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Journal articles on the topic 'Frankenstein's monster'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

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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2

Hopkins, Lisa. "Engendering Frankenstein's Monster." Women's Writing 2, no. 1 (1995): 77–85. http://dx.doi.org/10.1080/0969908950020105.

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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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4

Adamson, Eve. "Frankenstein's Monster in the Arctic Circle." Iowa Review 31, no. 3 (2001): 37–38. http://dx.doi.org/10.17077/0021-065x.5418.

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Collins, Alan. "Securitization, Frankenstein's Monster and Malaysian education." Pacific Review 18, no. 4 (2005): 567–88. http://dx.doi.org/10.1080/09512740500339034.

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Radford, Tim. "Let Frankenstein's monster live in science." Lancet 352, no. 9144 (1998): 1944. http://dx.doi.org/10.1016/s0140-6736(05)60451-5.

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7

Skilbeck, R. "Frankenstein's Monster: Creating a New International Procedure." Journal of International Criminal Justice 8, no. 2 (2010): 451–62. http://dx.doi.org/10.1093/jicj/mqq024.

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8

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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Luckham, Robin. "Democracy and the military: An epitaph for Frankenstein's monster?" Democratization 3, no. 2 (1996): 1–16. http://dx.doi.org/10.1080/13510349608403464.

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Malchow, H. L. "FRANKENSTEIN'S MONSTER AND IMAGES OF RACE IN NINETEENTH-CENTURY BRITAIN." Past and Present 139, no. 1 (1993): 90–130. http://dx.doi.org/10.1093/past/139.1.90.

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Dahlgran, Roger A. "Online Homework for Agricultural Economics Instruction: Frankenstein's Monster or Robo TA?" Journal of Agricultural and Applied Economics 40, no. 1 (2008): 105–16. http://dx.doi.org/10.1017/s107407080002349x.

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This paper describes the programming required for online homework, evaluates its use, and presents methods for student identification and for processing student input. Online homework applications were evaluated in a real class setting. Generally, online homework is cost effective for large classes that have numerous assignments and repeated usage. Online homework appears to increase learning through increased student study-time allocations. Students felt that online homework made course website interaction more productive. They also indicated that online homework increased their perception of

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Dahlgran, Roger A. "Online Homework for Agricultural Economics Instruction: Frankenstein's Monster or Robo TA?" Journal of Agricultural and Applied Economics 40, no. 01 (2008): 105–16. http://dx.doi.org/10.1017/s1074070800028005.

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This paper describes the programming required for online homework, evaluates its use, and presents methods for student identification and for processing student input. Online homework applications were evaluated in a real class setting. Generally, online homework is cost effective for large classes that have numerous assignments and repeated usage. Online homework appears to increase learning through increased student study-time allocations. Students felt that online homework made course website interaction more productive. They also indicated that online homework increased their perception of

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13

Light, Theodora H. H. "Frankenstein's Monster: Constructing a Legal Regime to Regulate Race and Place." Southern Cultures 28, no. 3 (2022): 74–89. http://dx.doi.org/10.1353/scu.2022.0027.

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14

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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15

Anderson, Robert. ": The Body of Frankenstein's Monster: Essays in Myth and Medicine . Cecil Helman." Medical Anthropology Quarterly 9, no. 4 (1995): 511–13. http://dx.doi.org/10.1525/maq.1995.9.4.02a00080.

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16

Hellsten, Iina. "Dolly: Scientific Breakthrough or Frankenstein's Monster? Journalistic and Scientific Metaphors of Cloning." Metaphor and Symbol 15, no. 4 (2000): 213–21. http://dx.doi.org/10.1207/s15327868ms1504_3.

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17

Codr, Dwight. "Arresting Monstrosity: Polio, Frankenstein, and the Horror Film." PMLA/Publications of the Modern Language Association of America 129, no. 2 (2014): 171–87. http://dx.doi.org/10.1632/pmla.2014.129.2.171.

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Early Hollywood horror, and Boris Karloff's portrayal of Frankenstein's monster in particular, must be understood as cultural products of the age of polio. Polio survivors have drawn attention to kinetic similarities between their experiences and Karloff's gait, but horror and polio culture also share interests in experiments on simians, shadowy medical research, and ambiguously paralytic states. As well as locating the origins of some of horror's formal conventions, this essay draws attention to a dangerous gambit played by medical authorities in 1947, when, to energize the public in the figh

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Syam, M. Husni, and Eka An Aqimuddin. "ASEAN and the Frankenstein dilemma: Will ASEAN become a monster?" F1000Research 11 (May 9, 2022): 502. http://dx.doi.org/10.12688/f1000research.110377.1.

