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Bibliografias temáticas / Frankenstein, victor

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Literatura científica selecionada sobre o tema "Frankenstein, victor"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Frankenstein, victor"

1

Nensilianti, Nensilianti, Yuliana Yuliana e Ridwan Ridwan. "REPRESENTASI MAKNA TANDA/SIMBOL DALAM FILM VICTOR FRANKENSTEIN (2004) KARYA MARY SHELLEY". Hasta Wiyata 7, n.º 1 (30 de janeiro de 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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Prosser, Ashleigh. "Resurrecting Frankenstein: Peter Ackroyd’s The Casebook of Victor Frankenstein and the metafictional monster within". Australasian Journal of Popular Culture 8, n.º 2 (1 de setembro de 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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Pinel Benayas, Ana. "Victor Frankenstein y la racionalidad instrumental = Victor Frankenstein and the instrumental rationality". Estudios Humanísticos. Filología, n.º 42 (18 de dezembro de 2020): 223–34. http://dx.doi.org/10.18002/ehf.v0i42.6260.

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En este artículo se pretende hacer una relectura de Frankenstein o el moderno Prometeo (1818) desde la tesis planteada en la Dialéctica de la Ilustración (1944) de los filósofos Adorno y Horkheimer, intentando mostrar que Victor Frankenstein es un esclavo de la racionalidad instrumental. This article is intended to make a rereading of Frankenstein; o, The Modern Prometheus (1818) from the thesis presented in Dialectic of Enlightenment (1944) and Eclipse of Reason (1947) of the philosophers Adorno and Horkheimer, trying to prove that Victor Frankenstein is an instrumental´s rationality slave.

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Bowta, Femilia, e Yulan Puluhulawa. "DECONSTRUCTIVE ANALYSIS OF MAIN CHARACTER IN FRANKENSTEIN NOVEL BY MERY SHELLEY". British (Jurnal Bahasa dan Sastra Inggris) 7, n.º 1 (26 de novembro de 2019): 60. http://dx.doi.org/10.31314/british.7.1.60-71.2018.

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The purpose of this research is to deconstruct the main character of Frankenstein novel. This is qualitative research with deconstructive approach. Deconstruction is a method of reading texts which shows that in every text there is always an absolute presumption. Deconstruction is used to find other meanings hidden in a text. The steps taken by the writer in deconstructing Frankenstein's novel are describing Victor's character, finding binary opposition in the character then deconstructing Victor's character. The results are the portrayal of Victor after deconstruction that Victor himself was the cause of all the chaos done by his creatures. Victor's ambitions that are too deep in science make him a different person, from a good character to very selfish and cruel.Keywords: Deconstructive, Main Character, Binary Opposition, Frankenstein Novel

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Koepke, Yvette. "Lessons from Frankenstein: narrative myth as ethical model". Medical Humanities 45, n.º 1 (10 de julho de 2018): 27–36. http://dx.doi.org/10.1136/medhum-2017-011376.

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As Frankenstein’s 200th anniversary nears, its use as a shorthand for ethical critique only increases. This article argues, though, that its lessons inhere in its unique structure, which enacts an interpretive process that models the multiplicity and uncertainty constitutive of ethical decision-making. Frankenstein deliberately functions as a modern myth, rewriting classical and Christian mythology to challenge the straightforward moral lessons often ascribed to the text. Complex portrayals of the creature and of Victor Frankenstein in the context of contemporary science make it impossible to read Victor as villain, victim or hero, or to take a consequentialist or nature-based stance in which the outcome of his research dictates its wrongness. The use of Paradise Lost insists on the creature’s fundamental humanity. Indeed, the creature’s voice frames the entire novel and serves as its structural centrepiece. His experience counters Victor’s and vividly expresses the harm in a narrow focus on discovery and in the denial of responsibility for scientific work as it moves beyond the laboratory. Both the creature’s and Captain Walton’s stories stress the need to hear other voices and honour their distinct lived experiences. While Frankenstein-as-myth (re)produces science as the fundamental explanatory paradigm, it presents a vision of science as passionately personal and societally situated. Repeated disruptions of narrative cohesion question accuracy and causality, producing instead an acute awareness of perspective. Frankenstein argues for a reflective and dialogical narrative ethics: choices must be made and evaluated not according to a priori abstract rules, but within the attached stories.

