Artigos de revistas: "Frankenstein, victor"

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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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Patowary, Upakul. "Artificial Intelligence and Mary Shelley's Frankenstein: A Comparative Analysis of Creation, Morality and Responsibility". Integrated Journal for Research in Arts and Humanities 3, n.º 4 (3 de agosto de 2023): 121–27. http://dx.doi.org/10.55544/ijrah.3.4.16.

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In the ever-evolving landscape of technology, Artificial Intelligence (AI) has emerged as a revolutionary force that continues to shape various aspects of our lives. From transforming industries to redefining how we interact with machines, AI's pervasive influence has captured the collective imagination of modern society. However, as we marvel at the wonders of AI's capabilities, it becomes crucial to pause and reflect on the ethical and moral implications of creating intelligent machines. Mary Shelley's magnum opus, "Frankenstein," published nearly two centuries ago, remains an enduring cautionary tale about the perils of unchecked ambition and the consequences of playing god. The narrative of Victor Frankenstein's relentless pursuit of creating life, only to be haunted by the unforeseen horrors of his creation, has resonated across generations. This tale of hubris, moral dilemmas, and the intricate relationships between creator and creation continues to transcend time, finding a striking resonance in contemporary discussions on AI and its potential implications. The research article endeavors to delve into the parallels between AI and "Frankenstein," unraveling the profound ethical dilemmas faced by AI developers, policymakers, and society at large. By drawing upon the cautionary lessons embedded within Shelley's classic tale, we aim to extract timeless wisdom that can guide us in the responsible and humane development of AI technologies. While AI holds the potential to revolutionize our lives positively, the dark echoes of Victor Frankenstein's missteps serve as a stark reminder of the need for ethical frameworks and interdisciplinary collaboration to ensure that AI remains a powerful force for good.

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Bhandari, Sabindra Raj. "The Projection of the Double in Mary Shelly’s Frankenstein". Pursuits: A Journal of English Studies 6, n.º 1 (21 de julho de 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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McCormack-Clark, Jack Alexander. "Night of the resurrected pets: The popular monsters of Tim Burton’s Frankenweenie". Australasian Journal of Popular Culture 10, n.º 1 (1 de dezembro de 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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Pomian, Joanna. "Le monstre de Victor Frankenstein : une créature communicante". Quaderni 15, n.º 1 (1991): 39–53. http://dx.doi.org/10.3406/quad.1991.1287.

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Stryker, Susan. "More Words About “My Words To Victor Frankenstein”". GLQ: A Journal of Lesbian and Gay Studies 25, n.º 1 (1 de janeiro de 2019): 39–44. http://dx.doi.org/10.1215/10642684-7275264.

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Debnath, Kunal. "Mary Shelley’s Frankenstein As A Text About Nature and Culture". SMART MOVES JOURNAL IJELLH 7, n.º 9 (11 de setembro de 2019): 10. http://dx.doi.org/10.24113/ijellh.v7i9.9735.

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In Mary Shelley’s novel Frankenstein (1818), we find several dichotomies: culture/nature, self/other, ego/id, male/female et cetera. In the novel, Victor is a scientist who wants to inject life into inanimate objects and thereby become a creator, a god. As science is an element of culture, Victor is associated with culture. But he represents the darker side of culture: scientism misused as fantasy. On the other hand, the creature is associated with nature. Though Victor infuses life into the monster through a scientific experiment, the monster is still a nature’s child as he is brought up in the midst of wild natural landscape. In the novel, we find that ‘male’ science (as a part of culture), in the person of Victor, penetrates “into the recesses of nature” (Shelley, 1818).

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Rodrigues, Cândida Laner. "A TRADUÇÃO E A CRIAÇÃO DE MONSTROS:". Belas Infiéis 2, n.º 1 (9 de setembro de 2013): 53–65. http://dx.doi.org/10.26512/belasinfieis.v2.n1.2013.11220.

