Relevant bibliographies by topics / Frankenstein

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  2. Dissertations / Theses
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  4. Book chapters
  5. Conference papers
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Academic literature on the topic 'Frankenstein'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 June 2025

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Journal articles on the topic "Frankenstein"

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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 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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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 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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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’ 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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Paré, Zaven. "Frankenstein’s lectures." Remate de Males 39, no. 1 (2019): 482–503. http://dx.doi.org/10.20396/remate.v39i1.8652889.

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Frankenstein’s creature is twice-made; firstly, Frankenstein is an organic being without any real biological parentage, and literary being through his own reading, which makes him aware of his intellectual and emotional affinities with humans. The trap closes around Frankenstein’s creature, imprisoning him in the values he assimilates through reading, which inform him of the full scope of his monstrous identity. Nonetheless, it is important to underline that Mary Shelley never made the creature’s readings insignificant, insubstantial or incomprehensible. On the contrary, they could be said to be ideologically, mythologically and symbolically edifying. Frankenstein is thus first and foremost the story of a monster who reads, and since it takes him a while to acquire language, learn to read and express himself orally, he only gradually begins to understand human nature. Mirroring his patchwork of a body, put together piecemeal, the monster begins to understand the world, an awareness that leaves him prey to the gravest doubts.
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Cañete Vera, Marcela. "Frankenstein’s Monster and the Qualitative Experience." English Studies in Latin America: A Journal of Cultural and Literary Criticism, no. 4 (June 22, 2023): 1–16. http://dx.doi.org/10.7764/esla.61903.

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The most fascinating topic treated in Mary Shelley’s novel, Frankenstein, is human nature and consciousness in non human beings. The novel’s character Viktor Frankenstein plays the role of the inventor of a being brought to life only by artificial means. This creature, though possessing the same physiological characteristics as human beings, has no conscience due to its non human, artificial precedence. However, he is constantly giving signs that he could be regarded as a conscious being, principally because of his use of language throughout the novel that expresses he is actually experiencing qualia. The present research paper will attempt to question the possibility of the existence of qualia phenomena in non human entities, based on the example of Frankenstein’s creature. The representation of Viktor Frankenstein’s creature in the novel as a subject with qualitative experience raises the question of whether he is conscious or rather an imitator of qualia, thus a philosophical zombie.
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Craciun, Adriana. "Writing the Disaster: Franklin and Frankenstein." Nineteenth-Century Literature 65, no. 4 (2011): 433–80. http://dx.doi.org/10.1525/ncl.2011.65.4.433.

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Adriana Craciun, “Writing the Disaster: Franklin and Frankenstein” (pp. 433–480) The occasion for this essay is the surprise meeting of three texts from distinct traditions—Gothic romance, evangelical theology, and Enlightenment exploration—during the course of an Arctic disaster. The essay explores the relationship of the official disaster narrative (John Franklin's Narrative of a Journey to the Shores of the Polar Sea [1823]) to these heterogeneous textual companions, particularly Mary Shelley's Frankenstein (1818). Published by the Admiralty's official bookseller, John Murray, the official Franklin Narrative emerged from a highly centralized governmental and publishing network, one that attempted a virtual monopoly on prestigious Arctic publications from 1818 to 1848. The essay uncovers the complex institutional connections of this publishing nexus, and the strong centripetal pull exerted upon them by governmental authorities, while simultaneously considering a range of fugitive writings—chief among them Frankenstein—that escaped the pull of this formidable nexus. Frankenstein's proximity to the center of polar print culture and its highly regulated discursive practices reaffirms the widespread persistence not only of collaborative authorship into the nineteenth century, but also of more radically unindividualized authorship practices carried out across institutional lines. Thus, rather than asking how novels like Frankenstein were influenced by polar exploration, this essay broadens the field of inquiry to consider authorship and publishing practices across diverse domains, including corporate, governmental, and commercial.
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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 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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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 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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Neill, Natalie. "The Stepford Frankensteins: Feminism, Frankenstein , and The Stepford Wives." Journal of American Culture 41, no. 3 (2018): 257–66. http://dx.doi.org/10.1111/jacc.12934.

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Camidge, Ross. "Frankenstein." BMJ 335, Suppl S5 (2007): 0711424c. http://dx.doi.org/10.1136/sbmj.0711424c.

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Dissertations / Theses on the topic "Frankenstein"

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Santamaria, Sylvia S. "Darwin or Frankenstein?" ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2639.