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Background: International organizations are pivotal as actors in international relations. Although its establishment represents a state, they have their objectives separate from their creators. The Association of Southeast Asian Nations [ASEAN] was created to handle cooperation and maintain peace and security in Southeast Asia. Although ASEAN was equipped with institutional organs to fulfil its purposes, member states' influence is unavoidable. This situation raises the Frankenstein dilemma in which creators cannot fully control its creature. This research aims to elaborate on ASEAN as a separ

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Olivato, Giulia Maria. "Is Dr. Frankenstein Still Alive? From Twix to Apple: Commercializing Monstrosity." Pólemos 12, no. 1 (2018): 167–83. http://dx.doi.org/10.1515/pol-2018-0010.

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Abstract Contemporary popular culture uses mythical and cultural symbols like monsters as metaphors in order to analyse and shape society and its trends. A perfect example is Frankenstein’s creature, who is a modern monster able to embody human crisis, desires, and fears about self-identity, inclusiveness and social recognition. In particular, in the field of advertising, the use of monsters sets new boundaries between human society and monstrousness. Indeed, advertising acts as a modern Dr Frankenstein by manipulating and determining who the modern monsters are.

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Smith, C. U. M. "A strand of vermicelli: Dr Darwin's part in the creation of Frankenstein's monster." Interdisciplinary Science Reviews 32, no. 1 (2007): 45–53. http://dx.doi.org/10.1179/030801807x163661.

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21

Quane, Kate. "Rainbows, Presents, Zombies, and Frankenstein's Monster: Insights into Young Children's Attitudes towards Mathematics." International Journal of Education in Mathematics, Science and Technology 12, no. 3 (2024): 725–49. http://dx.doi.org/10.46328/ijemst.3568.

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Understanding young children's attitudes towards mathematics provides insights into their lived mathematical experiences. It has long been recognized that attitudes towards mathematics have a profound influence on mathematical achievement. Despite the considerable amount of research into students' attitudes toward mathematics, limited research has been conducted into young children's attitudes toward mathematics. Using the modified Three-dimensional Model of Attitude affords the opportunity to describe children's attitudes more comprehensively, moving beyond the emotional dichotomy. This paper

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22

Mitchell. "Frankenstein's Creature on Film in the Twenty-first Century: Posthuman Monster, Saviour, and Victim Narratives." Interdisciplinary Literary Studies 23, no. 1 (2021): 1. http://dx.doi.org/10.5325/intelitestud.23.1.0001.

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23

Yorke, Jon. "Frankenstein's Monster: A Review of Recent Literature on the Death Penalty in the United states." International and Comparative Law Quarterly 54, no. 4 (2005): 1032–37. http://dx.doi.org/10.1093/iclq/lei052.

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24

McMahon, Christopher. "Christology, History, and Frankenstein's Monster: The Evolution of the Historical Jesus in John P. Meier." New Blackfriars 83, no. 981 (2002): 504–13. http://dx.doi.org/10.1111/j.1741-2005.2002.tb01834.x.

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25

Vermeulen, Pieter. "Frankenstein's Monster Goes West: Hernan Diaz's In the Distance, Cli-Fi, and the Literature of Limitation." MFS Modern Fiction Studies 69, no. 1 (2023): 143–62. http://dx.doi.org/10.1353/mfs.2023.0006.

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26

Fell, J. "Could current experiments in science and technology lead to the creation of a modern-day Frankenstein's monster?" Engineering & Technology 11, no. 6 (2016): 24–8. http://dx.doi.org/10.1049/et.2016.0600.

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27

Howieson, Bryan A. "Frankenstein's monster or the Birth of Venus? Perceptions of the impact and contributions of Ball and Brown 1968." Pacific-Basin Finance Journal 55 (June 2019): 299–328. http://dx.doi.org/10.1016/j.pacfin.2019.05.003.

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28

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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29

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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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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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

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32

Green, Chris Van. "Getting Tested for Monsterdom: Frankenstein and Ex Machina." Film Matters 13, no. 1 (2022): 200–204. http://dx.doi.org/10.1386/fm_00220_7.

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“Getting Tested for Monsterdom: Frankenstein and Ex Machina” advances our understanding of what it means to be a monster. We might conceive of monsters as beings that look grotesque and/or that act maliciously with intent. However, there is a vast gray area as to why one should or should not be labeled a monster. This article will discuss the unjust physical expectations leveled toward “monsters” and give a new line of application to the nature vs. nurture theory.

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Oyono, Phil René. "One step forward, two steps back? Paradoxes of natural resources management decentralisation in Cameroon." Journal of Modern African Studies 42, no. 1 (2004): 91–111. http://dx.doi.org/10.1017/s0022278x03004488.

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Theory informs us that decentralisation, a process through which powers, responsibilities and resources are devolved by the central state to lower territorial entities and regionally/locally elected bodies, increases efficiency, participation, equity, and environmental sustainability. Many types and forms of decentralisation have been implemented in Africa since the colonial period, with varying degrees of success. This paper explores the process of forest management decentralisation conducted in Cameroon since the mid-1990s, highlighting its foundations and characterising its initial assets.