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Este artigo visa retomar alguns dos conceitos referentes à tradução apresentados no texto A tarefa do tradutor, de Walter Benjamin, a fim de elaborar uma analogia entre o processo tradutório e o processo da criação do monstro (e o monstro em si) na obra Frankenstein, de Mary Shelley. Visando, enfim, a uma discussão dos conceitos de tradução de Benjamin, bem como uma análise diferenciada do monstro – o traduzido – e de seu criador, Victor Frankenstein – o tradutor.

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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, n.º 2 (3 de julho de 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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Havard, John Owen. "“What Freedom?”". Nineteenth-Century Literature 74, n.º 3 (1 de dezembro de 2019): 305–31. http://dx.doi.org/10.1525/ncl.2019.74.3.305.

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John Owen Havard, “‘What Freedom?’: Frankenstein, Anti-Occidentalism, and English Liberty” (pp. 305–331) “If he were vanquished,” Victor Frankenstein states of his monstrous creation in Mary Shelley’s Frankenstein (1818), “I should be a free man.” But he goes on: “Alas! what freedom? such as the peasant enjoys when his family have been massacred before his eyes, his cottage burnt, his lands laid waste, and he is turned adrift, homeless, pennyless, and alone, but free.” Victor’s circumstances approximate the deracinated subject of an emergent economic liberalism, while looking to other destitute and shipwrecked heroes. Yet the ironic “freedom” described here carries an added charge, which Victor underscores when he concludes this account of his ravaged condition: “Such would be my liberty.” This essay revisits the geographic plotting of Frankenstein: the digression to the East in the nested “harem” episode, the voyage to England, the neglected episode of Victor’s imprisonment in Ireland, and the creature’s desire to live in South America. Locating Victor’s concluding appeal to his “free” condition within the novel’s expansive geography amplifies the political stakes of his downfall, calling attention to not only his own suffering but the wider trail of destruction left in his wake. Where existing critical accounts have emphasized the French Revolution and its violent aftermath, this obscures the novel’s pointed critique of a deep and tangled history of English liberty and its destructive legacies. Reexamining the novel’s geography in tandem with its use of form similarly allows us to rethink the overarching narrative design of Frankenstein, in ways that disrupt, if not more radically dislocate, existing rigid ways of thinking about the novel.

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Lacefield, Kristen. "Mary Shelley’s Frankenstein, the Guillotine, and Modern Ontological Anxiety". Text Matters, n.º 6 (23 de novembro de 2016): 35–52. http://dx.doi.org/10.1515/texmat-2016-0003.

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This essay begins by examining the rhetorical significance of the guillotine, an important symbol during the Romantic Period. Lacefield argues that the guillotine symbolized a range of modern ontological juxtapositions and antinomies during the period. Moreover, she argues that the guillotine influenced Mary Shelley’s novel Frankenstein through Giovanni Aldini, a scientist who experimented on guillotined corpses during the French Revolution and inspired Shelley’s characterization of Victor Frankenstein. Given the importance of the guillotine as a powerful metaphor for anxieties emergent during this period, Lacefield employs it as a clue signaling a labyrinth of modern meanings embedded in Shelley’s novel, as well as the films they anticipated. In particular, Lacefield analyzes the significance of the guillotine slice itself—the uneasy, indeterminate line that simultaneously separates and joins categories such as life/death, mind/body, spirit/matter, and nature/technology. Lacefield’s interdisciplinary analysis analyzes motifs of decapitation/dismemberment in Frankenstein and then moves into a discussion of the novel’s exploration of the ontological categories specified above. For example, Frankenstein’s Creature, as a kind of cyborg, exists on the contested theoretical “slice” within a number of antinomies: nature/tech, human/inhuman (alive/dead), matter/spirit, etc. These are interesting juxtapositions that point to tensions within each set of categories, and Lacefield discusses the relevance of such dichotomies for questions of modernity posed by materialist theory and technological innovation. Additionally, she incorporates a discussion of films that fuse Shelley’s themes with appeals to twentieth-century and post-millennium audiences.

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Basso, Eugênia Adamy, e Eduardo Marks De Marques. "O corpo (não) humano e sua importância na questão identitária: o monstro de Frankenstein ou Prometeu moderno". Raído 12, n.º 31 (12 de dezembro de 2018): 183–95. http://dx.doi.org/10.30612/raido.v12i31.8303.