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Heggestad, Jon. "On Frankenstein and How (Not) to Be a Queer Parent". Victoriographies 13, n.º 2 (julho de 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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Aziz Mahmood, Karzan. "The Appropriation of Innocence: from Shelley’s Frankenstein to Ahmed Saadawi’s Frankenstein in Baghdad". Arab World English Journal For Translation and Literary Studies 5, n.º 2 (15 de maio de 2021): 126–38. http://dx.doi.org/10.24093/awejtls/vol5no2.10.

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This paper demonstrates the appropriation of innocence in Shelley’s Frankenstein, Or the Modern Prometheus (1818) and Frankenstein in Baghdad (2013) by Ahmed Saadawi. These novels are selected because the latter appropriates the creator and creature characters and contextualizes them into the American-Iraq 2005 post-war period. In Shelley’s Frankenstein, Victor Frankenstein, scientifically, gives life to a dead body amalgamated from other body parts, which start murdering and revenging upon his creator. Whereas, in Saadawi’s twenty-first century Frankenstein, a person who is formed from others’ dead bodies by merely a junk dealer, starts murdering and revenging upon other people. On the one hand, Frankenstein, a science student, sought to answer the question of human revival theoretically and practically. Therefore, after he resurrects the dead, it becomes monstrous due to its negligence and physical hideousness by its creator. On the other hand, the Iraqi Frankenstein’s creator, Hadi, celebrates collecting old materials in a non-scientific manner, including humans’ dead body parts, in order to give value to them by offering them worthy of proper burials. The resurrected creatures transform into more powerful beings than their creators as reactions against isolation and injustice. For that, both Frankenstein and Hadi lose control over their creations, who instigate new life cycles. Hence, the ethical responsibility of invention underlies the concept of innocence which this paper intends to analyze vis-à-vis the creators and their creations.

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Henze, Adam David. "Henry Clerval Scolding Victor Frankenstein: An autoethnographic poem about graduate students and their daemons". Special Issue - Artistic and Creative Inquiries 55, n.º 3 (9 de novembro de 2021): 685–92. http://dx.doi.org/10.7202/1083429ar.

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This article explores the “daemons” that many university students face by exploring Mary Shelley’s Frankenstein in a creative way. Using a poetic method called “erasure,” the author of this article cut fragmented descriptions of Victor Frankenstein, and stitched them together to craft a poem about the need for self-care in the university setting. The poem includes a preface to provide some theoretical context and background information on Frankenstein.

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Romanyshyn, Robert D. "Diagnostic Fictions". Journal of Humanistic Psychology 59, n.º 1 (26 de julho de 2018): 107–20. http://dx.doi.org/10.1177/0022167818790300.

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Beginning with a case in Part 1 of this article, I illustrate a key difference between the person who comes to therapy and the figure(s) who come for therapy. In Part 2, I describe some features of a literary approach that attend to this difference and animate diagnostic descriptions with images and stories found in literature. Using Mary Shelley’s Frankenstein and drawing on my rereading of her tale, I demonstrate in Part 3 how the character of Victor Frankenstein and his story vividly personify and enrich the DSM category of narcissistic personality disorder. This approach does not reduce Victor Frankenstein and his story to the diagnosis; it magnifies the diagnostic category through the lens of his image and his story.

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Weidmann, Anja. "Death's Enemy: The Pilgrimage of Victor Frankenstein". BMJ 327, Suppl S2 (1 de agosto de 2003): 0308304a. http://dx.doi.org/10.1136/sbmj.0308304a.

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Teses / dissertações sobre o assunto "Frankenstein, victor"

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Kolker, Danielle. "Mary Shelley, Victor Frankenstein, and the Powers of Creation". Oberlin College Honors Theses / OhioLINK, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411135456.