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Through sculpture and drawing, I create my own versions of natural specimens primarily based upon the visual unity of disparate organisms. Invented specimens are composed using a variety of processes employing a mixture of atypical materials following the (20th, 21st century) Postmodern shift away from formalist and traditional uses of any singular medium. As well as a variety of art materials, the specimens are hybrids of organic and biomorphic elements, blurring boundaries between botanical, animal, fungal, metal, and mineral. Is my approach perhaps like Charles Darwin, observant and studious naturalist, or am I more like Dr. Frankenstein, science fiction maker of monstrosities?
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Königkrämer, Lobke. "Frankenstein: a monstrous romanticism." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/9036.

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Includes bibliographical references.<br>The purpose of this thesis is to examine the relationship between Mary Shelley's first novel Frankenstein and her own understanding of Romanticism. The overarching theme is to illustrate how Mary Shelley navigates her criticism of Romanticism through the medium of Victor Frankenstein as a character. With the inspection of Victor Frankenstein some autobiographical similarities are drawn between the protagonist and Percy Bysshe Shelley. Another aim and extension of this autobiographical project is to examine how Percy Shelley's editing of the original manuscript of Frankenstein added or detracted from the plot. Finally, the genre implications of Frankenstein are examined in this thesis. In the first chapter, Romanticism is examined in relation to how the Romantics themselves envisioned their ideology so as to ascertain which aspects Mary Shelley draws particular attention to. The Romantic theorists used in this section specifically, Abercrombie and Schueller, are used to highlight the fact that Romanticism can be defined as a unified system of belief. Certain tenets of this ideology are then shown to be the main points that Mary Shelley criticises. In the second chapter, the autobiographical element of Mary Shelley's relationship with Percy Shelley is examined. The parallels between Victor Frankenstein and Percy Shelley are made apparent through the use of biographers Hoobler and Seymour. From that, the precise changes that Percy Shelley made to the original manuscript of Frankenstein are scrutinised with Mellor's insightful explication of the original that exists in the Bodleian Library. The conclusion of this chapter solidifies the argument of the first chapter, and as close attention is paid throughout both chapters to the novel as a primary source of confirmation, the complex navigations and articulations of Romanticism throughout Frankenstein are made apparent. In the third chapter, attention is given specifically to the genre implications of Frankenstein, and the relationship and consistent oscillation between Romanticism and the Gothic is traced. The theorists used in this part of the thesis vary widely and include Botting, Golinski and Alwes. It is argued that in her destabilisation of Romanticism, Mary Shelley invariably incorporates the Gothic into her text. It is this complex weaving of genres which is particularly interesting in relation to how Mary Shelley's disillusionment with Romanticism produces a text that has such a vast array of genre possibilities. Finally, this thesis looks at the negative interpretation of Romanticism specifically in relation to Mary Shelley's critical expressions of its ideology in Frankenstein. As a cautionary tale, the consequences of Romantic principles unchecked by a societal conscience, Mary Shelley seems to have used Frankenstein as a way of expressing her disillusionment. The repercussions of what ultimately is an original story of a scientist who unleashes his creation without concern for its welfare are still present in the common consciousness of modern society.
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Schatz, Sandra Regina. "From frankenstein to matrix." Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/83728.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.<br>Made available in DSpace on 2012-10-20T02:49:28Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-26T01:01:56Z : No. of bitstreams: 1 182188.pdf: 2777855 bytes, checksum: 7b4d6a42680bc77daf11ab9ee93f46bd (MD5)<br>Este trabalho lida com o gênero literário de ficção científica. Combinando os princípios da "Cultural Criticism" e "Reader-Response Criticism," ele discute e interpreta duas narrativas ocidentais: Frankenstein de Mary Shelley e Matrix dos irmãos Wachowski. O trabalho se preocupa com dois aspectos relevantes: (1) a cultura Ocidental esmagando dependência na ciência e tecnologia e (2) o papel das narrativas como um instrumento de ambos apoio e mudança em relação aos valores e verdades propostas pelo discurso dominante ou cultura paradigmática.
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Botting, David Charles. "Making monstrous : Frankenstein, criticism, theory." Thesis, Cardiff University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238150.