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O presente artigo tem como objetivo a análise das concepções de corpo, suas bestializações e as questões de aceitação e formação de identidade que o envolvem, tomando como objeto de análise a obra de Mary Shelley – Frankenstein ou o Prometeu moderno. O estudo procurou uma discussão acerca do lado humano e não humano da criatura de Frankenstein, sua estrutura e comportamento corporal bestializados e sua identidade frágil, acompanhada de uma intensa agressividade. Para desenvolver o trabalho, foram utilizados como revisão de literatura teóricos que dissertam sobre corpo e identidade (Kathryn Woodward), bios e zoo (Giorgio Agamben) e comportamento corporal (Michel Foucault), além de uma comparação do processo de criação elaborado por Victor Frankenstein com o processo de criação divina do Homem.

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Wildermuth, Andrew. "Measured Life: Making Live, the “Modern System of Science,” and the Animated Bodies of Frankenstein". Zeitschrift für Anglistik und Amerikanistik 69, n.º 4 (26 de novembro de 2021): 331–48. http://dx.doi.org/10.1515/zaa-2021-2028.

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Abstract This article considers Mary Shelley’s novel Frankenstein through what Sara Guyer calls “biopoetics,” hybridizing biopolitical and romantic reading strategies, and positing that romantic writing arises in temporal, theoretical, and political parallel with the movement of power from the reign of the sovereign to the realm of biopower. I focus on how Frankenstein imagines the flesh of Victor as animated and directed forward through biopower, by way of the novel’s juxtaposed medico-scientific and romantic discourse of life. Through close readings of the creation scene and Victor’s final breaths aboard Walton’s exploratory Arctic ship, I conclude that Frankenstein at last offers itself both as artifact and archaeology of modern power—or what Guyer calls “literature as a form of biopower.”

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Dantas Junior, Hamilcar Silveira, e Fabio Zoboli. "O romance que virou filme... Que virou mito: pensando o corpo a partir dos 200 anos de Frankenstein". Revista Amazônida: Revista do Programa de Pós-Graduação em Educação da Universidade Federal do Amazonas 4, n.º 2 (4 de fevereiro de 2020): 01–11. http://dx.doi.org/10.29280/rappge.v4i2.5453.

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Há 200 anos o infortúnio do Dr. Victor Frankenstein e sua “criatura” vem habitando o imaginário cultural mundial. Pelo seu enraizamento social no Ocidente, sua polissemia no campo da arte e seu contínuo processo de repetição/reinvenção, “Frankenstein” também pode ser classificado como um mito da modernidade – principalmente pela sua variação prometeica. O objetivo deste relato de experiência foi descrever acerca dos debates gestados na Mostra de Cinema “Corpo e Modernidade: os 200 anos de Frankenstein” no sentido de apreender as dinâmicas da relação corpo, modernidade e ciência por meio de representações cinematográficas na esteira da herança cultural deste personagem bicentenário. Concluiu-se que o corpo da ciência e da técnica ainda não dá conta de sua proposição de superação.

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Brown, James. "Through the Looking Glass: Victor Frankenstein and Robert Owen". Extrapolation 43, n.º 3 (janeiro de 2002): 263–76. http://dx.doi.org/10.3828/extr.2002.43.3.04.

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Robert, Jason Scott. "RereadingFrankenstein: What If Victor Frankenstein Had Actually Been Evil?" Hastings Center Report 48, n.º 6 (novembro de 2018): 21–24. http://dx.doi.org/10.1002/hast.933.

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Shalghin, Akram. "Monstrosity and the Search for an Identity in Frankenstein". World Journal of English Language 14, n.º 5 (17 de maio de 2024): 160. http://dx.doi.org/10.5430/wjel.v14n5p160.