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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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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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Stafford, Richard Todd. "A Genealogy of Frankenstein's Creation: Appropriation, Hypermediacy, and Distributed Cognition in Shelley Jackson's Patchwork Girl, Victor Erice's Spirit of the Beehive, and Mary Shelley's Frankenstein". Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/76983.

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Studies of Frankenstein-related cultural, literary, and filmic productions tend to either focus atomistically on a particular cultural artifact or construct rather strict chains of filiation between multiple artifacts. Media scholars have developed rich conceptual resources for describing cross-media appropriations in the realm of fandom (including fan fiction and slash fiction); however, many scholars of digital literary culture tend to describe the relationships between new media artifacts and their print counterparts in terms that promote what is "new" about these media forms without attending to how older media forms anticipate and enter into conversation with electronic multimedia formats. This paper suggests an alternative to this model that emphasizes the extent to which media forms remix, appropriate, and speak through other media and cultural artifacts. Studying Mary Shelley's Frankenstein, James Whale's classic Frankenstein and Bride of Frankenstein films, Victor Erice's Spirit of the Beehive, Bill Condon's Gods and Monsters, Shelley Jackson's Patchwork Girl, and some of the scholarly literature around the Frankenstein narrative, the construction of gender, and the discourse of post- humanity, this paper explores the mechanisms through which these artifacts draw attention to their participation in a greater "body" of Frankenstein culture. Additionally, this paper explores how these artifacts use what Bolter and Grusin have described as the logic of hypermediacy to emphasize the specificity of their deployment through a particular medium into a specific historical situation.
Master of Arts

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Ocic, Sundberg Erik Daniel. "A Narratological Comparison of the Morals of Herbert West and Victor Frankenstein : Traces of Prometheus through Shelley towards Lovecraft". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-61014.

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This essay explores the influence of contemporary values in two iterations of the Greek Prometheus myth and argues that the events portrayed in the two texts follow the structure of the myth and that the discourse in the texts shows traces of contemporary moral values. Mary Shelley’s Frankenstein (1818) is used as a starting point, but the focus is on Howard Phillip Lovecraft’s “Herbert West: Reanimator” (1922) as a later iteration of the Prometheus myth.The method for comparison is centred on disassembling the texts in accordance with the instructions found in Mieke Bal’s Narratology: Introduction to the Theory of Narrative (1997) to form tables of events. The functions of the events found in the Prometheus myth will then be used to sort the events from Lovecraft’s and Shelley’s work to assert focal points for comparing the moral values in the discourse.

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Kerren, Ulla. "Victor’s Body : Male Hysteria and Homoeroticism in Mary Shelley’s Frankenstein and Kenneth Branagh’s Mary Shelley’s Frankenstein". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-32306.

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This thesis investigates the male body in Mary Shelley’s novel Frankenstein, first published in 1818, and Kenneth Branagh’s film Mary Shelley’s Frankenstein, released in 1994. So doing, the thesis focuses on the analysis of hysteria and homoeroticism in three male-male relationships: Victor and the monster, Victor and Walton, and Victor and Clerval. The main argument claims that, in the novel, Victor Frankenstein displays symptoms of male hysteria, which result from his repressing homoerotic desire and give evidence of male embodiment. It is not possible for Victor to repress bodily needs in the long run, and he experiences and reacts to the world with his body and mind. In the film, on the other hand, Victor’s heterosexuality is emphasised and he is depicted as a strong, powerful man rather than a nervous member of the upper class. The divergences between the representations of the male body in the primary texts, the thesis argues, reflect different ideas about the male body in the 1810s and 1990s. Although the image of the muscular and masculine, heterosexual man that was prevalent in the 1990s was already in the making in the 1810s, it was not as consolidated. The discussion of masculinity from a historical perspective makes use of Michel Foucault’s outline of the history of sexuality, Mark S. Micale’s account of hysteria and George L. Mosse’s ideas about masculinity. For a differentiated analysis of male-male relationships, Eve Kosofsky Sedgwick’s continuum of male homosocial desire is drawn on.

