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Journal articles on the topic 'Frankenstein'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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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4

Aziz Mahmood, Karzan. "The Appropriation of Innocence: from Shelley’s Frankenstein to Ahmed Saadawi’s Frankenstein in Baghdad." Arab World English Journal For Translation and Literary Studies 5, no. 2 (2021): 126–38. http://dx.doi.org/10.24093/awejtls/vol5no2.10.

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This paper demonstrates the appropriation of innocence in Shelley’s Frankenstein, Or the Modern Prometheus (1818) and Frankenstein in Baghdad (2013) by Ahmed Saadawi. These novels are selected because the latter appropriates the creator and creature characters and contextualizes them into the American-Iraq 2005 post-war period. In Shelley’s Frankenstein, Victor Frankenstein, scientifically, gives life to a dead body amalgamated from other body parts, which start murdering and revenging upon his creator. Whereas, in Saadawi’s twenty-first century Frankenstein, a person who is formed from others

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5

Miklós, Nóra. "Intertextualitás és feminista újraírás: frankensteini visszhangok Alasdair Gray Szegény párák című művében." Erdélyi Múzeum 86, no. 3 (2024): 49–62. http://dx.doi.org/10.36373/em-2024-3-4.

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Tanulmányom központi témája az a komplex intertextuális kapcsolathálózat, amely által Alasdair Gray Szegény párák című regénye dialógusba lép Mary Shelley Frankenstein, avagy a modern Prométheusz című alkotásával. Feltevésem, hogy a Szegény párák bizonyos értelemben ott folytatódik, ahol a Frankenstein, avagy a modern Prométheusz abbamarad, és hogy az előbbi valójában intertextuális válasz az utóbbira. A dolgozatban különböző intertextusok felől tárom fel a Gray-regény frankensteini visszhangjait, amelyhez az irodalom emlékezetére hangsúlyt fektető Renate Lachmann elméletét veszem alapul. Elem

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6

Halder, Abhijeet. "Entering into the Unknown”: Subverting Mary Shelley in the Teleplay Frankenstein: The True Story." Literary Oracle 8, no. 1 (2024): 7–21. http://dx.doi.org/10.70532/https://literaryoracle.com/wp-content/uploads/2024/06/1.-entering-into-the-unknown-subverting-mary-shelley-in-the-teleplay-frankenstein-the-true-story.pdf.

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Since its publication in 1818, the narrative of Frankenstein has undergone diverse interpretations and adaptations. Despite the passage of two centuries, the enduring significance of this novel remains undiminished. The span between 1910 and 1975 saw the emergence of a total of thirty-two adaptations of the Frankenstein narrative. Notably, the 1973 adaptation of the novel, jointly written by Christopher Isherwood and Don Bachardy, has often eluded the thorough examination it warrants. Isherwood and Bachardy reimagined Shelley’s novel, introducing a homoerotic perspective that offers an alterna

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7

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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8

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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9

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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10

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

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11

Ketterer, David. "Frankenstein’s “Conversion” from Natural Magic to Modern Science—and a Shifted (and Converted) Last Draft Insert." Science Fiction Studies 24, Part 1 (1997): 57–78. https://doi.org/10.1525/sfs.24.1.0057.

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“Write Ch. [3 cancelled]2½.” This puzzling entry in Mary Shelley’s journal for 27 October 1816” (the birth date of sf if Frankenstein is indeed the first true example of the genre) is explained as referring to a Last Draft insert headed “Chapt. 2” which describes the first stage of Frankenstein’s supposed “conversion” from the ancient philosophers to modern science. This insert, originally intended either as an entire chapter preceding what became Chapter II of Volume I of the 1818 Frankenstein or as the opening section of that chapter, was subsequently shifted back into the preceding chapter.

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12

Bowta, Femilia, and Yulan Puluhulawa. "DECONSTRUCTIVE ANALYSIS OF MAIN CHARACTER IN FRANKENSTEIN NOVEL BY MERY SHELLEY." British (Jurnal Bahasa dan Sastra Inggris) 7, no. 1 (2019): 60. http://dx.doi.org/10.31314/british.7.1.60-71.2018.

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The purpose of this research is to deconstruct the main character of Frankenstein novel. This is qualitative research with deconstructive approach. Deconstruction is a method of reading texts which shows that in every text there is always an absolute presumption. Deconstruction is used to find other meanings hidden in a text. The steps taken by the writer in deconstructing Frankenstein's novel are describing Victor's character, finding binary opposition in the character then deconstructing Victor's character. The results are the portrayal of Victor after deconstruction that Victor himself was

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13

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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14

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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15

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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16

Faria, Marcella. "FRANKENSTEIN." Revista Darandina 16, no. 1 (2023): 204–20. https://doi.org/10.34019/1983-8379.2023.v16.40430.

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O presente artigo tem como finalidade analisar Frankenstein de Mary Shelley e seu processo de criação à luz dos estudos de Sigmund Freud sobre os sonhos, uma vez que a inspiração para o livro surgiu de um pesadelo e a autora parece ter ressuscitado suas perdas e seus traumas por meio de sua escrita. Para tanto, descreveram-se experiências da vida de Shelley refletidas nessa obra, bem como os sonhos presentes no romance. A análise dos elementos freudianos, assim como os estudos sobre os sonhos, revela que o monstro de Frankenstein pode representar os impulsos sombrios reprimidos por seu criador

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17

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

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18

Koepke, Yvette. "Lessons from Frankenstein: narrative myth as ethical model." Medical Humanities 45, no. 1 (2018): 27–36. http://dx.doi.org/10.1136/medhum-2017-011376.