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This work provides an insightful analysis of Mary Shelley’s exploration of social norms, otherness, and acceptance in Frankenstein. It examines how Shelley challenges traditional perceptions of beauty and humanity through Victor Frankenstein's endeavour to create life, leading to moral dilemmas. The paper highlights how the creature's marginalised existence reflects social biases, driving him to retaliation. Victor's failure to acknowledge the humanity of his creation underscores themes of accountability and compassion. The paper emphasises Shelley's juxtaposition of Victor's actions and the creature's plight to expose society's inclination to ostracise deviations from the norm. Furthermore, it thoroughly examines creator-creation intricacies and the "self" versus the "other" theme, critiquing society's tendency to vilify the "other" as a monstrous entity devoid of identity and human essence and characteristics. The analysis stresses the need for understanding identity deprivation and the construction of monstrosity in society. This comprehensive examination sheds light on the intricate interplay between social norms and individual identity, urging a reevaluation of social treatment towards those perceived as different or 'other.' Through Shelley's narrative lens, the paper navigates through the complexities of moral responsibility, compassion, and social prejudices, inviting readers to reflect on the broader implications of human relationships and social constructs depicted in Frankenstein.

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Smith, Rachel. "fatality of scientific monomania". Groundings Undergraduate 11 (1 de maio de 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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Harkup, Kathryn. "Victor Frankenstein: Can we separate the good from the bad?" Journal of Science & Popular Culture 2, n.º 1 (1 de março de 2019): 95–98. http://dx.doi.org/10.1386/jspc.2.1.95_7.

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Lee, Yoo-jin. "‘The monster mother’ in Frankenstein - Based on the motherhood of ‘Victor’". JOURNAL OF HUMANITIES STUDIES 126 (31 de março de 2022): 195–215. http://dx.doi.org/10.46346/tjhs.126..9.

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Coats, Karen. "Such Wicked Intent: The Apprenticeship of Victor Frankenstein (review)". Bulletin of the Center for Children's Books 66, n.º 1 (2012): 42. http://dx.doi.org/10.1353/bcc.2012.0669.

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Almeida, Laura de, e Arthur Yerro Oliveira Santos. "Frankenstein: das páginas do romance para às telas de cinema". Tradterm 38 (23 de fevereiro de 2021): 337–60. http://dx.doi.org/10.11606/issn.2317-9511.v38p337-360.

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O presente estudo aborda a intertextualidade entre o texto literário Frankenstein, ou O Prometeu Moderno (Shelley 2017), o filme adaptado de tal texto (Whale 1931) e o filme Victor Frankenstein (McGuigan 2015). Objetivamos destacar as possíveis áreas de convergência e divergência de significado entre o texto original literário e filmes adaptados a partir dele. Adotamos os conceitos de responsabilidade (Ruiz 2009) e o imaginário (Araújo 2014), nas teorias de linguagem (Costa 2002; Spica 2015) e na trajetória da Criatura (Lucas 2017). Além disso, nos baseamos nas teorias de adaptação de Hutcheon (2006), comparando-as com visões semióticas entre livros e filmes (Jeha 2004) e na transformação crítica (Wesonga 2017). Observamos que o leitor da obra literária poderá compreender melhor e interagir com significados alternativos que os filmes criam de textos literários.

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Mohammed, Samal Marf. "Illusion and Reality in Mary Shelley’s Frankenstein". Journal of University of Raparin 10, n.º 3 (29 de setembro de 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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Weaver, Harlan. "Monster Trans: Diffracting Affect, Reading Rage". Somatechnics 3, n.º 2 (setembro de 2013): 287–306. http://dx.doi.org/10.3366/soma.2013.0099.

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This article examines the somatechnics of the monstrous anger and intense feelings that move, wave-like, through Mary Shelley's Frankenstein and Susan Stryker's ‘My Words to Victor Frankenstein above the Village of Chamounix: Performing Transgender Rage’. Throughout, I examine how these feelings diffract through nodes in the texts and map out not only important differences between them, but also larger diffraction patterns that touch and move their readers: monstrous genders, language as a tool for resistance to abjection, queer kinships that lead to transformation, and a monstrous fury that reconfigures language. Taking up Karen Barad's notion of ‘intra-action’, I argue that the somatechnics of bodily feelings that move through these texts and push at their readers interpellate those of us who are open to thinking with Stryker into new and different understandings of language, materiality, and gender.

