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Gotowa bibliografia na temat „Frankenstein's monster”

Autor: Grafiati
Data publikacji: 25 lipca 2024
Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Frankenstein's monster"

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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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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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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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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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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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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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Luckham, Robin. "Democracy and the military: An epitaph for Frankenstein's monster?" Democratization 3, nr 2 (czerwiec 1996): 1–16. http://dx.doi.org/10.1080/13510349608403464.

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Malchow, H. L. "FRANKENSTEIN'S MONSTER AND IMAGES OF RACE IN NINETEENTH-CENTURY BRITAIN". Past and Present 139, nr 1 (1993): 90–130. http://dx.doi.org/10.1093/past/139.1.90.

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Rozprawy doktorskie na temat "Frankenstein's monster"

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Bondy, David J. "Frankenstein's monster and the politics of the black body". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ52516.pdf.

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Linter, Simon. "Mary Shelley’s Unrealised Vision : The Cinematic Evolution of Frankenstein’s Monster". Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104476.

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Mary Shelley’s novel Frankenstein has been the direct source for many adaptations on stage, television and film, and an indirect source for innumerable hybrid versions. One of the central premises of Julie Sanders’s Adaptation and Appropriation (2006) is that adaptations go through a movement of proximation that brings them closer to the audience’s cultural and social spheres. This essay looks at how this movement of proximation has impacted the monster’s form and behaviour and concludes that this is the main reason Shelley’s vision of her monster has rarely been accurately reproduced on screen. It is clearly impossible for an essay of this length to adequately cover the vast number of adaptations spawned by Frankenstein. It is clear that James Whale’s Frankenstein (1931), where the monster has a bolt through its neck and a stitched forehead, created the stereotype that has been the source for many other Frankenstein film adaptations. However, contemporary film adaptations cater to target audiences and specific genres, while also reflecting the current political climate and technological innovations. The conclusion reached here is that while the form and behaviour of Frankenstein’s monster in film has inevitably been revised over the years, precisely as a result of social and cultural factors, it is the stereotype created by Whale that has prevailed over the figure produced by Shelley. This, in turn, supports and confirms Sanders’s theory of movement of proximation.
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Lange, Dirk. "Warum will Frankensteins Monster sterben? Selbstmord im englischen Roman des 19. Jahrhunderts". Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2679712&prov=M&dok_var=1&dok_ext=htm.

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Lange, Dirk. "Warum will Frankensteins Monster sterben? : Selbstmord im englischen Roman des 19. Jahrhunderts". Heidelberg Winter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2679712&prov=M&dokv̲ar=1&doke̲xt=htm.

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Nidesjö, Liselott. "Who is the Monster in Mary Shelley's Frankenstein? : A Psychoanalytic Reading of the Double Nature of Victor Frankenstein". Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-18981.

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This essay challanges one of the worlds most famous horror story, Mary Shelley'sFrankenstein.Who is the monster in this novel? People know the story but they often tend to blend the two head characters, Victor Frankenstein and his creature. Based on the psychoanalysis, founded by Sigmund Freud, this essay argues that Victor Frankenstein is not the nice guy he seems to be. Appearances are not always what they seem and Victor Frankenstein turns into a "monster of the soul" due to suppressed feelings. His creature never stands a chance without any guidence and love. The creature is instead turned into a "monster of the body" since it is constantly badly treated from the start
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Hawley, Erin. "Filmic machines and animated monsters: retelling Frankenstein in the digital age". Thesis, Hawley, Erin (2011) Filmic machines and animated monsters: retelling Frankenstein in the digital age. PhD thesis, Murdoch University, 2011. https://researchrepository.murdoch.edu.au/id/eprint/5382/.

