Frankenstein that didn't have a conscience until the moment of epiphany with the books he discovered in the woods. After the definition of the strategic challenges of her readings, Emma is presented as a homeostatic machine, first from the viewpoint of thermodynamics, and secondly from the viewpoint of entropy, a result of the bovarysme caused by distortions between life and reading. Emma's perceptions and feelings depend of the feedback of her readings. She becomes an emotional device, governed by her bovarysme. This feeling is present in all her perceptions and her appetites. Through her desires, Emma demonstrates an ability to compare and project herself, formulating the beginnings of an autobiographical conscience. In the same way as he represents social unconsciousness with ambulatory automatons such as the figure of the club-footed Hippolyte or the blind man, Flaubert is able to induce an idea of consciousness in his machine-creature
17
Gardner, Kelly. "The emergence and development of the sentient zombie : zombie monstrosity in postmodern and posthuman Gothic". Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/23901.
Testo completoAbstract (sommario):
The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argues, sees itself intrinsically linked to the notion of apocalypse; however, through a consideration of Frank Kermode’s A Sense of an Ending, the second chapter of this thesis will propose that the zombie need not represent an apocalypse that brings devastation upon humanity, but rather one that functions to alter perceptions of ‘humanity’ itself. The third chapter of this thesis explores the use of the term “braaaaiiinnss” as the epitomised zombie voice in the figure’s development as an effective threat within zombie-themed videogames. The use of an epitomised zombie voice, I argue, results in the potential for the embodiment of a zombie subject. Chapter Four explores the development of this embodied zombie subject through the introduction of the Zombie Memoire narrative and examines the figure as a representation of Agamben’s Homo Sacer or ‘bare life’: though often configured as a non-sacrificial object that can be annihilated without sacrifice and consequence, the zombie, I argue, is also paradoxically inscribed in a different, Girardian economy of death that renders it as the scapegoat to the construction of a sense of the ‘human’. The final chapter of this thesis argues that both the traditional zombie and the sentient zombie function within the realm of a posthuman potentiality, one that, to varying degrees of success, attempts to progress past the restrictive binaries constructed within the overruling discourse of humanism. In conclusion, this thesis argues that while the zombie, both traditional and sentient, attempts to propose a necessary move towards a posthuman universalism, this move can only be considered if the ‘us’ of humanism embraces the potential of its own alterity.
18
Kapadia, Ninna. "Re-Story : The O.T.M.I* project*O.T.M.I = Obsolete Technical Mechanical Item". Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5234.
Testo completoAbstract (sommario):
The core question in this master thesis is: What happens to the essence of an object when it becomes out of date and is no longer in use? I am addressing the sense of dignity in once meticulously designed technical/mechanical items that now has become obsolete. The intention has been to investigate how to give new meaning to obsolete items and find new eligibility for their existence. The investigation was conducted through the development of a method: collection, analysis, deconstruction, investigation and resurrection of a number of O.T.M.I. (Obsolete Technical Mechanical Items). The resurrection process consisted of the (re-)writing of the objects’ narratives. These stories along with the objects’ parts, spaces and sounds created a frame for a scenography, a soundtrack and characters to act in a film to tell the story. As interior designers we have the opportunity to transform space and fill it with stories. Imagination is an important tool: We benefit from having the ability to imagine, for instance, how different surfaces will reflect sound and light. Our imagination is highly visual. So I have transformed my imaginary world of Obsolete Technical Mechanical Items to visual and audial elements that support the content and values of a story through researching the objects, finding how to clarify and support the story. The Re-Story.
19
Anzaldua, Saraliza, e 愛麗達. "There is No Monster: Monstrosity and the Monstrous in ''Frankenstein'&apos". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/10383434748644682411.
Testo completoAbstract (sommario):
碩士國立臺灣大學
外國語文學研究所
104
To date, the majority of scholars have framed the creature in Frankenstein as a monster. By focusing on a single embodiment, scholars have neglected the monstrous aspects pervasive in the novel and ignored the fact that Shelley’s creature actually reflects nineteenth-century Britain. This thesis argues that there is no monster, and Shelley’s intention was to display the monstrosity of her own society –– not to write a monster novel. Through a textual and historical analysis, this thesis will elucidate the spiritual, physical, mental, and social monstrosities within Frankenstein. Shelley addressed the monstrosities of her society through the creature, nine of which have been selected for this study and assorted into three categories: three spiritual, three physical and mental, and three social. The first three monstrosities connect the creation of the creature, his soul, and the science used to create him with the theological debates of the period regarding Christian resurrection, the status of the slave’s soul, and the changing status of science in Shelley’s era. The three physical and mental monstrosities address the creature’s hybridity, strength, and mental acuity as a reflection of monstrous births, and Shelley’s own experience with human frailty and mental instability. The last three monstrosities examine the role of animals, women, and family in the novel, and how the creature reflects these various aspects in the context of how Shelley experienced them in the nineteenth-century. All nine monstrosities appear to reflect upon Victor’s creature to make him seem more monstrous, but the creature is actually the mirror of a monstrous society and not an embodiment of monstrosity himself.
20
令狐莉蓮 e Lenka Liskova. "The Portrait of Monster in Frankenstein, The Strange Case of Dr. Jekyll and MR. Hyde and The Picture of Dorian Gray". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/3tqm29.
Testo completoAbstract (sommario):
碩士逢甲大學
外國語文學系
105
This thesis deals with the analysis of monsters in three major novels of British Gothic literature of the 19th Century with an attempt to determine the concept and the identity of these monsters. The thesis also tries to identify the creators of these monsters and explore the complicating relationship between them. The primary texts from which these monsters came from are Marry Shelley’s Frankenstein, Robert Lewis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde and Oscar Wilde’s The Picture of Dorian Gray. The thesis largely focuses on the physical as well as psychological aspects of the monsters portrayed in these three novels and concentrate on the connection of the monster to its creator. The extracts from the three selected novels are used to support the statements and ideas of the author of this thesis, while at the same time, quotations from the secondary sources are also included to support my argument. The thesis is divided into five chapters: the first three chapters provide an introduction to the topic, explanation of the term Gothic literature, monster and monstrosity, and introduction of the psychoanalytical studies relevant for this thesis; the forth chapter tries to thoroughly analyse the main characters of the three novels in terms of the occurence of the monster. The last chapter contains a conclusion and a summary of the main ideas pointed out in the thesis.