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COWLES, HENRY M. "HISTORY COMES TO LIFE". Modern Intellectual History 16, n.º 1 (17 de novembro de 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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김경순. "From the Symbolic to the Real: Victor as the Ideological Subject in Frankenstein". Journal of English Language and Literature 59, n.º 2 (junho de 2013): 221–44. http://dx.doi.org/10.15794/jell.2013.59.2.003.

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Stryker, Susan. "My Words to Victor Frankenstein Above the Village of Chamounix: Performing Transgender Rage". GLQ: A Journal of Lesbian and Gay Studies 1, n.º 3 (1994): 237–54. http://dx.doi.org/10.1215/10642684-1-3-237.

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Stryker, Susan. "Minhas palavras para Victor Frankenstein acima da aldeia de Chamonix: Performar a fúria transgênera". Revista ECO-Pós 24, n.º 1 (14 de setembro de 2021): 42–64. http://dx.doi.org/10.29146/ecopos.v24i1.27775.

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A metáfora do monstro, frequentemente usada contra pessoas transgêneras, evoca aqui a fúria transgênera diante das interdições que defendem o binarismo sexual. Diversos gêneros textuais e tipos de conhecimento são usados para explorar aspectos da experiência trans.

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Sasani, Samira, e Hamidreza Pilevar. "Modern Prometheus: Marry Shelley's Frankenstein and Rejection of Romanticism". International Journal of Applied Linguistics and English Literature 6, n.º 2 (4 de janeiro de 2017): 214. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.2p.214.

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The tool for Mary Shelley to criticize and satirize Romanticism is her famous character, Victor Frankenstein, or as the subtitle of the novel suggests: The Modern Prometheus. In Romantic beliefs, Prometheus was the symbol of limitless ability and freedom to whom many Romantic Poets pay tribute. In contrast, in Mary Shelley’s opinion, this ‘metaphysical revolt’ cannot go unpunished. The aim of this paper is to examine, through a Foucauldian reading, the mythic character of Prometheus in Romantic era, and the differences existing between Marry Shelley’s presentations of the modern version of the character and the Romantic version, and to show how Mary Shelley, belonging to other discourses rather than the dominant one, opposes the Romantic-related ideas. As Foucault believes there exist other discourses along with the dominant one all of which are in a constant struggle over power in a hierarchy. Mary Shelley follows some marginalized discourses, and her opposition to Romantic ideals stems from her relationship with other major Romantic Poets, and also from getting influence from some scientific experimentations of her day. She witnesses the harshness in her relationships with Romantic Poets, and their doomed aspirations, which agonizingly affect her life.Keywords: Foucault, Discourse, Romanticism, Prometheus, Mary Shelley, Frankenstein

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Barba Guerrero, Paula, e Maisha Wester. "African American Gothic and Horror Fiction: An Interview with Maisha Wester". REDEN. Revista Española de Estudios Norteamericanos 3, n.º 2 (15 de maio de 2022): 159–74. http://dx.doi.org/10.37536/reden.2022.3.1832.

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Maisha Wester is an Associate Professor in American Studies at Indiana University. She is also a British Academy Global Professor, hosted at the University of Sheffield. Her research focuses on racial discourses in Gothic fiction and Horror film, as well as appropriations of Gothic and Horror tropes in sociopolitical discourses of race. Her essays include “Gothic in and as Racial Discourse” (2014), “Et Tu Victor?: Interrogating the Master’s Responsibility to—and Betrayal of—the Slave in Frankenstein” (2020) and “Re-Scripting Blaxploitation Horror: Ganja and Hess’s Gothic Implications” (2018). She is author of African American Gothic: Screams from Shadowed Places (2012) and co-editor of Twenty-first Century Gothic(2019).

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Wester, Maisha. "Et Tu, Victor? Interrogating the Master’s Responsibility to—and Betrayal of—the Slave in Frankenstein". Huntington Library Quarterly 83, n.º 4 (2020): 729–48. http://dx.doi.org/10.1353/hlq.2020.0035.

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Abdullayeva, Yegane. "Intertextual Dialogue in the British Postmodern Novels: On the basis of Peter Ackroyd’s Novels". International Journal of English Linguistics 8, n.º 3 (10 de fevereiro de 2018): 239. http://dx.doi.org/10.5539/ijel.v8n3p239.

