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Journal articles on the topic 'Frankenstein's monster (Fictional character)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Varis, Essi. "The Monster Analogy: Why Fictional Characters are Frankenstein's Monsters." SubStance 48, no. 1 (2019): 63–86. http://dx.doi.org/10.1353/sub.2019.0005.

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2

Muhammad Ridho Fajar Nugraha and Robby Satria. "Image Archetypal from the Novel “Frankenstein” by Mary Shelley." INTERACTION: Jurnal Pendidikan Bahasa 11, no. 2 (2024): 335–46. http://dx.doi.org/10.36232/interactionjournal.v11i2.47.

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Mary Shelley’s “Frankenstein” is a crucial work in Gothic literature and science fiction, exploring human ambition, innovation, and isolation. Using Carl Jung's archetypal imagery, this study examines the novel’s key themes and characters. A qualitative content analysis was conducted on the text and secondary literary sources. Prominent archetypes identified include the Overreacher, the Monster, the Promethean Figure, the Wanderer, and the Tragic Hero. Victor Frankenstein is analyzed as both the Overreacher and the Tragic Hero, symbolizing hubris and downfall. The Monster embodies isolation an

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3

Shen, Fanxi. "Freud’s Psychoanalysis Perspective on the Characteristics of the Monster in Frankenstein." IRA International Journal of Education and Multidisciplinary Studies 20, no. 1 (2024): 36. http://dx.doi.org/10.21013/jems.v20.n1.p3.

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The famous English writer Mary Shelley wrote <em>Frankenstein</em> in 1818, which is regarded as the world’s first science fiction novel, and thus Mary Shelley was awarded the title of Mother of Science Fiction. With a gothic plot, this novel contains the philosophy of technology, psychology and epistemology, expressing the author’s exploration of human nature. The psychological and action descriptions of the characters in this novel, to a certain extent, show the psychological characteristics of the character’s id, ego and superego. Therefore, this paper will elaborate the psychol

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Nuraeni, Nuraeni, Erik Candra Pertala, and Lusi Susilawati. "GAMBARAN TOKOH TRITAGONIS DALAM NOVEL A MONSTER CALLS KARYA PATRICK NESS." JURNAL PESONA 8, no. 1 (2022): 98–105. http://dx.doi.org/10.52657/jp.v8i1.1652.

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Abstrak Tujuan penelitian ini yaitu untuk mengetahui tokoh dan penokohan dalam novel A Monster Calls karya Patrick Ness. Tokoh merupakan pelaku dalam sebuah cerita yang menjalankan peristiwa secara keseluruhan untuk membentuk sebuah cerita yang utuh. Tokoh dalam sebuah cerita fiksi memiliki beberapa jenis tokoh, diantaranya yaitu tokoh protagonis, tokoh antagonis, tokoh tritagonis dan tokoh pembantu. Tetapi peneliti memfokuskan penelitian ini pada tokoh tritagonis yang menjadi penengah dalam sebuah cerita. Penokohan juga diperlukan dalam penelitian ini karena kemunculan tokoh untuk membe

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Akhmedov, Rafael Sh. "The concept of “robotics” in Isaac Asimov’s science fiction: clash of traditions and innovations." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2022): 114–23. http://dx.doi.org/10.20339/phs.4-22.114.

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The image of a mechanical (artificial) creature constructed thanks to the achievements of mankind in the field of science and technology has been present in literature since its inception, since the first oral myths and legends. Only towards the end of the 19th — beginning of the 20th century, the emphasis in the image of the robot in the literature shifted from religious-mystical to philosophic-technical. The purpose of this study is to assess the legitimacy of the statement that the work of the American science fiction writer Isaac Asimov was a turning point in the development of the image o

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Manney, PJ. "Yucky gets yummy: how speculative fiction creates society." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 16, no. 2 (2019): 243–54. http://dx.doi.org/10.5209/tekn.64857.