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Awasthi, Prabeen Kumar. "Unveiling Body Politics: The Grotesque and Alienated Representation of the Monster in Mary Shelley’s Frankenstein." KMC Journal 6, no. 2 (2024): 143–55. http://dx.doi.org/10.3126/kmcj.v6i2.68898.

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Mary Shelley’s Frankenstein explores on the complexities of body politics and societal norms through the narrative of Victor Frankenstein and his creation, the monster. This research paper analyzes the novel through the lens of rejection, Otherness and the societal constructs of beauty and acceptance. The research investigates on the intricate intersections of various discourses in shaping the notion of “black body” throughout the nineteenth and twentieth centuries. Furthermore, it highlights on how Shelley’s portrayal of the hideous and marginalized body of the monster in her text aligns with

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MUHAMMAD, YOUNAS. "IDENTIFYING UNHOMELINESS AND MIMICRY: A POSTCOLONIAL ANALYSIS OF MARY SHELLEY'S FRANKENSTEIN." International Journal of Academic Research for Humanities 4, no. 2 (2024): 42–50. https://doi.org/10.5281/zenodo.12602560.

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  The study is an attempt to explore unhomeliness, hybridity, and mimicry in Mary Shelley's <em>Frankenstein </em>(first published in 1818) from the theoretical perspective of postcolonial theory. It also investigates the psychological, social, and cultural implications of the monster's existence as an outcast physically and biologically through the theoretical lens of unhomeliness, otherness, and mimicry of Homi K. Bhabha's. It further examines the monster's displacement, ostracization, and lack of recognition and acceptance in human society. It also focuses on the hybridity, alterity, d

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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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Banu, Jainab Tabassum. "The Creature Becomes a Monster:." Crossings: A Journal of English Studies 15, no. 1 (2024): 62–75. https://doi.org/10.59817/cjes.v15i1.518.

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I employ the framework of Feminist Disability Studies to critically examine how the intersecting factors of disability, gender, and the politics of recognition weave an interpretation of the narratives of Mary Shelley’s Frankenstein. Victor Frankenstein creates a creature in his lab and gets frightened when seeing it afterwards because the creature looks different from what is perceived as ‘normal’. He immediately recognizes the creature as a ‘monster’, ‘fiend’ and ‘devil’. After being rejected by his creator, the creature interacts with other characters and gets similar reactions from them be

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C.S. Baiju and Diya Pandey. "Antimicrobial Resistance (AMR) and Dentistry: A lethal connect." World Journal of Advanced Research and Reviews 22, no. 3 (2024): 1600–1610. http://dx.doi.org/10.30574/wjarr.2024.22.3.1905.

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In the unfolding narrative of global health, the ominous spectre of antimicrobial resistance (AMR) looms large, presenting an ever more urgent challenge to public health systems worldwide. Antibiotics are a primary tool in the field of therapeutic medicine & dentistry & they saturate the Indian pharmaceutical markets. Dentistry places substantial reliance on use of antibiotics in prophylaxis & therapy, but this dependence contributes to the overuse & misuse of these drugs. A significant number of prescriptions are frequently deemed superfluous. Furthermore, antibiotics are read

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C.S., Baiju, and Pandey Diya. "Antimicrobial Resistance (AMR) and Dentistry: A lethal connect." World Journal of Advanced Research and Reviews 22, no. 3 (2024): 1600–1610. https://doi.org/10.5281/zenodo.14755759.

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In the unfolding narrative of global health, the ominous spectre of antimicrobial resistance (AMR) looms large, presenting an ever more urgent challenge to public health systems worldwide. Antibiotics are a primary tool in the field of therapeutic medicine & dentistry & they saturate the Indian pharmaceutical markets. Dentistry places substantial reliance on use of antibiotics in prophylaxis & therapy, but this dependence contributes to the overuse & misuse of these drugs. A significant number of prescriptions are frequently deemed superfluous.  Furthermore, antibiotics ar

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40

Heffernan, James A. W. "Patrząc na potwora – Frankenstein i film." Kwartalnik Filmowy, no. 31-32 (December 31, 2000): 34–58. https://doi.org/10.36744/kf.4198.