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The peculiarities of intertextual dialogue in the postmodernist novel in Britain are investigated in the article. Literary-theoretical matters of intertextuality were clarified and commented on its reflection as a form of dialogue in literature. The intertextual dialogue’s functions were analyzed on the postmodernist novel as “The house of Doctor Dee”, “The Lambs of London”, “The Casebook of Victor Frankenstein” by Peter Ackroyd, the British writer. The reminiscences, allusions, quotations, and aphorisms used in the novels in a fact form the skeleton of the works and is the means to show heroes’ characteristic features. P. Ackroyd presenting intertextual dialogue with the parallel commentary in the development of events “settles” them in certain cultural paradigms. So the writer makes open the structure of the postmodernist novel and opens the way for many interpretations.

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Bellessai, Nunzio. "Il personaggio di Dr Jekyll nella serie tv Penny Dreadful: un’analisi transmediale e postcoloniale". Le Simplegadi 21, n.º 23 (2023): 108–28. http://dx.doi.org/10.17456/simple-215.

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In questo contributo si intende analizzare, dal punto di vista transmediale e postcoloniale, il personaggio di Dr Jekyll nella serie tv Penny Dreadful. Attraverso il confronto con il protagonista di Strange Case of Dr Jekyll and Mr Hyde di Stevenson, si sottolineerà come il regista Logan colga gli elementi coloniali presenti nel romanzo e li adatti a una prospettiva postcoloniale, attribuendo al personaggio di Jekyll origini indiane. Allo stesso modo, il rapporto che Jekyll stabilisce con Victor Frankenstein è funzionale a mostrare l’evoluzione della figura archetipica del cercatore della conoscenza proibita nel passaggio transmediale. Inoltre, si evidenzierà come la trasformazione in Lord Hyde assuma un significato non solo psicologico, ma soprattutto identitario e sociale, in grado di spiegare la presenza del male nel carattere dell’ambizioso scienziato, nella società inglese vittoriana come in quella contemporanea degli Stati Uniti.

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David William Charnick. "PETER ACKROYD'S IMAGINARY PROJECTIONS: A CONTEXT FOR THE CREATURE OF THE CASEBOOK OF VICTOR FRANKENSTEIN". Modern Language Review 108, n.º 1 (2013): 52. http://dx.doi.org/10.5699/modelangrevi.108.1.0052.

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Maretti Gonçalves, Tiago. "Cinema, câmera e ação: Utilizando um filme para o ensino de tópicos de Biologia no ensino médio". Research, Society and Development 10, n.º 4 (21 de abril de 2021): e58710414438. http://dx.doi.org/10.33448/rsd-v10i4.14438.

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Nos tempos atuais, mais de que nunca, o professor é desafiado em propor alternativas metodológicas de ensino com o intuito de despertar e facilitar a aprendizagem dos alunos. A Biologia é uma área fascinante, no entanto, é dotada de muitos termos e processos que devem ser muito bem contextualizados pelos discentes. Neste sentido, o presente trabalho possui como principal objetivo a proposta de uma sequência didática aos alunos do ensino médio, utilizando o filme comercial denominado “Victor Frankenstein” para facilitar a aprendizagem dos alunos em temas relacionados a origem da vida, e até mesmo a ética e a bioética na pesquisa científica. Como metodologia inicial, o filme será reproduzido aos alunos e no final, o professor irá problematizar e discutir vários assuntos no escopo da Biologia, potencializando e facilitando o conhecimento adquirido nas aulas teóricas de Biologia. Assim, acreditamos que a abordagem do filme proposto poderá despertar o interesse dos alunos, tornando a aprendizagem mais efetiva nos temas abordados.

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Onega, Susana. "Of Sexbots, Cyborgs and Artificial Intelligence: Articulations of the Posthuman Subject in Jeanette Winterson’s Frankissstein: A Love Story". Pólemos 17, n.º 1 (1 de abril de 2023): 89–109. http://dx.doi.org/10.1515/pol-2023-2006.