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

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This thesis investigates the male body in Mary Shelley’s novel Frankenstein, first published in 1818, and Kenneth Branagh’s film Mary Shelley’s Frankenstein, released in 1994. So doing, the thesis focuses on the analysis of hysteria and homoeroticism in three male-male relationships: Victor and the monster, Victor and Walton, and Victor and Clerval. The main argument claims that, in the novel, Victor Frankenstein displays symptoms of male hysteria, which result from his repressing homoerotic desire and give evidence of male embodiment. It is not possible for Victor to repress bodily needs in the long run, and he experiences and reacts to the world with his body and mind. In the film, on the other hand, Victor’s heterosexuality is emphasised and he is depicted as a strong, powerful man rather than a nervous member of the upper class. The divergences between the representations of the male body in the primary texts, the thesis argues, reflect different ideas about the male body in the 1810s and 1990s. Although the image of the muscular and masculine, heterosexual man that was prevalent in the 1990s was already in the making in the 1810s, it was not as consolidated. The discussion of masculinity from a historical perspective makes use of Michel Foucault’s outline of the history of sexuality, Mark S. Micale’s account of hysteria and George L. Mosse’s ideas about masculinity. For a differentiated analysis of male-male relationships, Eve Kosofsky Sedgwick’s continuum of male homosocial desire is drawn on.
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Nidesjö, Liselott. "Who is the Monster in Mary Shelley's Frankenstein? : A Psychoanalytic Reading of the Double Nature of Victor Frankenstein." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-18981.

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This essay challanges one of the worlds most famous horror story, Mary Shelley'sFrankenstein.Who is the monster in this novel? People know the story but they often tend to blend the two head characters, Victor Frankenstein and his creature. Based on the psychoanalysis, founded by Sigmund Freud, this essay argues that Victor Frankenstein is not the nice guy he seems to be. Appearances are not always what they seem and Victor Frankenstein turns into a "monster of the soul" due to suppressed feelings. His creature never stands a chance without any guidence and love. The creature is instead turned into a "monster of the body" since it is constantly badly treated from the start
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Alegrette, Alessandro Yuri [UNESP]. "Frankenstein: uma releitura do mito de criação." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91524.

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Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-02Bitstream added on 2014-06-13T20:13:43Z : No. of bitstreams: 1 alegrette_ay_me_arafcl.pdf: 573460 bytes, checksum: 4e564e7284dc1d936b52f3ee5ff8275f (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>A dissertação de mestrado, “Frankenstein: uma releitura do mito de criação”, tem como principal objetivo demonstrar como a escritora inglesa Mary Wollstonecraft Shelley, por meio de seu romance Frankenstein, ou o moderno Prometeu (1818), conseguiu criar um novo mito, isto é, o mito de Frankenstein, contribuiu para a renovação do romance gótico e para a criação de uma nova modalidade literária - a ficção científica. No primeiro capítulo foi realizado um estudo sobre as origens, características e principais obras do romance gótico. No segundo capítulo é abordada a relação entre mito e literatura e são analisados quais mitos aparecem no enredo do romance de Mary Shelley, enfatizando-se a importância do relato mítico de Prometeu. No terceiro capítulo é estudada a construção do discurso narrativo mítico de Frankenstein e é demonstrada a intertextualidade dessa obra com outros textos, tais como poemas, romances e estudos filosóficos e científicos. No quarto e último capítulo é demonstrado a releitura do mito de criação feita por Mary Shelley, a conseqüente criação do mito de Frankenstein, e as diversas interpretações e releituras que o romance recebeu, terminando com Blade Runner (O caçador de andróides, 1982), filme do cineasta inglês Ridley Scott que, ao promover a atualização do mito de Frankenstein, deu uma contribuição significativa para sua permanência em nossa cultura<br>The main aim of this Master’s Thesis, “Frankenstein: a rewriting of the myth of creation, is demonstrate how the English writer Mary Shelley in her novel Frankenstein, or The Modern Prometheus (1818), created a new kind of myth, renewed the gothic novel and gave origin to a new literary genre - science fiction. The first chapter discusses – the origins, characteristics and main works of the Gothic literature. The second chapter explores the relationships between myth and literature, and analyses which myths are present in the plot of Mary Shelley’s novel, stressing the importance of the Promethean’s story. The third chapter is concerned with the construction of mythic narrative discourse and with the novel’s intertextuality with different kind texts, such as poems, another novels and philosophical and scientific studies. The fourth and last chapter concentrates on Mary Shelley’s rewriting of the myth of creation, on the different ways her novel was interpreted and read, and it finishes with study of the film by the English director Ridley Scott, Blade Runner (1982), that offered a major contribution to update and foster the permanence of the Frankenstein’s myth in our culture
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Rigby, Mair. "Monstrous desire : Frankenstein and the queer Gothic." Thesis, Cardiff University, 2006. http://orca.cf.ac.uk/56070/.