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Human biology creates empathy through storytelling and emulation. Throughout history, humans have honed their capacity to understand optimum storytelling and relate to others in new ways. The bioethical concepts of Leon Kass’s Wisdom of Repugnance and Arthur Caplan’s Yuck Factor attempt to describe, and in Kass’s case even support, society’s abhorrence of that which is strange, against God or nature, or simply the “other.” However, speculative fiction has been assessing the “other” for as long as we’ve told speculative stories. The last thousand years of social liberalization and technological

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7

Hewa, S. G. "‘Monsters’ vs. ‘Angels’: A Feminist Approach to the Film Brave Through the Character of Merida." Vidyodaya Journal of Humanities and Social Sciences 07, no. 01 (2022): 223–34. http://dx.doi.org/10.31357/fhss/vjhss.v07i01.14.

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Brave (2012) is an animated film produced by Pixar Animation Studios and released by Walt Disney pictures. Set in the fictional medieval times of Scotland, the story follows the journey of Merida, a rebellious young girl who strives to dismantle oppressive social norms and conventional attitudes upheld by her mother. The way in which the film presents powerful feminist ideologies is discussed by providing insight into the importance of solidarity between women, repressive gender stereotypes and the cyclical nature of oppression within the patriarchal social structure. The concept of gender and

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Wörsdörfer, Anna Isabell. "What if? Epidemic discourse and serial narration in the alternate history series La Révolution (2020)." French Cultural Studies 33, no. 2 (2021): 179–95. http://dx.doi.org/10.1177/09571558211063334.

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The article examines the formal and thematic manifestations of seriality in the Netflix series La Révolution, which justifies the revolutionary outbreak in a counterfactual plot with a viral outbreak that turns the nobles into zombie-like monsters. While, on a macrostructural level, the generic frame of alternate history promotes the serial character through the varying repetition of the historical event, the microstructural level of the narration evokes seriality by exponential contagion and spread of the disease as well as an increasing spiral of violence. First, the focus is on the represen

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9

Noronha de Almeida, Hugo Ricardo. "The Posthuman as a Hopeful Monster: “Geneticizing” the Fly-Human Hybrid in David Cronenberg’s The Fly." Journal of Posthuman Studies 7, no. 2 (2023): 191–209. http://dx.doi.org/10.5325/jpoststud.7.2.0191.

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Abstract Even though posthuman themes abound in fiction, they often rely on representational practices tied to humanist worldviews, perpetuating assumptions about the meaning of being human and humankind’s relationship with its environment. This article discusses the artist’s book Not-Human, Not-Fly (NHNF), which reconsiders David Cronenberg’s The Fly from a critical posthumanist perspective. Tied to horror conventions, the film reduces the posthuman to a condition threatening human life and well-being. NHNF employs tools from molecular genetics, designing a fictional database of the creature’

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10

Nur, Hala Salih Mohammed, and Saif Latif M. Alssafy. "The Impact of Shelley's Frankenstein of Saadawi's Frankenstein." English Language Institute Journal 2 (August 22, 2021). http://dx.doi.org/10.53332/elij.v2i.82.

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In spite of the long period of time that has elapsed since monster first appeared in English and Arabic literature, monsters still have both remarkable and effective roles in their literary texts. The roles of monster that have been created over the centuries by their writers are an indicative of the fears and the needs of societies for these monsters, thus they are modified and developed to reflect social anxieties. The aspects of onomastic meanings redo the roles of the monster in Frankenstein in Baghdad; they show entirely the exact roles and characteristics of the monster to the readers. T

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11

Putri, Risqi Maydia. "RELIGIOUS EXISTENTIALISM OF VICTOR FRANKENSTEIN’S OBSESSION IN FRANKENSTEIN BY MARY SHELLEY." Journal of Social Sciences and Humanities, January 10, 2022, 1–10. https://doi.org/10.56943/jssh.v1i1.24.

