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Data publikacji: 25 lipca 2024

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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, nr 1 (1.12.2021): 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, nr 1 (26.03.2018): 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, nr 1 (28.06.2019): 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, nr 4 (22.06.2023): 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, nr 1 (16.03.2020): 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 (28.07.2020): 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, nr 2 (1.09.2019): 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, nr 1 (marzec 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, nr 2 (3.07.2019): 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, nr 3 (2010): 121–32. http://dx.doi.org/10.18848/1832-3669/cgp/v06i03/56098.

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Colangelo, Anthony J. "The Frankenstein’s Monster of Extraterritoriality Law". AJIL Unbound 110 (2016): 51–56. http://dx.doi.org/10.1017/s2398772300002397.

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The judge-made presumption against extraterritoriality has recently become a motley patchwork of eccentric and sometimes contradictory doctrines seemingly stitched together for one, and only one, mission: to deprive plaintiffs the right to sue in U.S. courts for harms suffered abroad. It lumbers along, blithely squashing precedent, principle, statutory text, and legislative intent—all to heed its abiding and single-minded obsession. The Supreme Court has so far mangled the scope of the Securities Exchange Act and the Alien Tort Statute (ATS), and, in RJR Nabisco v. European Community, has placed another statute—The Racketeer Influenced and Corrupt Organizations Act (RICO)—on the chopping block. The major surgery performed was amputating RICO’s private right of action for extraterritorial offenses and replacing it with a much stubbier appendage limited to injuries suffered on U.S. territory.

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Heggestad, Jon. "On Frankenstein and How (Not) to Be a Queer Parent". Victoriographies 13, nr 2 (lipiec 2023): 131–50. http://dx.doi.org/10.3366/vic.2023.0489.

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Reflecting on Mary Shelley’s Frankenstein (1818) nearly two centuries after its original publication, Ernest Larsen observes that Shelley ‘opened the lid on a new way of thinking about pregnancy – the narrative in which a male gives birth to a monster’ (236). And while we might regard such a narrative as inherently queer, the queerness of Victor Frankenstein’s methods for cultivating life are rarely explored. This article aims to remedy this gap in the abundant scholarship surrounding the novel. In negotiating feminist readings (which have historically highlighted the role of reproduction in the novel while ignoring or indemnifying Victor Frankenstein’s queerness) and queer and trans readings (which better recognise the novel’s alternative affirmations), this work ultimately highlights the novel’s exploration of queer generativity – an effort that is muddied not by the protagonist’s methods but by his own irresponsibility and failures in character. Although the focus of this work remains on the critical response to Frankenstein, it concludes by suggesting ways in which future scholarship might adopt the analytical framework outlined here in further engagement with the text.

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Eklund, Tof. "Uncanny, abject, mutant monster: From Frankenstein to Genderpunk". Australasian Journal of Popular Culture 10, nr 1 (1.12.2021): 79–101. http://dx.doi.org/10.1386/ajpc_00040_1.

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This article starts with the key figure of Frankenstein’s monster and traces it from its tragic Gothic origins to its use in transphobic scholarship and on to its reclamation both by queer scholars and a growing trend in queer culture towards claiming monsters and monstrosity as their own. Gothic and psychoanalytic understandings of monstrosity, the uncanny and the abject are explored in relationship to queer theory about performativity, failure and ‘anarchitectural’ identity formation. The social media phenomenon ‘the Babadook is Gay’ and the figure of the mutant in popular culture bridge to the new Gothic and the formulation of the ‘genderpunk gayme’ as an aesthetic and political form with a commitment to queer acceptance and intersectional solidarity.

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Babilas, Dorota. "Family Resemblance: Frankenstein’s Monster and the Phantom of the Opera in ”Penny Dreadful” (2014-2016)". Lublin Studies in Modern Languages and Literature 43, nr 2 (3.07.2019): 135. http://dx.doi.org/10.17951/lsmll.2019.43.2.135-143.