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Focussing upon Mary Shelley's Frankenstein and John Polidori's The Vampyre, this study explores the extent to which Gothic fiction and queer theory can be posited as mutually illuminating fields of academic inquiry. There is certainly much scope for developing the exciting perspectives made possible by the work of theorists such as Michel Foucault, Eve Kosofsky Sedgwick and Judith Butler in relation to Gothic fiction. But, in my view, it is no less important to consider how Gothic texts can be utilised to discuss queer scholarship and illustrate queer reading practices. Romantic Gothic texts produced during the early nineteenth century are well placed to engage with the discursive practices through which modern western ideas about sex, gender, sexuality and desire have materialised. I have therefore structured the chapters in this study around some of the pressure points in modern sexual discourse. In relation to critical and cultural issues surrounding the family, marriage, same-sex desire, sexual rhetoric and the author, the questions raised by these texts can be shown to complement questions which have been raised by queer scholarship. I propose that the genre still has much to reveal about the way we have come to think, speak and fantasise about the field of the sexual. I will also attempt to highlight areas where Gothic fiction could be developed as a site of queer critical pedagogy because these texts could provide accessible and enjoyable routes via which to introduce students to queer theory and reading practices. Overall, this study is intended to contribute productively to queer studies, Gothic studies and the emergent fields of Queer Gothic and Queer Romantic inquiry.
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Paza, Alexandre Dias. "Ciência e comunicação - entre Fausto e Frankenstein." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27154/tde-21072009-163008/.

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A Modernidade e a Pós-modernidade, em seus antagonismos produziram discursos de legitimação de projetos os quais deslocam, um em relação ao outro, seus sentidos. Tudo que se moveu neste cenário carregou consigo e se embateu com as ambigüidades e aporias que aí se deram. Assim, portanto, se desenvolveu a Ciência Moderna, expandindo seus campos, legitimando novos discursos ora pela vicariedade, ora baseada na alteridade e ora utilizando a paralogia como recurso. Este é o caso da Ciência da Comunicação que, depois da transição vicariedade/alteridade buscou legitimação discursiva em teorias que substantivassem sua autonomia. Entre elas está a Teoria da Recepção e/ou Teoria da Mediação como vem sendo nomeada. Em Jesús Martín-Barbero os estudos de recepção encontraram vigor para tornar a Ciência da Comunicação não só um discurso científico legítimo, mas também sustentar um projeto de autonomia do pensamento latino americano. Constituído nosso objeto, Dos meios às mediações, obra de Martín-Barbero que referencia o projeto ousado o qual a Comunicação tomou para si, traz, no entanto, uma série de problemas epistemológicos no mapa noturno que desenhou, os quais carecem ser revistos, na medida em que sustentam metodologias empregadas hoje por laboratórios de pesquisa que tomam a recepção como caminho. Dialética, Mediação e Subalternidade, do mesmo modo que os limites do deslocamento da categoria trabalho para a categoria comunicação e os limites da mediação subjetiva, estão no cerne das categorias as quais não prescindem de uma discussão séria a fim de se resolver os problemas de legitimação destes trabalhos empíricos na base da Ciência da Comunicação. Discutir as trajetórias das Ciências, bem como debater sobre as bases epistemológicas do discurso que se pretende autônomo, do mesmo modo, discutir os limites da superação de um pensamento europeu ainda com vitalidade, estão na pauta de nosso trabalho o qual agora submetemos à leitura da comunidade científica.<br>The Modernity and the Post-modernity, in yours antagonisms, produced legitimations speeches to projects wich dislocate, one in relation other, yours senses. All what move it in this scene, carry on with yourself and embat it with te ambiguities and apories that in there happened. This way, therefore, developed it the Modern Science, dilated your fields, legitimating news speeches one moment by vicarity, the next by alterity and the next using the paralogy like resource. This is the case of the Science of the Communication what then transition vicarity/alterity searched legitimations speechesin theories who substantive your autonomy. Between they is the Theory of Reception and/or Theory of Mediation, how goes being called. In Jesús Martín-Barbero, the studies of reception found force to turn the science of the Communication into doesnt only a scientific speech legitimated, but too to support a project of autonomy of thought latin american. Building our object, Dos meios às Mediações, of Martín- Barbero who referances the daring project that the Communication take to it, bring, however, a whole series epistemologic problems in the night map designed by him and that need of revision, cause support the methodologies emploied today in labs of research what take the reception on like your way. Dialect, Mediation and Subalternity are in the center of the categories who doesnt excuse of a severe epistemologic discussion to solve the problems of legitimation these empirics terms in the base of the Science of Communication. To question the route of sciences, well like to debate about the epistemics bases of speeches that pretend autonomy itself, well like the limits of superation of european thought, yet in force are in the lines of our work that now we submit it to the reading of scientific comunity.
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Alegrette, Alessandro Yuri. "Frankenstein : uma releitura do mito de criação /." Araraquara : [s.n.], 2010. http://hdl.handle.net/11449/91524.