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Hung, Wei-Hsiang, e 洪偉翔. "The Queer Case of Mary Shelley’s Frankenstein or the Modern Prometheus: (The) Murdering Victor Frankenstein". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/mccn99.

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碩士
淡江大學
英文學系碩士班
104
The thesis provides a queer reading of Mary Shelley’s well known novel Frankenstein or the Modern Prometheus by scrutinizing the text and the comparison among the film adaptations, including Frankenstein (1910), Bride of Frankenstein (1935), Mary Shelley’s Frankenstein (1994), The Frankenstein Theory (2013), I, Frankenstein (2014), and the latest film adaptation Victor Frankenstein (2015). In the thesis, I argue that Victor Frankenstein is a homosexual living in the Victorian era when the homophobic society vastly values domestic life and marriage. The heteronormative society distresses Victor so much that he creates the monster as his alter ego and commits all the murders, including killing himself due to desperation in the end. To make such claim, I examine the monster representation and physiognomy first to present how the novel and film adaptations construct the image of the monster. In so doing, I also prove the common belief on the monster’s physical existence. Then I move forward to examine some ambiguous passages describing Victor and the monster both in the novel and film adaptations. Not only the physiognomy but also does the overlapping language use of Victor and the monster enable us to conclude that Victor and the monster is in fact the same unity. Finally, I explain the murder cases based upon Victor’s homosexuality which has been repressed to a certain extent until he could not bear it anymore and commits the crime. Victor Frankenstein, as I contend, is both a victim and murderer in the Victorian era.

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Livros sobre o assunto "Frankenstein, victor"

1

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

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2

Ackroyd, Peter. The casebook of Victor Frankenstein. Oxford: ISIS, 2009.

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3

ill, Ering Timothy B., ed. The diary of Victor Frankenstein. New York: DK Ink, 1997.

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B, Ering Timothy, ed. The diary of Victor Frankenstein. London: Dorling Kindersley, 1997.

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5

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

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Ackroyd, Peter. The casebook of Victor Frankenstein. Waterville, Me: Thorndike Press, 2010.

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Ackroyd, Peter. The casebook of Victor Frankenstein. Waterville, Me: Thorndike Press, 2010.

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8

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

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9

Weinberg, Larry. Frankenstein. New York: Scholastic Inc., 2005.

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10

illustrator, Berry Bob, e Shelley Mary Wollstonecraft 1797-1851, eds. Frankenstein. New York, N.Y: Modern Pub., 2004.

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Capítulos de livros sobre o assunto "Frankenstein, victor"

1

Shepherd, Robert K. "Victor Frankenstein Sullies The Book of Splendour". In The Palgrave Handbook of Gothic Origins, 199–221. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84562-9_10.

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Stryker, Susan. "My Words to Victor Frankenstein Above the Village of Chamounix". In The Transgender Studies Reader Remix, 67–79. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003206255-9.

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Romanyshyn, Robert D. "Introduction". In Victor Frankenstein, the Monster and the Shadows of Technology, 1–3. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429028335-1.

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Romanyshyn, Robert D. "Resurrecting the dead". In Victor Frankenstein, the Monster and the Shadows of Technology, 4–17. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429028335-2.

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Romanyshyn, Robert D. "The melting polar ice". In Victor Frankenstein, the Monster and the Shadows of Technology, 18–30. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429028335-3.

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Romanyshyn, Robert D. "The Monster’s body". In 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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Romanyshyn, Robert D. "Out of Africa to the moon". In Victor Frankenstein, the Monster and the Shadows of Technology, 45–50. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429028335-5.

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Romanyshyn, Robert D. "From astronauts to angels in clouds". In Victor Frankenstein, the Monster and the Shadows of Technology, 51–70. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429028335-6.

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Romanyshyn, Robert D. "WWW: adrift in the digital world". In Victor Frankenstein, the Monster and the Shadows of Technology, 71–86. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429028335-7.

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

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