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<p>The Creature of <em>Frankenstein</em> never managed to fulfil his desire of finding a loving partner in Mary Shelley’s novel, but his symbolic progeny continues to haunt the modern popular culture. The article discusses the case of “family resemblance” between Frankenstein’s Creature and the title antihero of Gaston Leroux’s <em>The Phantom of the Opera</em>. In their respective literary sources, they share an inborn deformity, an appreciation for music, a romantic yearning for love and acceptance matched with sociopathic violence. Recently, the TV series <em>Penny Dreadful</em> elaborates on these allusions, conflating the narratives by Shelley and Leroux, as well as their later adaptations.</p>

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Smith, Angela M. "Walk This Way: Frankenstein’s Monster, Disability Performance, and Zombie Ambulation". Literature and Medicine 36, nr 2 (2018): 412–38. http://dx.doi.org/10.1353/lm.2018.0021.

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Lloyd, Annemaree. "Chasing Frankenstein’s monster: information literacy in the black box society". Journal of Documentation 75, nr 6 (26.09.2019): 1475–85. http://dx.doi.org/10.1108/jd-02-2019-0035.

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Purpose The purpose of this paper is to introduce and examine algorithmic culture and consider the implications of algorithms for information literacy practice. The questions for information literacy scholars and educators are how can one understand the impact of algorithms on agency and performativity, and how can one address and plan for it in their educational and instructional practices? Design/methodology/approach In this study, algorithmic culture and implications for information literacy are conceptualised from a sociocultural perspective. Findings To understand the multiplicity and entanglement of algorithmic culture in everyday lives requires information literacy practice that encourages deeper examination of the relationship among the epistemic views, practical usages and performative consequences of algorithmic culture. Without trying to conflate the role of the information sciences, this approach opens new avenues of research, teaching and more focused attention on information literacy as a sustainable practice. Originality/value The concept of algorithmic culture is introduced and explored in relation to information literacy and its literacies.

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Noh, Aegyung. ""Fatherhood that “Can’t Be Human”: Frankenstein’s Monster of Deformity and Teratophobia"". Journal of English Studies in Korea 39 (15.12.2020): 37–63. http://dx.doi.org/10.46562/jesk.39.2.

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Johnson, Paul. "The Latest Frankenstein’s Monster is a Revitalisation of the Dark Ages". Chesterton Review 27, nr 4 (2001): 558–61. http://dx.doi.org/10.5840/chesterton200127426.

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Borsboom, Denny, i Lisa D. Wijsen. "Frankenstein’s validity monster: the value of keeping politics and science separated". Assessment in Education: Principles, Policy & Practice 23, nr 2 (2.04.2016): 281–83. http://dx.doi.org/10.1080/0969594x.2016.1141750.

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Smith, Rachel. "fatality of scientific monomania". Groundings Undergraduate 11 (1.05.2018): 80–87. http://dx.doi.org/10.36399/groundingsug.11.182.

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In this essay I will investigate the various links between scientific development, death, and monomania in an interdisciplinary analysis of Mary Shelley’s 1818 novel Frankenstein and Christopher Nolan’s 2006 film The Prestige. This essay consists of three parts, focusing on the inventor, the invention, and the relationship between science and the arts. The first part of this essay discusses the inventor. It will compare the characters of Victor Frankenstein and Rupert Angier, contrasting and relating their motivations and behaviours in using scientific means to further their careers and reach their objectives. The second component of this essay pertains to the invention itself, primarily by contrasting the characters of Frankenstein’s monster and Rupert Angier’s Prestiges. This section will also discuss how the narrative structures of the film and novel subdue these voices within their respective texts while provoking the reader to formulate their own critical interpretation of the invention’s existence. The third and concluding section of this essay hopes to create further discourse between the scientific discipline and the arts. It evaluates the relationship these artistic texts share with the science which inspires them and argues that they react to the public interest and fears surrounding science rather than aiming to provide an accurate presentation of the scientific subject.

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de Wilde, Maarten F. "On the OECD’s ‘Unified Approach’ as Frankenstein’s Monster and a Dented Shape Sorter". Intertax 48, Issue 1 (1.01.2020): 9–13. http://dx.doi.org/10.54648/taxi2020002.

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Kiser, Barbara. "Frankenstein’s monster, inside our senses and an end to epidemics: Books in brief". Nature 553, nr 7687 (styczeń 2018): 153. http://dx.doi.org/10.1038/d41586-018-00110-9.

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Aggeklint, Eva. "Frankenstein’s monster as translation: Articulations of artistic creativity, individuality and freedom of expression". Journal of Contemporary Chinese Art 3, nr 1 (1.06.2016): 47–67. http://dx.doi.org/10.1386/jcca.3.1-2.47_1.