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Orientador: Maria Clara Bonetti Paro<br>Banca: Karin Volobuef<br>Banca: José Garcez Ghirardi<br>Resumo: A dissertação de mestrado, "Frankenstein: uma releitura do mito de criação", tem como principal objetivo demonstrar como a escritora inglesa Mary Wollstonecraft Shelley, por meio de seu romance Frankenstein, ou o moderno Prometeu (1818), conseguiu criar um novo mito, isto é, o mito de Frankenstein, contribuiu para a renovação do romance gótico e para a criação de uma nova modalidade literária - a ficção científica. No primeiro capítulo foi realizado um estudo sobre as origens, características e principais obras do romance gótico. No segundo capítulo é abordada a relação entre mito e literatura e são analisados quais mitos aparecem no enredo do romance de Mary Shelley, enfatizando-se a importância do relato mítico de Prometeu. No terceiro capítulo é estudada a construção do discurso narrativo mítico de Frankenstein e é demonstrada a intertextualidade dessa obra com outros textos, tais como poemas, romances e estudos filosóficos e científicos. No quarto e último capítulo é demonstrado a releitura do mito de criação feita por Mary Shelley, a conseqüente criação do mito de Frankenstein, e as diversas interpretações e releituras que o romance recebeu, terminando com Blade Runner (O caçador de andróides, 1982), filme do cineasta inglês Ridley Scott que, ao promover a atualização do mito de Frankenstein, deu uma contribuição significativa para sua permanência em nossa cultura<br>Abstract: The main aim of this Master's Thesis, "Frankenstein: a rewriting of the myth of creation, is demonstrate how the English writer Mary Shelley in her novel Frankenstein, or The Modern Prometheus (1818), created a new kind of myth, renewed the gothic novel and gave origin to a new literary genre - science fiction. The first chapter discusses - the origins, characteristics and main works of the Gothic literature. The second chapter explores the relationships between myth and literature, and analyses which myths are present in the plot of Mary Shelley's novel, stressing the importance of the Promethean's story. The third chapter is concerned with the construction of mythic narrative discourse and with the novel's intertextuality with different kind texts, such as poems, another novels and philosophical and scientific studies. The fourth and last chapter concentrates on Mary Shelley's rewriting of the myth of creation, on the different ways her novel was interpreted and read, and it finishes with study of the film by the English director Ridley Scott, Blade Runner (1982), that offered a major contribution to update and foster the permanence of the Frankenstein's myth in our culture<br>Mestre
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Books on the topic "Frankenstein"

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Cremonini, Giorgio. Frankenstein. L'epos, 2009.

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Shelley, Mary Wollstonecraft, Webb Robert H, Ann Brewster, and Norman B. Saunders. Frankenstein. CCS Books, 2016.

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Shelley, Mary Wollstonecraft. Frankenstein. Royal Classics, 2020.

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Shelley, Mary Wollstonecraft. Frankenstein. Viking, 1998.

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Shelley, Mary Wollstonecraft. Frankenstein. [CreateSpace], 2013.

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Shelley, Mary Wollstonecraft. Frankenstein. Modern Publishing Group, 1991.

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Shelley, Mary Wollstonecraft. Frankenstein. Oneworld Classics, 2008.

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Shelley, Mary Wollstonecraft. Frankenstein. Dover Publications, 2009.

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Shelley, Mary Wollstonecraft, and Julie Harris. Frankenstein. Playaway Digital Audio, 2009.