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Heffernan bada popularność motywu Frankensteina w kulturze. Twierdzi, że zwyczaj traktowania kina głównie jako medium wizualnego powoduje, że akademiccy krytycy powieści Mary Shelley Frankenstein wykazują niewielkie zainteresowanie jej filmowymi wersjami. Heffernan przyznaje, że ignorują oni wewnętrzne życie potwora lub mówią o nim mniej niż długa autobiograficzna narracja w powieści, ale jednocześnie ujawniają to, co powieść ukrywa. Zmuszają publiczność do zmierzenia się z przerażającą fizycznością potwora, której nie można zaprzeczyć, od której nie można uciec i która pozbawia go jakiejkolwi

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41

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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Kosinski, Jan, Iwona A. Cymerman, Marcin Feder, Michal A. Kurowski, Joanna M. Sasin, and Janusz M. Bujnicki. "A ?FRankenstein's monster? approach to comparative modeling: Merging the finest fragments of Fold-Recognition models and iterative model refinement aided by 3D structure evaluation." Proteins: Structure, Function, and Genetics 53, S6 (2003): 369–79. http://dx.doi.org/10.1002/prot.10545.

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Sa'adah, Sufi Ikrima, Maulidya Rochmah, and Ramadhina Ulfa Nuristama. "TRACING THE LEGACY: COMPARING MARY SHELLEY’S FRANKENSTEIN TO JENNIFER MCMAHON’S THE CHILDREN ON THE HILL." ELite Journal : International Journal of Education, Language and Literature 3, no. 4 (2023): 1–6. https://doi.org/10.26740/elitejournal.v3n4.p1-6.

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Mary Shelley’s Frankenstein has become a prominent predecessor for abundant adaptations in popular culture. Although the novel was published more than two hundred years ago, numerous writers have made it their most reference and inspiration. This article aims to investigate the traces Frankenstein has left on Jennifer McMahon’s The Children on the Hill under the argument that the former has served as the source for the latter. Therefore, this research belongs to the literary influence study. Drawing the analysis under the compare and contrast method, this study results in some parts of Franken

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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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45

İPEKÇİ, Yeşim. "We Are All Monsters: How Deviant Organisms Came to Define Us, by Andrew Mangham." Cankaya University Journal of Humanities and Social Sciences, Special Issue: Wilkie Collins (January 28, 2024): 87–91. http://dx.doi.org/10.47777/cankujhss.1426321.

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Andrew Mangham’s monograph entitled We Are All Monsters: How Deviant Organisms Came to Define Us (2023, The MIT Press) explores the polyvocal nature of monster science across the period 1750-1900 and its dialogue with nineteenth-century literature. Mangham’s “monsters,” as defined in biological sciences, are “organisms … born with at least one permanent physiological defect” (p. 1). Guided by the approach disability studies takes towards the term “disability,” he explores how monster science defines monstrosity “not as a failure, but as an embodiment of, or a cog in the machine of, organic law

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Inbaraj, M., and Abdul Mohammed Ali Jinnah. "Posthuman Gothic and Monstrosity in Ahmed Saadawi’s Frankenstein in Baghdad." World Journal of English Language 12, no. 1 (2022): 384. http://dx.doi.org/10.5430/wjel.v12n1p384.

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Posthuman Gothic is one of the recent emerging areas of research in the twenty-first century. It explores the different ways in which Posthuman thoughts and ideologies conflate with Gothicism in all its contemporary variations. Primarily, the posthuman gothic concerns itself with the human beings’ technological, biomedical, and supernatural experiments with the human body and consciousness that alters the human identity into the posthuman. The possibility and capability of humans to alter the human identity into something other than human or into the ‘posthuman other’ create anxiety among huma

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Tini Mogea. "Revenge as Seen in Mary Shelley’s Frankenstein; or, The Modern Prometheus." CENDEKIA: Jurnal Ilmu Sosial, Bahasa dan Pendidikan 3, no. 2 (2023): 73–93. https://doi.org/10.55606/cendikia.v3i2.987.

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This research is to find out how revenge is revealed in Mary Shelley’s Frankenstein, or The Modern Prometheus. This research is qualitative since the data are in the form of words rather than numbers. The data were collected in the novel Frankenstein, or The Modern Prometheus. An objective approach is used in analyzing the data. The result shows that the formula of a mystery shows that the problem always has a desirable and rational solution, but the mystery being or state is not resolved. The first formula; the problem always has a desirable and rational solution, is the Frankenstein solution

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Wolfe, Graham. "Voices, Monstrous and Hopeful: Catalyst Theatre's Frankenstein." Brock Review 12, no. 2 (2012): 36–48. http://dx.doi.org/10.26522/br.v12i2.355.

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This article examines Catalyst Theatre’s highly successful musical adaptation of Mary Shelley’s Frankenstein, mounted last spring at Toronto’s Bluma Appel Theatre. Drawing upon some recent work by Slavoj Žižek and Mladen Dolar, and focussing on the topic of voice, I seek both to explore the production’s unusual aesthetic dynamics and to illuminate its social consciousness. I also extend upon Craig Walker’s analysis of “hopeful monsters” in Canadian drama in order to suggest how Catalyst’s peculiar “lyricization” of Frankenstein’s story invites a new—and potentially catalyzing—mode of engagemen

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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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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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