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COWLES, HENRY M. "HISTORY COMES TO LIFE". Modern Intellectual History 16, nr 1 (17.11.2017): 309–20. http://dx.doi.org/10.1017/s1479244317000543.

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“With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet.” So recalled Victor Frankenstein, reflecting on the creative act. By its end, however,Frankensteinhas less to do with the scientist's creativity and more to do with his monster's. This is why Mary Shelley inverts this Promethean moment in the book's final scene, as the monster stands over the lifeless body of his creator. Frankenstein's last words mark the inversion: his “instruments of life,” he laments, had given rise to “an instrument of mischief,” a creature animated by a desire for human fulfillment. To live may mean behaving instrumentally, but some instruments get the better of you. Frankenstein learns this lesson the hard way; but does his monster? He echoes his creator's words—“Fear not that I shall be the instrument of future mischief”—and promises his own end, when he will “collect my funeral pile and consume to ashes this miserable frame.” One's frame is mere matter, but such an act is proof of the life that animates it. On the cusp of death, then, the monster lives.Frankensteinreminds us that the question “What is life?” can only be answered by experiment, from the medical horrors that gave the monster life to the fatal act with which he plans to abandon it. At life's end, as at its beginning, creator and creation combine; we become our instruments, or they surpass us.

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BELENLİ, Mahmut KAYAALTI Pelin KUT. "FRANKENSTEIN’S MONSTER AS A REPRESENTATIVE OF THE THREAT OF MODERN TECHNOLOGY OPERATED BY ARTIFICIAL INTELLIGENCE". Kesit Akademi 26, nr 26 (2021): 38–48. http://dx.doi.org/10.29228/kesit.49491.

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Prinsloo, Paul. "Fleeing from Frankenstein’s monster and meeting Kafka on the way: Algorithmic decision-making in higher education". E-Learning and Digital Media 14, nr 3 (maj 2017): 138–63. http://dx.doi.org/10.1177/2042753017731355.

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Ubbels, Dominique. "'You Can Resurrect Me, but Only Piecemeal': Embodied Texts and the Heterotopian Regeneration of the Cyborg". Junctions: Graduate Journal of the Humanities 8, nr 1 (21.02.2024): 54–70. http://dx.doi.org/10.33391/jgjh.181.

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This article explores Donna Haraway’s concept of the cyborg through its prosthetic and heterotopian extension in embodied text. With this fractured and ironic ‘cyborg’ figure, Haraway attempted to move feminist theory and politics into a new direction that broke with second-wave feminism’s perpetual reconceptualization of ‘the woman’ as a natural category. However, the text also became the subject of scholarly critique for dissolving the singularities and material contexts of the bodies marginalized by the categories of gender that Haraway’s abstract and utopian metaphor of the cyborg excludes. Unlike these critics’ disposal of the cyborg, this article stays with this monstrous creature and attempts to give her back some embodied singularities, whilst further elaborating Haraway’s concept of ‘cyborg writing’ and close-reading Shelley Jackson’s digital hypertext novel Patchwork Girl (1995). In this hypertext novel, Jackson creates a new myth from the torn-apart body parts of the monstrous female companion of Frankenstein’s monster in Mary Shelley’s original novel. Readers are invited to cooperate in the infinite tearing apart and stitching together of this female monster and, in doing so, form the text as heterotopian; the embodied practices of readers in actual space are, namely, co-constitutive of the text’s multiple and always changing form. The author argues that focusing on the way Patchwork Girl’saesthetics and literal uses of prostheses endlessly move this—and within this—heterotopian regeneration, makes present how Jackson’s hypertext departs from Haraway’s theoretical text and gives way to the acting out of a queerness that cannot imagine its place in utopia. Like Haraway, Jackson emphasizes the fragmentary nature of bodies and subjectivities. But Patchwork Girl’s never-resting hypertext makes these bodies, and their prosthetic extensions betray the theoretical territory of metaphor and abstraction.

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Green, Chris Van. "Getting Tested for Monsterdom: Frankenstein and Ex Machina". Film Matters 13, nr 1 (1.03.2022): 200–204. http://dx.doi.org/10.1386/fm_00220_7.