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Hutchinson, Emily. Frankenstein. Lake Education, 1996.

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Book chapters on the topic "Frankenstein"

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Whale, James. "Frankenstein." In 100 Science Fiction Films. British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92604-6_33.

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Winter, Michael. "Frankenstein." In Ende eines Traums. J.B. Metzler, 1993. http://dx.doi.org/10.1007/978-3-476-00006-4_9.

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Lisica, Flora. "Frankenstein." In The Palgrave Encyclopedia of the Possible. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-98390-5_89-1.

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Lisica, Flora. "Frankenstein." In The Palgrave Encyclopedia of the Possible. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-90913-0_89.

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"Frankenstein." In Frankenstein's Island. Cambridge University Press, 1986. http://dx.doi.org/10.1017/cbo9780511735547.007.

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Dawley, J. Searle. "Frankenstein." In 100 American Horror Films. The British Film Institute, 2022. http://dx.doi.org/10.5040/9781839021428.0040.

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Aydintan, Marcus. "Frankenstein." In Libretti von Reinhard Febel. Georg Olms Verlag, 2024. http://dx.doi.org/10.5771/9783487423975-275.

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Shelley, Mary. "FRANKENSTEIN." In Verdens bedste bestsellers. Aarhus University Press, 2017. http://dx.doi.org/10.2307/j.ctv3405qhx.5.

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"Acknowledgements." In Frankenstein. Columbia University Press, 2014. http://dx.doi.org/10.7312/hort16743-001.

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"1. Welcome to Nightmare Theatre: Meeting Frankenstein." In Frankenstein. Columbia University Press, 2014. http://dx.doi.org/10.7312/hort16743-002.

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Conference papers on the topic "Frankenstein"

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Ament, Maartje. "Frankenstein and human error." In the 2011 annual conference extended abstracts. ACM Press, 2011. http://dx.doi.org/10.1145/1979742.1979514.

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Ji, Han, and Jiezhen Niu. "The Herculean Echoes in Frankenstein." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.192.

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Falkenstrøm, Cecilie Waagner. "ARTificial Intelligence: From Frankenstein to FRANK." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.37.

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Cheng, Jiaming. "An Analysis of Ecofeminism in Frankenstein." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.120.

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Yang, Siyu. "Homophobia and the Queered Gothic in Frankenstein." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.504.

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Liu, Xiaofeng, Site Li, Lingsheng Kong, et al. "Feature-Level Frankenstein: Eliminating Variations for Discriminative Recognition." In 2019 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2019. http://dx.doi.org/10.1109/cvpr.2019.00073.

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Singh, Kuldeep, Ioanna Lytra, Arun Sethupat Radhakrishna, Akhilesh Vyas, and Maria-Esther Vidal. "Dynamic Composition of Question Answering Pipelines with FRANKENSTEIN." In SIGIR '18: The 41st International ACM SIGIR conference on research and development in Information Retrieval. ACM, 2018. http://dx.doi.org/10.1145/3209978.3210175.

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de Lima, Natalia Flora, and Teresa Bernarda Ludermir. "Frankenstein PSO applied to neural network weights and architectures." In 2011 IEEE Congress on Evolutionary Computation (CEC). IEEE, 2011. http://dx.doi.org/10.1109/cec.2011.5949921.

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"Study on Frankenstein from the Perspective of New Historicism." In 2018 4th International Conference on Social Sciences, Modern Management and Economics. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/ssmme.2018.62239.

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Shelton, Stephanie Anne. "The Spacetimemattering and Frankenstein-esque Nature of Interview Transcriptions." In 2019 AERA Annual Meeting. AERA, 2019. http://dx.doi.org/10.3102/1437708.

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Reports on the topic "Frankenstein"

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Dooley, John. 'Frankenstein' meat or food future: farmers tell. Edited by Suzannah Lyons. Monash University, 2023. http://dx.doi.org/10.54377/4fd4-5c76.

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Goforth, Jessica. Creating a Spark for Learning in the ELA Classroom: Frankenstein and Tabletop Roleplaying Games. Iowa State University, 2024. http://dx.doi.org/10.31274/cc-20240624-443.

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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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Baillie, Fran, Bet McCallum, Roy Canning, et al. Frankenstein's Poetic Progeny: Activity Book For Schools. Edited by Lauren Christie. University of Dundee, 2018. http://dx.doi.org/10.20933/100001160.

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