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Abstract Jeanette Winterson’s latest novel, Frankissstein: A Love Story (2019), was written as a contribution to the world-wide celebrations of the second centenary of the publication of Mary Shelley’s Frankenstein. Evincing the characteristic excessiveness and parodic stance of the postmodern romance, it alternates two interlocked story lines. The first, narrated by Mary Shelley, is situated during her own life span and populated by Mary herself, Percy Bysshe Shelley, Lord Byron, John William Polidori and Claire Clairmont. The second, situated in 2018, is narrated by Dr Ry Shelley, a transgender medical doctor who sells body parts to Prof. Victor Stein, a cutting-edge researcher in Artificial Intelligence. The essay argues that for all its parodic doubleness, temporal circularity, thematic enmeshment and palimpsestic structure, the novel draws a clear-cut distinction between the Idealist conception of subjectivity endorsed by the male Romantic poets that leads to Prof. Stein’s transmodern conception of a future universe colonised by bodiless enhanced humans, and Mary Shelley’s affectively charged conception of embodied subjectivity that foreruns Ry Shelley’s posthuman conception of fluid subjectivity.

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Roumette, Monique. "Espagne « année zéro ». Deux notes prétextes : doux Frankenstein, inquiétant Maeterlink, et quelques remarques sur l'écriture d'un film de Victor Erice". Cahiers de linguistique hispanique médiévale 22, n.º 1 (1998): 371–80. http://dx.doi.org/10.3406/cehm.1998.904.

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Илунина, Анна Александровна. "INTERTEXUAL CONNECTIONS OF JEANETTE WINTERSON’S “FRANKISSSTEIN” AND MARY SHELLEY’S “FRANKENSTEIN: OR THE MODERN PROMETHEUS”". Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, n.º 1(110) (30 de março de 2021): 34–42. http://dx.doi.org/10.37972/chgpu.2021.110.1.005.

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Постмодернистский роман Дж. Уинтерсон “Frankissstein” балансирует между жанрами, являя собой причудливый сплав научной фантастики, сатирического памфлета, готического, любовного романа; психологического романа о трудностях взросления. В диалоге с претекстом, романом «Франкенштейн, или Современный Прометей» (1818) авторства Мэри Шелли, современная писательница размышляет о возможности и оправданности человеческого вмешательства в природу, в том числе половую, уже на новом витке развития цивилизации, в разгар очередной научно-технической революции. Действие романа “Frankissstein” разворачивается в двух временных и пространственных плоскостях, связанных системой героев-двойников. Первая отсылает к истории создания романа «Франкенштейн, или Современный Прометей» и биографии его автора Мэри Шелли. Второй пласт повествования рассказывает о мире, похожем на современный, где доктор Виктор Штейн задействован в долгосрочном научном проекте, связанном с сохранением в замороженном виде тел добровольцев, с целью их дальнейшего воскрешения силами науки, а также делает опыты по восстановлению, в автономии от тела, интеллекта умерших. Феминистская проблематика представлена в романе в оригинальном ключе. Протест против гендерной стереотипизации в романе соседствует с раздумьями о гендерной и сексуальной идентичности и сопряженной с ними дискриминации. The postmodernist novel “Frankissstein” by Jeanette Winterson balances between genres, presenting a fusion of science fiction, satirical pamphlet, gothic, romance novel; psychological novel about growing up, coupled with trauma. In a dialogue with the pretext, “Frankenstein, or Modern Prometheus” (1818) by Mary Shelley, Winterson reflects on the possibility and justification of human intervention in nature, including sexual, already at a new stage of development of civilization, in the midst of another scientific and technological revolution. The novel “Frankissstein” takes place in two temporal and spatial planes, connected by a system of double heroes. The first refers to the history of the creation of the novel “Frankenstein, or Modern Prometheus” and the biography of its author Mary Shelley. The second layer of the narrative tells about a world similar to the modern, where Dr. Victor Stein is involved in long-term research project related to preserving frozen bodies of volunteers, with a view to their future resurrection of the forces of science and doing experiments on the restoration of the autonomy of the body, the intellect of the dead. Feminist issues are presented in the novel in an original way. The protest against gender stereotyping in the novel is juxtaposed with reflections on gender and sexual identity and the discrimination associated with them.