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“Getting Tested for Monsterdom: Frankenstein and Ex Machina” advances our understanding of what it means to be a monster. We might conceive of monsters as beings that look grotesque and/or that act maliciously with intent. However, there is a vast gray area as to why one should or should not be labeled a monster. This article will discuss the unjust physical expectations leveled toward “monsters” and give a new line of application to the nature vs. nurture theory.

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Potter, Mary-Anne. "(Re)/(Dis)Embodying Love: The Cyborg in <i>Metropolis</i> and <i>Blade Runner</i>". Feminist Encounters: A Journal of Critical Studies in Culture and Politics 7, nr 2 (1.09.2023): 29. http://dx.doi.org/10.20897/femenc/13557.

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Fritz Lang’s ground-breaking science-fiction film <i>Metropolis</i> (1927) has long held a particular fascination with film critics because of its exploration of the exploited proletariat and the dangers of human-machine interaction. While much academic interest in the film has focused on it as capitalist allegory – seen in the separation of the bourgeoisie above-ground from the proletariat underground – less attention has been paid to the film’s representation of the cyborg, and, more specifically, the cyborg femme. Drawing on posthuman theory, and in particular cyborg theory as proposed by Donna Haraway, this article investigates to what degree the film denies the true symbolic potency of the cyborg by casting its creation as reminiscent of Frankenstein’s monster. It asserts that Lang denies the film an imaginary, visual space within which the cyborg femme, though seeming human, is not afforded any agency—as Derrida asserts about the machine-animal—or her own will towards self-determination. Though interrogating what it means to possess human capacity, the article further asserts that Ridley Scott’s characterization of the replicants Rachael, Zohra and Pris in <i>Blade Runner</i> (1982) casts these cyborg femmes as expendable or dependent on the human to protect them, thereby denying them love.

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Nensilianti, Nensilianti, Yuliana Yuliana i Ridwan Ridwan. "REPRESENTASI MAKNA TANDA/SIMBOL DALAM FILM VICTOR FRANKENSTEIN (2004) KARYA MARY SHELLEY". Hasta Wiyata 7, nr 1 (30.01.2024): 100–111. http://dx.doi.org/10.21776/ub.hastawiyata.2024.007.01.09.

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Frankenstein is a 2004 American horror film adapted from the 1818 novel Frankenstein by Mary Wollstonecraft Shelley; or, Modern Prometheus. This film tells the story of a scientist, namely Victor Frankenstein, whose ambition is to create life. Victor Frankenstein's ambition unknowingly brought havoc in his life. Victor Frankenstein is a Swiss natural sciences student who resurrects artificial humans made from dead body parts using an electroshock device. Everyone his creation meets including himself is motivated to hate him. The monster, abandoned and lonely, attacks its maker, who eventually perishes. In this study, the authors examine the representation of the meaning of symbols in the 2004 Victor Frankenstein film using Charles Sanders Pierce's semiotic approach. Researchers used descriptive qualitative research methods. The descriptive qualitative research method is research that tends to use analysis and focuses on in-depth observations. The results of this study indicate that the researcher found 17 symbols with different meanings in the "Victor Frankenstein film".

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Varis, Essi. "The Monster Analogy: Why Fictional Characters are Frankenstein's Monsters". SubStance 48, nr 1 (2019): 63–86. http://dx.doi.org/10.1353/sub.2019.0005.

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İPEKÇİ, Yeşim. "We Are All Monsters: How Deviant Organisms Came to Define Us, by Andrew Mangham". Cankaya University Journal of Humanities and Social Sciences, Special Issue: Wilkie Collins (28.01.2024): 87–91. http://dx.doi.org/10.47777/cankujhss.1426321.

