Relevant bibliographies by topics / Frankenstein’s monster (Fictitious character)

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Academic literature on the topic 'Frankenstein’s monster (Fictitious character)'

Author: Grafiati
Published: 25 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Frankenstein’s monster (Fictitious character)"

1

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
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2

Kowal, Justyna. "Frankensteinowska hybryda." Literatura i Kultura Popularna 25 (July 28, 2020): 529–32. http://dx.doi.org/10.19195/0867-7441.25.30.

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The review of Frankenstein — 100 lat w kinie describes a unique form of the book proposed by Rafał Donica, Polish film critic and expert in popular culture. The shape of the book remains the object of its deliberations; fragmentary, heterogeneous narration by Donica reflects an idea of Frank-enstein’s monster body. Donica builds his narration with quotations, critical essays, historical re-constructions and original illustrative material. The author examines the character of Frankenstein’s monster in cinema and visual culture, which — as Donica accounts — brought about the transform-ation of t
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3

Alhashmi, Rawad. "The Grotesque in Frankenstein in Baghdad: Between Humanity and Monstrosity." International Journal of Language and Literary Studies 2, no. 1 (2020): 90–106. http://dx.doi.org/10.36892/ijlls.v2i1.120.

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This paper analyzes Ahmed Saadawi’s Frankenstein in Baghdad (2018) with a special emphasis on the grotesque bodily images of the monster, the novel’s exploration of justice, and the question of violence. I draw on the theoretical framework of the Russian philosopher and literary critic Mikhail Bakhtin (1895–1975), the ethics philosopher Emmanuel Levinas (1906–1995), and the German-American philosopher and political thinker Hannah Arendt (1906–1975). Saadawi’s unnamed monster, “The Whatsitsname,” comes into being via an accidental if honorably intentioned act, when the main character, Hadi, com
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4

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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5

Alice, Jordan, and Katie Ellis. "Subverting the Monster." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2828.

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Introduction The blockbuster DreamWorks film Shrek is a play on the classic fairy tale narrative, where the hero, atop his noble steed, rescues the cursed princess from a dragon-guarded tower. Except the hero is an Ogre, the steed is a talking donkey, the dragon just wants to be loved, and, when they finally break the curse, the princess permanently transforms into an Ogre. From the opening scene, the first movie subverts the viewers’ expectations, offering reflection as well as a critique on “some of the cultural conventions that characterise modernity” (Lacassagne, Nieguth, and Dépelteau).
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6

McAvan, Emily. "Frankenstein Redux." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2843.

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Jeanette Winterson’s 2019 novel Frankissstein is a contemporary re-reading of Mary Shelley’s classic Gothic text Frankenstein that profoundly challenges ideas of what it means to be human in the present day, by drawing on posthuman ideas about the constitution of the self. In this novel, Winterson portrays various forms of ‘monsters’ such as AI, lifelike sex dolls and transgender embodiment. Drawing on both Frankenstein as a text and the infamous creation story of the novel, Winterson creates a deeply intertextual cast of characters that blurs the following: Ry (Mary Shelley), a transgender do
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7

Pinder, Morgan. "Mouldy Matriarchs and Dangerous Daughters." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2832.

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The Resident Evil video game series is especially notable for engaging with uncanny nature and monstrous reproduction, often facilitated through viral contamination. These third-person games usually feature an outbreak of some kind, instigated by a shadowy organisation, and star a member of law enforcement or the military as the protagonist. However, the seventh and eighth games of the franchise were different. While they explored many of the same themes and conventions as their predecessors, the technologies by which they evoked fear and suspense had become further immersed in the survival ho
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8

Starrs, Bruno. "Hyperlinking History and Illegitimate Imagination: The Historiographic Metafictional E-novel." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.866.

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‘Historiographic Metafiction’ (HM) is a literary term first coined by creative writing academic Linda Hutcheon in 1988, and which refers to the postmodern practice of a fiction author inserting imagined--or illegitimate--characters into narratives that are intended to be received as authentic and historically accurate, that is, ostensibly legitimate. Such adventurous and bold authorial strategies frequently result in “novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages” (Hutcheon, A Poetics 5). They can be so entertaining and
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Books on the topic "Frankenstein’s monster (Fictitious character)"

1

Bell, Neal. Monster. Broadway Play Pub., 2003.

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2

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

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3

Field, Barbara. Playing with fire (after Frankenstein). Dramatists Play Service, 1989.

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4

Deutsches Medizinhistorisches Museum (Ingolstadt, Germany), ed. Frankenstein: Symbolgestalt biotechnischer Grenzüberschreitung. Deutsches Medizinhistorisches Museum, 2006.

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5

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

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6

Downing, Martin. The house of Dracula: A comedy-horror. S. French, 1992.

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7

Snyder, Bethany. Frankenstein. Dalmatian Press, 2011.

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8

Shelley, Mary Wollstonecraft, and Anthony Williams. Frankenstein. Arcturus Publications, 2021.

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9

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

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10

Reed, Gary. Mary Shelley's Frankenstein: The Graphic Novel. Puffin Books, 2005.

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