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Suppia, Alfredo. "Cinema em retalhos: Super-8, Marcos Bertoni e o Dogma 2002". Lumina 14, n.º 2 (30 de agosto de 2020): 117–33. http://dx.doi.org/10.34019/1981-4070.2020.v14.30909.

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Este artigo enfoca o cineasta e artista plástico Marcos Bertoni, criador do movimento Dogma 2002. Com uma obra em Super-8 reconhecida e premiada no Brasil, Marcos Bertoni inaugurou um estilo de cinema de remix muito particular com seu movimento Dogma 2002, paródia do Dogma 95 dinamarquês. O Dogma 2002 de Bertoni tem um único e simples mandamento: “Tudo é permitido, menos filmar”. O movimento conta com mais de uma dezena de filmes, a começar por Recuerdos da República (2002), uma obra de forte teor político. Em seguida, Bertoni realizou mais filmes Dogma 2002 como Dr. Eckardt (2002), O 24 Horas (2004), e Cocô Preto (2003), alguns deles premiados em festivais pelo Brasil. Todos filmes muito divertidos e irreverentes, misturando comédia, ficção científica e policial, com matizes políticas. Ainda hoje o Dogma 2002 de Marcos Bertoni continua vivo – e se reciclando. Sob o pseudônimo Marc Breton, Bertoni realizou Zazá: o Artista, o Mito (2013) e As Núpcias do Coronel Santo Amaro (2019), entre outros títulos recentes, todos sob o signo do Dogma 2002. São filmes feitos a partir de rolos comprados em feiras livres ou sebos, doados por amigos ou parentes, ou simplesmente achados em latas de lixo. Cortados, remontados e (re)dublados, às vezes incorporam imagens rodadas pelo próprio Bertoni, porém ressignificadas, dando origem a criaturas fílmicas inesperadas. Marcos Bertoni, o Victor Frankenstein do cinema Super-8 brasileiro.

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Martines, Ivan. "Ciência e Ética: Fritz Haber e a Guerra Química". Circumscribere International Journal for the History of Science 28 (23 de fevereiro de 2022): 30. http://dx.doi.org/10.23925/1980-7651.2021v28;p30.

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Dentre as várias inovações utilizadas na Primeira Grande Guerra, como blindados, aviões e submarinos, os gases químicos, utilizados por Alemanha, França e Inglaterra, mostraram-se como uma das mais letais e temíveis armas já vistas, cujo desenvolvimento valeu-se da ação direta de vários cientistas, entre eles, Fritz Haber, alemão de ascendência judaica, ganhador do prêmio Nobel de química de 1918, que não só encabeçou as pesquisas e o desenvolvimento de uma arma baseada em gás, como também liderou sua aplicação no campo de batalha. Se a ciência havia despertado a ilusão de que seria para a humanidade a encarnação do mito de Prometeu, a Primeira Guerra mostrou uma face bem menos nobre, para dizer o mínimo, frente aos horrores oriundos do uso bélico sistemático de avanços científicos, levando à reflexão de que talvez fosse mais adequado associar-se a ela a figura do doutor Victor Frankenstein. O cientista e, por extensão, a Ciência, representava enfim um caminho para salvação ou destruição da humanidade? Mas seria simples e pertinente classificar a ciência de forma tão maniqueísta e julgá-la moralmente em decorrência de suas descobertas e aplicações, mesmo quando se trata de seu uso bélico? E fazê-lo com seus principais representantes, os cientistas? Estas são questões levantadas por este trabalho, que busca uma análise dos aspectos morais do uso do conhecimento científico, à luz da História da Ciência, abordando dificuldades de fazê-la sem incorrer em anacronismo, ingenuidade ou superficialidade.

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Harrison, Gary, e William L. Gannon. "Victor Frankenstein’s Institutional Review Board Proposal, 1790". Science and Engineering Ethics 21, n.º 5 (14 de setembro de 2014): 1139–57. http://dx.doi.org/10.1007/s11948-014-9588-y.

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