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Artigos de revistas sobre o tema "Frankenstein, victor"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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1

Nensilianti, Nensilianti, Yuliana Yuliana, and Ridwan Ridwan. "REPRESENTASI MAKNA TANDA/SIMBOL DALAM FILM VICTOR FRANKENSTEIN (2004) KARYA MARY SHELLEY." Hasta Wiyata 7, no. 1 (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

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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, no. 2 (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 or

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Pinel Benayas, Ana. "Victor Frankenstein y la racionalidad instrumental = Victor Frankenstein and the instrumental rationality." Estudios Humanísticos. Filología, no. 42 (December 18, 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, and Yulan Puluhulawa. "DECONSTRUCTIVE ANALYSIS OF MAIN CHARACTER IN FRANKENSTEIN NOVEL BY MERY SHELLEY." British (Jurnal Bahasa dan Sastra Inggris) 7, no. 1 (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

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Koepke, Yvette. "Lessons from Frankenstein: narrative myth as ethical model." Medical Humanities 45, no. 1 (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

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Heggestad, Jon. "On Frankenstein and How (Not) to Be a Queer Parent." Victoriographies 13, no. 2 (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 t

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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, no. 2 (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

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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, no. 3 (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, no. 1 (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 Vi

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Weidmann, Anja. "Death's Enemy: The Pilgrimage of Victor Frankenstein." BMJ 327, Suppl S2 (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, no. 4 (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 cauti

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Bhandari, Sabindra Raj. "The Projection of the Double in Mary Shelly’s Frankenstein." Pursuits: A Journal of English Studies 6, no. 1 (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 mon

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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, no. 1 (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 th

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Pomian, Joanna. "Le monstre de Victor Frankenstein : une créature communicante." Quaderni 15, no. 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, no. 1 (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, no. 9 (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 t

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Rodrigues, Cândida Laner. "A TRADUÇÃO E A CRIAÇÃO DE MONSTROS:." Belas Infiéis 2, no. 1 (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, no. 2 (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,

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Havard, John Owen. "“What Freedom?”." Nineteenth-Century Literature 74, no. 3 (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 destitut

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Lacefield, Kristen. "Mary Shelley’s Frankenstein, the Guillotine, and Modern Ontological Anxiety." Text Matters, no. 6 (November 23, 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

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Basso, Eugênia Adamy, and Eduardo Marks De Marques. "O corpo (não) humano e sua importância na questão identitária: o monstro de Frankenstein ou Prometeu moderno." Raído 12, no. 31 (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 Woo

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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, no. 4 (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 b

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Dantas Junior, Hamilcar Silveira, and 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, no. 2 (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 rep

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Brown, James. "Through the Looking Glass: Victor Frankenstein and Robert Owen." Extrapolation 43, no. 3 (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, no. 6 (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, no. 5 (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 c

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Smith, Rachel. "fatality of scientific monomania." Groundings Undergraduate 11 (May 1, 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

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Harkup, Kathryn. "Victor Frankenstein: Can we separate the good from the bad?" Journal of Science & Popular Culture 2, no. 1 (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 (March 31, 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, no. 1 (2012): 42. http://dx.doi.org/10.1353/bcc.2012.0669.

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Almeida, Laura de, and Arthur Yerro Oliveira Santos. "Frankenstein: das páginas do romance para às telas de cinema." Tradterm 38 (February 23, 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

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Mohammed, Samal Marf. "Illusion and Reality in Mary Shelley’s Frankenstein." Journal of University of Raparin 10, no. 3 (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, th

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Weaver, Harlan. "Monster Trans: Diffracting Affect, Reading Rage." Somatechnics 3, no. 2 (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 r

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COWLES, HENRY M. "HISTORY COMES TO LIFE." Modern Intellectual History 16, no. 1 (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

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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, no. 2 (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, no. 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, no. 1 (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, and Hamidreza Pilevar. "Modern Prometheus: Marry Shelley's Frankenstein and Rejection of Romanticism." International Journal of Applied Linguistics and English Literature 6, no. 2 (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

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Barba Guerrero, Paula, and Maisha Wester. "African American Gothic and Horror Fiction: An Interview with Maisha Wester." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (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” (

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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, no. 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, no. 3 (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 heroe

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Bellessai, Nunzio. "Il personaggio di Dr Jekyll nella serie tv Penny Dreadful: un’analisi transmediale e postcoloniale." Le Simplegadi 21, no. 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 cono

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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, no. 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, no. 4 (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 mes

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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, no. 1 (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 transgen

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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, no. 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, no. 1(110) (March 30, 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

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Suppia, Alfredo. "Cinema em retalhos: Super-8, Marcos Bertoni e o Dogma 2002." Lumina 14, no. 2 (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

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Martines, Ivan. "Ciência e Ética: Fritz Haber e a Guerra Química." Circumscribere International Journal for the History of Science 28 (February 23, 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 ser

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Harrison, Gary, and William L. Gannon. "Victor Frankenstein’s Institutional Review Board Proposal, 1790." Science and Engineering Ethics 21, no. 5 (2014): 1139–57. http://dx.doi.org/10.1007/s11948-014-9588-y.

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