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Andrew Mangham’s monograph entitled We Are All Monsters: How Deviant Organisms Came to Define Us (2023, The MIT Press) explores the polyvocal nature of monster science across the period 1750-1900 and its dialogue with nineteenth-century literature. Mangham’s “monsters,” as defined in biological sciences, are “organisms … born with at least one permanent physiological defect” (p. 1). Guided by the approach disability studies takes towards the term “disability,” he explores how monster science defines monstrosity “not as a failure, but as an embodiment of, or a cog in the machine of, organic law” (p. 2). Monsters with their corporeal singularities and differences are integral to the laws of nature. They are not “by-products of the laws of natural development which they had failed in varying ways to embody,” but “the adaptive workings and the dynamic forces to which all life forms, normal and abnormal, owe their being” (p. 2). In other words, congenital anomalies or corporeal deviations are structural variations which are not the antithesis of what is “normal” or “natural,” but significations of life’s variety and the ingenuities of nature. Mangham’s choice of literary works from the long nineteenth century helps explore the interplay between monster science and literary or imaginary monsters, emphasizing how they represent monstrosity as central to the interpretation of nature’s diversity and creativity. Offering an in-depth survey of monster science across the period and its literary reverberations in nineteenth-century novels, We Are All Monsters interrogates the causes and meanings of monstrosities with the claim that congenital structural deformities or differences are not failures or violations of nature’s laws, but symbols of vital creativity. With this claim at the center of his work, Mangham explores how Mary Shelley’s Frankenstein (1818), Charles Dickens’s The Old Curiosity Shop (1840-1841), and Lucas Malet’s The History of Sir Richard Calmady (1901) engage in dialogue with the ideas developed in monster science and problematize the meanings of difference and normalcy.

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Wolfe, Graham. "Voices, Monstrous and Hopeful: Catalyst Theatre's Frankenstein". Brock Review 12, nr 2 (16.02.2012): 36–48. http://dx.doi.org/10.26522/br.v12i2.355.

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This article examines Catalyst Theatre’s highly successful musical adaptation of Mary Shelley’s Frankenstein, mounted last spring at Toronto’s Bluma Appel Theatre. Drawing upon some recent work by Slavoj Žižek and Mladen Dolar, and focussing on the topic of voice, I seek both to explore the production’s unusual aesthetic dynamics and to illuminate its social consciousness. I also extend upon Craig Walker’s analysis of “hopeful monsters” in Canadian drama in order to suggest how Catalyst’s peculiar “lyricization” of Frankenstein’s story invites a new—and potentially catalyzing—mode of engagement with Shelley’s central themes and conflicts.

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Inbaraj, M., i Abdul Mohammed Ali Jinnah. "Posthuman Gothic and Monstrosity in Ahmed Saadawi’s Frankenstein in Baghdad". World Journal of English Language 12, nr 1 (15.03.2022): 384. http://dx.doi.org/10.5430/wjel.v12n1p384.

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Posthuman Gothic is one of the recent emerging areas of research in the twenty-first century. It explores the different ways in which Posthuman thoughts and ideologies conflate with Gothicism in all its contemporary variations. Primarily, the posthuman gothic concerns itself with the human beings’ technological, biomedical, and supernatural experiments with the human body and consciousness that alters the human identity into the posthuman. The possibility and capability of humans to alter the human identity into something other than human or into the ‘posthuman other’ create anxiety among humans. The humans’ fear of becoming the posthuman other or encounters with the posthuman other over the course of evolution is the nucleus or the driving mechanics of the posthuman gothic genre. The Posthuman Gothic fiction deals with the scientific, technological, as well as supernatural developments on cyborgs, android robots, bio-engineered transhumans, vampires, zombies, and Frankenstein monsters in a gothic setting that opens up a dystopian posthuman future or condition. Ahmed Saadawi’s Frankenstein in Baghdad deals with the Frankenstein monster kind of posthuman that kills humans and poses a threat to human lives in a post-modern gothic setting. In this paper, the researchers try to highlight the dovetailing of the posthuman thoughts with the post-modern gothic setting and the posthuman monstrosity of the posthuman other, i.e a Frankenstein monster with multiple consciousness that threatens the human identity, lives, survival, and the very existence in Ahmed Saadawi’s Frankenstein in Baghdad through the posthuman gothic lens.

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Mohammed, Samal Marf. "Illusion and Reality in Mary Shelley’s Frankenstein". Journal of University of Raparin 10, nr 3 (29.09.2023): 941–53. http://dx.doi.org/10.26750/vol(10).no(3).paper40.