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The aims of this study are to analyse a classic science-fiction novel Frankenstein written by Mary Shelley using Soren Kierkergaard’s religious existentialism. The novel tells about the life journey of Victor Frankenstein as the main character. Victor Frankenstein is a genius man who is mastering science and wants to create human being from his knowledge and combine it with supernatural elements. Victor feels like he can create a creature like human. With all his ambition, he tries to build human being. Unfortunately his ambition comes into misery when his creature turns into monster. This the

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12

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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13

Crooks, Juliette. "Recreating Prometheus." M/C Journal 4, no. 4 (2001). http://dx.doi.org/10.5204/mcj.1926.

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Prometheus, chained to a rock, having his liver pecked out by a great bird only for the organ to grow back again each night so that the torture may be repeated afresh the next day must be the quintessential image of masculinity in crisis. This paper will consider Promethean myth and the issues it raises regarding 'creation' including: the role of creator, the relationship between creator and created, the usurping of maternal (creative) power by patriarchy and, not least, the offering of an experimental model in which masculine identity can be recreated. I argue that Promethean myth raises sign

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14

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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15

Hawkins, Katharine. "Monsters in the Attic: Women’s Rage and the Gothic." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1499.

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The Gothic is not always suited to women’s emancipation, but it is very well suited to women’s anger, and all other instances of what Barbara Creed (3) would refer to as ‘abject’ femininity: excessive, uncanny and uncontained instances that disturb patriarchal norms of womanhood. This article asserts that the conventions of the Gothic genre are well suited to expressions of women’s rage; invoking Sarah Ahmed’s work on the discomforting presence of the kill-joy in order to explore how the often-alienating processes of uncensored female anger coincide with contemporary notions of the Monstrous F

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16

Johnson, Laurie. "Félix and Gilles's Tempestuous, Monstrous Machines." M/C Journal 2, no. 6 (1999). http://dx.doi.org/10.5204/mcj.1782.

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"The Krell forgot one thing: monsters from the id." -- Warren Stevens (as Doc Ostrow), Forbidden Planet "What a mistake to have ever said the id. Everywhere it is machines -- real ones, not figurative ones: machines driving other machines, machines being driven by other machines, with all the necessary couplings and connections." -- Gilles Deleuze and Félix Guattari, Anti-Oedipus (1) In conversation with Michel Foucault in 1972, Gilles Deleuze agreed with the principle of collapsing the distinction between "theory" and "practice," by stating the following: A theory is exactly like a box of too

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17

Rumble, Rhiannon. "Mycelial Mutations." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3172.

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Introduction Over the last decade, fungi have increasingly appeared in popular culture. Non-fiction texts, such as Melvin Sheldrake’s Entangled Lives (2020) and Doug Bierend’s Mycotopia (2021), illuminate some of the hidden lives of fungi and explore how we could utilise fungi, from sustainable myco-culture to building materials, and models of fungal communities. In turn, this emerging mycological knowledge inspires fiction exploring intersections of human and fungi, including M.R. Carey’s The Girl with all the Gifts (2014) and David Koepp’s Cold Storage (2019). Heightened interest in the pote

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18

Baker, Sarah. "The Walking Dead and Gothic Excess: The Decaying Social Structures of Contagion." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.860.

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The Walking Dead is an American post-apocalyptic horror drama television series based on the comic book series of the same name. In the opening episode, Sheriff’s Deputy Rick Grimes awakens after months in a coma in an abandoned hospital to find a post-apocalyptic world dominated by flesh eating zombies. The cause of the apocalypse is unknown, and Grimes does not know what has happened to his family. The start of the programme is situated around his quest to find his family, and the encounters he has with the many other survivors along the way. The plot of The Walking Dead centres on the survi

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19

Nairn, Angelique, and Deepti Bhargava. "Demon in a Dress?" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2846.

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Introduction The term monster might have its roots in the Latin word monere (to warn), but it has since evolved to have various symbolic meanings, from a terrifying mythical creature to a person of extreme cruelty. No matter the flexibility in use, the term is mostly meant to be derogatory (Asma). As Gilmore puts it, monsters “embody all that is dangerous and horrible in the human imagination” (1). However, it may be argued that monsters sometimes perform the much-needed work of defining and policing our norms (Mittman and Hensel). Since their archetype is predisposed to transgressing boundari

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20

Caudwell, Catherine Barbara. "Cute and Monstrous Furbys in Online Fan Production." M/C Journal 17, no. 2 (2014). http://dx.doi.org/10.5204/mcj.787.