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Frankensteinian monsters have appeared on our screens since the early days of cinema. Indeed, across the history of film we see Mary Shelley’s “hideous progeny” rewritten as alchemical creations, animated corpses, lumbering fiends, robots, cyborgs, replicants, dinosaurs, artificial intelligences and digital constructions. In particular, Shelley’s text shares its speculative depiction of a posthuman future with fantastic and science-fictional cinema of the digital age. At the same time, posthuman bodies are being created by filmmakers. New possibilities in the digital imaging of human presence – from the replacement of actors with computer-generated imagery to the quest for photorealism in digital animation – themselves evoke the Frankenstein tale and consequently make interesting contributions to the evolving Frankenstein myth. This thesis investigates the retelling of Frankenstein in popular cinema of the digital age. Through close analysis of a series of chosen texts, I examine the figure of the Frankensteinian monster and his/her/its equivalents in today’s popular culture: posthuman figures who negotiate uneasily with the organic world, boundary creatures who both define and unsettle our understandings of human being. I consider the way the tale, its themes and characters have both endured and evolved over time. I also examine the way these new filmic “machines” and animated “monsters” embody crucial problems associated with the technologies that screen them and the media that contain them. My concern in this project is twofold. Firstly, I seek to map the (changing) relationship between Frankenstein and film. Since the early 1900s, cinema has provided a fertile ground for the retelling of Shelley’s tale. At the same time, cinema itself has always been a sort of Frankensteinian experiment: a means of breathing life into stillness, of constructing and re-constructing human presence, of stitching together fragmented moments to create a semblance of wholeness. In the digital age, this experiment grows and changes: new modes of production are continually being trialled, allowing us to re-create and re-present human presence in new and often bizarre ways. The figure of the Frankensteinian monster confronts and responds to these concerns, embodying and performing the uncanny, spectacular, mechanical, or organic-mechanical nature of screen presence. Secondly, this thesis reads the Frankensteinian monster as a mythic figure for the digital age. I move towards the assertion that Frankenstein is a tale about the artificial body and its negotiation with a lost or disrupted origin in the organic world, and that this particular problem reverberates strongly in an age of digital representation. The analyses that constitute this thesis contribute to the argument that each time the Frankenstein tale is retold, re-technologised, and re-imagined using new filmic techniques, the problem of the screen body and its troubled origin stories is revisited and complicated.
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Edfors, Evelina. "Personer och monster : om litteraturens bidrag till religionsfilosofin". Thesis, Uppsala universitet, Teologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323604.

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This paper examines the relationship between literature and philosophy, with special regards to how literature can contribute to deepen the understanding in philosophical matters. This is executed by a comparison between how a work of fiction, versus works of philosophy, can tackle the issue of personhood. Mary Shelley’s Frankenstein is being compared with philosopher Lynne Rudder Baker’s Persons and Bodies and Jacques Maritain’s The Person and the Common Good in order to map out how literature can contribute to the philosophical discourse regarding personhood. The paper finalizes that the main character in Frankenstein, “the monster” displays several issues that may show up when trying to define what it means to be a person, and where the line is to be drawn between a person and a non-person. The paper thus serves a two-folded purpose: to expand and challenge the traditional philosophical methodology, and find new understanding within the subject of personhood.
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Atkins, Emily. "An Exploration of Costume Design For David Emerson Toney's "Frankenstein: Dawn of a Monster"". VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3963.

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This thesis details the Costume Design process for David Emerson Toney’s Frankenstein: Dawn of a Monster at Virginia Commonwealth University. Toney’s original adaptation interprets Mary Shelley’s genre-defying novel as biography, directly influenced by the tragic events of her young life. Costumes differentiate the two narratives, with Mary Shelly in gray scale, regency-inspired modern dress and the novel in period and color. This follows the design process from concept to production to execution.
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Heidenescher, Joseph D. ""Listen to my tale": Shelley's Literate Monster". University of Toledo Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450430867.

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Van, Wyk Wihan. "Shelleyan monsters: the figure of Percy Shelley in Mary Shelley’s Frankenstein and Peter Ackroyd’s The Casebook of Victor Frankenstein". University of the Western Cape, 2015. http://hdl.handle.net/11394/4860.