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One of the fundamental keys to Mary Shelley’s Frankenstein is the division between illusion and reality. This study aims to demonstrate these two notions and how they function in the novel. Most of the events which take place in Marry Shelley’s Frankenstein are related to illusion and reality. The characters are planning for a specific result and the structure of their plans seems to be something, but in reality, their plans become something different as they are based on illusions. Although this notion is mostly related to the protagonist of the novel, Victor Frankenstein and his creature, the Monster, it has reflected in the perception of other characters as well, like Robert Walton’s journey to North Pole, people’s concern over the Monster, the Monster’s perception to DeLacey family, the readers' perception of Alphonse Family and Justine Moritz’s idea about her sins. The analysis of this study focuses on the illusion of these characters as they believe in their truth, a seeming reality, a fabricated truth and their incapability to distinguish reality from illusion which leads to their downfall because they refuse the reality of their lives.

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Hopkins, Lisa. "Engendering Frankenstein's Monster". Women's Writing 2, nr 1 (styczeń 1995): 77–85. http://dx.doi.org/10.1080/0969908950020105.

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Santos, Josalba Fabiana. "Maternidade monstruosa em Cornélio Penna". Aletria: Revista de Estudos de Literatura 16, nr 2 (31.12.2007): 147–57. http://dx.doi.org/10.17851/2317-2096.16.2.147-157.

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Resumo: Através da recorrente metáfora do monstro em Fronteira, Dois romances de Nico Horta e Repouso, Cornélio Penna configura, alegoricamente, o estado de violência que o patriarcalismo engendra. Mães potencialmente destrutivas geram seres que as repetem, mas que são diferentes. Portanto, não as reconhecem e com elas não se identificam. Ícone da criação monstruosa, Frankenstein, de Mary Shelley, é produtivo para uma reflexão a respeito da tensão presente entre criador e criatura que torna impossível fixar a monstruosidade num ou noutro. Num universo em constante mutação, também os seres se tornam mutantes, inapreensíveis e irreconhecíveis. Qualquer idéia de fixidez identitária se revela falsa.Palavras-chave: Cornélio Penna; monstro; patriarcalismo.Abstract: Through the recurrent metaphor of the monster in Fronteira, Dois romances de Nico Horta and Repouso, Cornélio Penna allegorically gives shape to the state of violence engendered by patriarchalism. Potentially destructive mothers breed beings that repeat them, despite being different from them. Therefore, they do not recognise their mothers and do not identify with them. An icon of monstrous creation, Mary Shelley’s Frankenstein is helpful for a reflection on the tension between creator and creature and on the impossibility of placing monstrosity on either side. In an ever- changing universe, beings also become mutant, inapprehensible, unrecognisable. Any idea of fixed identity proves to be false.Keywords: Cornélio Penna; monster; patriarchalism.

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Blodget, Alden. "The FrankensTEin Monster". Schools 6, nr 2 (październik 2009): 207–14. http://dx.doi.org/10.1086/605884.

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Hassen Sabeeh, Qasem, i Dr Hussein Ramazan Kiaee. "اعادة النظر في تمثيل الوحش: الجمالية الطوباوية في رواية فرانكشتاين في بغداد لأحمد السعداوي". ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, nr 2 (12.06.2019): 85–102. http://dx.doi.org/10.36473/ujhss.v58i2.877.

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Monsters throughout history are always explained in terms of abjection, horror and something to be avoided in order that the system and regulation of society to be restored. Following the dynamic conception of contemporary utopia, the present paper aims at analyzing the monster or the violence in Ahmed Saadawi’s Frankenstein in Baghdad (FB) 2014 in terms of utopian site of hope, freedom and justice. It intends to show in what ways the issue of the “neo-Utopianism” or a desire for grand narratives is addressed in contemporary Iraqi fiction and why this issue is significant in post- postmodern thought. The paper revolves around post-traditional thinking of monster through investigating how a monster is related to a collective desire of hope for better roles in relation to the multiple societal crises. Other than an abject or “Other”, the value of creating such a monster is to introduce a new vision to the reader accomplished with the hope and salvation instead of the fragile spirit that comes from the postmodern failure and destruction. Within this conception the paper unfolds three routes that explicitly address a utopian desire: the body, the name and the aim or the message. The article, moreover, uncovers a new dimension of monstrosity in Iraqi literature which marks a shift from postmodernism to new era characterized by a utopian revival. The paper concludes that the monster is given a new voice and vision to be accepted in symbolic order unlike its traditional image in Gothic literature, one to speak about horror or monstrosity.