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Image 1: Hasbro/Tiger Electronics 1998 Furby. (Photo credit: Author) Introduction Since the mid-1990s robotic and digital creatures designed to offer social interaction and companionship have been developed for commercial and research interests. Integral to encouraging positive experiences with these creatures has been the use of cute aesthetics that aim to endear companions to their human users. During this time there has also been a growth in online communities that engage in cultural production through fan fiction responses to existing cultural artefacts, including the widely recognised ele

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21

Blackwood, Gemma. "<em>The Serpent</em> (2021)." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2835.

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The Netflix/BBC eight-part limited true crime series The Serpent (2021) provides a commentary on the impact of the tourist industry in South-East Asia in the 1970s. The series portrays the story of French serial killer Charles Sobhraj (played by Tahar Rahim)—a psychopathic international con artist of Vietnamese-Indian descent—who regularly targeted Western travellers, especially the long-term wanderers of the legendary “Hippie Trail” (or the “Overland”), running between eastern Europe and Asia. The series, which was filmed on location in Thailand—in Bangkok and the Thai town of Hua Hin—is set

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22

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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23

Rose, Megan Catherine, and Patrick W. Galbraith. "Mutating Hyperfemininity in <em>Bishōjo</em>-Inspired Art." M/C Journal 28, no. 2 (2025). https://doi.org/10.5204/mcj.3168.

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Introduction “With most people, you cannot tell just from looking at them that they are fighting a silent, unseen battle”, says Sugary Symbiote, a Black, disabled, and sapphic artist in the United States. “That is what a lot of my illustrations represent. The girl is surrounded by cute things that make her happy, but she still feels alone and sad” (Sugary Symbiote). Central to her work is the bishōjo, or “cute girl”, drawn from manga, anime, and related media. While scholarship has largely treated bishōjo as objects produced for and by men (Galbraith; Galbraith and Rose), artists such as Sugar

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24

Piatti-Farnell, Lorna. "What’s Hidden in Gravity Falls: Strange Creatures and the Gothic Intertext." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.859.

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Discussing the interaction between representation and narrative structures, Anthony Mandal argues that the Gothic has always been “an intrinsically intertextual genre” (Mandal 350). From its inception, the intertextuality of the Gothic has taken many and varied incarnations, from simple references and allusions between texts—dates, locations, characters, and “creatures”—to intricate and evocative uses of style and plot organisation. And even though it would be unwise to reduce the Gothic “text” to a simple master narrative, one cannot deny that, in the midst of re-elaborations and re-interpret

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25

Wain, Veronica. "Able to Live, Laugh and Love." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.54.

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The autobiographical documentary film “18q – a valuable life”, is one attempt to redefine the place of disability in contemporary western society. My work presents some key moments in my life and that of my family since the birth of my youngest child, Allycia in 1995. Allycia was born with a rare genetic condition affecting the 18th chromosome resulting in her experiencing the world somewhat differently to the rest of the family. The condition, which manifests in a myriad of ways with varying levels of severity, affects individuals’ physical and intellectual development (Chromosome 18, n. pag.

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26

Brammer, Rebekah. "Dark Laughs." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3152.

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Introduction: From Classic Noir Parody to Aussie Comedy Noir However you choose to identify noir – as a genre, style, or cycle – over its 80 years from classic American film noir to neo-noir, neon-noir, national noirs, and television noir, it has undeniably seeped into popular culture. Exemplary of this is the way noir has hybridised with other genres and styles, true of comedy as much as its more serious pairings with science fiction, Western, and Gothic. This is not a new phenomenon: Sue Short points out that pastiche noir began appearing at the end of the classic cycle, citing Kiss Me Deadl

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