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Magister Artium - MA
This thesis will examine the representation of the figure of Percy Shelley in the text of Mary Shelley’s Frankenstein (1818). My hypothesis is that Percy Shelley represents to Mary Shelley a figure who embodies the contrasting and more startling aspects of both the Romantic Movement and the Enlightenment era. This I will demonstrate through a close examination of the text of Frankenstein and through an exploration of the figure of Percy Shelley as he is represented in the novel. The representation of Shelley is most marked in the figures of Victor and the Creature, but is not exclusively confined to them. The thesis will attempt to show that Victor and the Creature can be read as figures for the Enlightenment and the Romantic movements respectively. As several critics have noted, these fictional protagonists also represent the divergent elements of Percy Shelley’s own divided personality, as he was both a dedicated man of science and a radical Romantic poet. He is a figure who exemplifies the contrasting notions of the archetypal Enlightenment man, while simultaneously embodying the Romantic resistance to some aspects of that zeitgeist. Lately, there has been a resurgence of interest in the novel by contemporary authors, biographers and playwrights, who have responded to it in a range of literary forms. I will pay particular attention to Peter Ackroyd’s, The Casebook of Victor Frankenstein (2011), which shows that the questions Frankenstein poses to the reader are still with us today. I suggest that this is one of the main impulses behind this recent resurgence of interest in Mary Shelley’s novel. In particular, my thesis will explore the idea that the question of knowledge itself, and the scientific and moral limits which may apply to it, has a renewed urgency in early 21st century literature. In Frankenstein this is a central theme and is related to the figure of the “modern Prometheus”, which was the subtitle of Frankenstein, and which points to the ambitious figure who wishes to advance his own knowledge at all costs. I will consider this point by exploring the ways in which the tensions embodied by Percy Shelley and raised by the original novel are addressed in these contemporary texts. The renewed interest in these questions suggests that they remain pressing in our time, and continue to haunt us in our current society, not unlike the Creature in the novel.
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Książki na temat "Frankenstein's monster"

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

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

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Baosen, Xiao, red. Guai wu: Frankenstein's monster / Susan Heyboer O'keefe. Taibei Shi: Xiao yi chu ban, 2011.

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

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

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

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

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

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

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

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Części książek na temat "Frankenstein's monster"

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

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

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

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

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

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

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

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Persdotter, Josefin. "Introducing Menstrunormativity: Toward a Complex Understanding of ‘Menstrual Monsterings’". W The Palgrave Handbook of Critical Menstruation Studies, 357–73. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_29.

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Abstract In this text, Persdotter advances critical menstrual studies by introducing and developing the concept of menstrunormativity as a way to understand the ways normativities around menstruation affect and discipline menstrual subjects. To do so, she works with the idea of a system of multiple and contradictory normativities that order and stratify menstruation. Persdotter makes four interlinked arguments regarding menstrunormativity: (1) normativities work in clustered, complex ways; (2) the cluster of normativities that surround menstruation produce an impossible ideal subjectivity (the imagined menstrunormate), which follows that we are all actually menstrual monsters; (3) normativities are continuously coproduced by everyone and everything, which means we are all, always, culpable in creating monsters; and (4) there is significant potential in embracing ourselves as both Dr. Frankenstein and as monsters, since such a viewpoint produces more opportunities for livable lives for menstruators and the menstrual countermovement alike.
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Onega, Susana. "Patriarchal Law and the Ethics and Aesthetics of Monstrosity in Mary Shelley’s Frankenstein". W Monsters and Monstrosity, redaktor Daniela Carpi, 115–30. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110654615-007.

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Romanyshyn, Robert D. "The Monster’s body". W Victor Frankenstein, the Monster and the Shadows of Technology, 31–44. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429028335-4.

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