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Bhandari, Sabindra Raj. "The Projection of the Double in Mary Shelly’s Frankenstein". Pursuits: A Journal of English Studies 6, nr 1 (21.07.2022): 102–9. http://dx.doi.org/10.3126/pursuits.v6i1.46884.

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The objective of this study is to explore the motif of the double in Mary Shelley’s Frankenstein. The double (double goer or alter ego) is the psychic counterpart of a person. Since it stands for psychological projection, it also reveals the darker side of one’s psyche. The monster in Shelley’s novel resembles the double of its protagonist Victor Frankenstein. What Victor cannot show and reflect in the reality has been transformed in the actions of the monster. The monster becomes Victor’s disguises self because it mirrors the deepest psychic instincts of Victor Frankenstein. Likewise, the monster claims that it is Victor’s Adam. Victor’s disguised self has been transferred in every action and dialogue related to the Monster. The whole novel centers around this pivotal point. More than that, the novel implements the narrative structure known as mise en abyme, which imbeds one story within another one. This embedding instantiates the theme of structural double and series of reflections in the novel. The novel implements the paradigm of qualitative research and the concepts of the double as a theoretical lens to expose all these issues of the double in the novel.

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Kannowski, Bernd. "Frankensteins Monster in den Schuldturm". Rechtsgeschichte - Legal History 2007, nr 11 (2007): 186–88. http://dx.doi.org/10.12946/rg11/186-188.

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LOVERIDGE, MARK. "ANOTHER MONSTER IN FRANKENSTEIN ?" Notes and Queries 37, nr 4 (1.12.1990): 418—b—419. http://dx.doi.org/10.1093/nq/37-4-418b.

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Adamson, Eve. "Frankenstein's Monster in the Arctic Circle". Iowa Review 31, nr 3 (grudzień 2001): 37–38. http://dx.doi.org/10.17077/0021-065x.5418.

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Collins, Alan. "Securitization, Frankenstein's Monster and Malaysian education". Pacific Review 18, nr 4 (grudzień 2005): 567–88. http://dx.doi.org/10.1080/09512740500339034.

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Radford, Tim. "Let Frankenstein's monster live in science". Lancet 352, nr 9144 (grudzień 1998): 1944. http://dx.doi.org/10.1016/s0140-6736(05)60451-5.

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Urizar, David. "The Real "Monster" in Frankenstein". Arsenal: Augusta University’s Undergraduate Research Journal 1, nr 1 (2016): 20–27. http://dx.doi.org/10.21633/issn.2380.5064/f.2016.01.20.

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Segal, Howard P. "Crushed by the Frankenstein monster". Nature 406, nr 6792 (lipiec 2000): 125–26. http://dx.doi.org/10.1038/35018147.

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Kosseifi, Semaan G., Jay Mehta, Thomas Roy, Ryland Byrd i Jeff Farrow. "RETURN OF THE FRANKENSTEIN MONSTER". Chest 134, nr 4 (październik 2008): 57C. http://dx.doi.org/10.1378/chest.134.4_meetingabstracts.c57002.

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Asst. Lec. Ameer Abd Hadi, Asst Prof Raad Kareem Abd-Aun. "The Poetics of Adaptation in Frankenstein in Baghdad". Psychology and Education Journal 58, nr 2 (1.02.2021): 1749–55. http://dx.doi.org/10.17762/pae.v58i2.2332.

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During the peak of the sectarian war in Iraq after the US invasion in 2003, there seemed to be an absolute absence of the mind and a great deal of hatred and tension among the people of Baghdad that turned into maddening acts of terrorism, like car bombings and suicide bombers, killing thousands of innocent people. Frankenstein in Baghdad came to be the mouthpiece of that very critical phase in the modern history of Iraq. The abundant acts of killing and bloodshed during 2005 turned into an ugly form of a monster called " Whatsitsname" formed from the fragmented parts of those killed by terrorist acts. The creature bears a clear resemblance to Marry Shelley's monster in her novel Frankenstein. The monster is a loose perpetrator that kills whoever it meets. This study attempts to analyze the writer's poetics of adaptation in the novel and his debt to other literary works.

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Skilbeck, R. "Frankenstein's Monster: Creating a New International Procedure". Journal of International Criminal Justice 8, nr 2 (21.04.2010): 451–62. http://dx.doi.org/10.1093/jicj/mqq024.

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