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As Frankenstein’s 200th anniversary nears, its use as a shorthand for ethical critique only increases. This article argues, though, that its lessons inhere in its unique structure, which enacts an interpretive process that models the multiplicity and uncertainty constitutive of ethical decision-making. Frankenstein deliberately functions as a modern myth, rewriting classical and Christian mythology to challenge the straightforward moral lessons often ascribed to the text. Complex portrayals of the creature and of Victor Frankenstein in the context of contemporary science make it impossible to

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19

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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Гурдуз, Андрій Іванович. "Трансформації франкенштейніани ХХІ століття: фентезійний акцент". Літератури світу: поетика, ментальність і духовність 7 (30 червня 2016): 42–51. http://dx.doi.org/10.31812/world_lit.v7i0.1114.

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In this article the main tendencies of Frankenstein’s line transformations of the beginning of the XXI century are analysed, in particular in representative for this context drama «I, Frankenstein» by Stuart Beattie. The logic of diffusion phenomenons in the reinterpretation of the key image is explained. It is shown the expansion of scopes of the art valense of the legendary-mythological structure in the fantasy environment.

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21

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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Vasileva, Elmira V. "NARRATIVE ORGANISATION AS A RECEPTIVE STRATEGY: BASED ON THEODORE ROSZAK’S THE MEMOIRS OF ELIZABETH FRANKENSTEIN." Vestnik of Kostroma State University 30, no. 2 (2024): 129–34. http://dx.doi.org/10.34216/1998-0817-2024-30-2-129-134.

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The article provides a comparative analysis of the narrative structure of Mary Wollstonecraft Shelley’s Frankenstein: or, The Modern Prometheus and its rewrite – Theodore Roszak’s The Memoirs of Elizabeth Frankenstein. The ‟concentric” composition of Shelley’s novel, in which the three main narratives – Captain Walton’s, Victor Frankenstein’s and the Creature’s – were placed one inside the other, can be viewed as a variation on the popular gothic “found (discovered) manuscript” motif and were employed to enhance the emotional impact on the reader by blurring the line between fact and fiction.

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Duffy, Andrew, Edson C. Tandoc, and Richard Ling. "Frankenstein journalism." Information, Communication & Society 21, no. 10 (2017): 1354–68. http://dx.doi.org/10.1080/1369118x.2017.1313884.

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Thompson, Terry W. "Shelley's FRANKENSTEIN." Explicator 58, no. 4 (2000): 191–92. http://dx.doi.org/10.1080/00144940009597040.

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Coleman, Jim R. "Shelley's FRANKENSTEIN." Explicator 63, no. 1 (2004): 21–23. http://dx.doi.org/10.1080/00144940409597247.

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McBeth, Mark. "Shelley's Frankenstein." Explicator 57, no. 3 (1999): 143–46. http://dx.doi.org/10.1080/00144949909596849.

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Dingley, Robert. "Shelley's Frankenstein." Explicator 57, no. 4 (1999): 204–6. http://dx.doi.org/10.1080/00144949909596873.

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Thompson, Terry W. "Shelley's Frankenstein." Explicator 58, no. 1 (1999): 22–24. http://dx.doi.org/10.1080/00144949909596993.

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Cervo, Nathan. "Shelley's Frankenstein." Explicator 46, no. 2 (1988): 14–17. http://dx.doi.org/10.1080/00144940.1988.9935293.

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Thompson, Terry. "Shelley's Frankenstein." Explicator 50, no. 4 (1992): 209–11. http://dx.doi.org/10.1080/00144940.1992.9935320.

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31

Berry, C. "Before Frankenstein." QJM 96, no. 10 (2003): 779–80. http://dx.doi.org/10.1093/qjmed/hcg125.

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Luna, Jairo Nogueira. "Frankenstein Metamoderno." Magma, no. 6 (December 11, 1999): 114. http://dx.doi.org/10.11606/issn.2448-1769.mag.1999.77319.

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Bradbury, Sue. "After Frankenstein." Keats-Shelley Review 30, no. 2 (2016): 104–10. http://dx.doi.org/10.1080/09524142.2016.1205884.

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Shiprack, Christopher, and Julie Webb. "Frankenstein blood." Veterinary Clinical Pathology 49, no. 3 (2020): 380–81. http://dx.doi.org/10.1111/vcp.12900.

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Jones, David. "Frankenstein lives!" Nature 402, no. 6759 (1999): 249. http://dx.doi.org/10.1038/46199.

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Bizony, P. "Frankenstein reclaimed." Engineering & Technology 4, no. 5 (2009): 82–85. http://dx.doi.org/10.1049/et.2009.0519.

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Kumher, Ulrich. "Frankenstein reloaded." merz | medien + erziehung 54, no. 3 (2010): 60–64. https://doi.org/10.21240/merz/2010.3.19.

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Die Fortschritte auf dem Gebiet der Biotechnologie sind immer wieder Thema wissenschaftlicher, politischer und religiöser Debatten. Doch auch und gerade Unterhaltungsf ilme nehmen auf die rasanten Entwicklungen der Gentechnologie Bezug. Anhand einiger Beispiele wird aufgezeigt, wie die Genproblematik im F ilm aufgegriffen und behandelt wird und welche Auseinandersetzungs- und Bildungschancen die Leinwandproduktionen etwa für die Schule bieten.

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ERICKSON, BRITT E. "AVOIDING FRANKENSTEIN." Chemical & Engineering News 88, no. 43 (2010): 35–37. http://dx.doi.org/10.1021/cen-v088n043.p035.

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Gratzer, Walter. "Frankenstein restored." Current Biology 8, no. 16 (1998): R550. http://dx.doi.org/10.1016/s0960-9822(07)00357-0.

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Thompson, Terry W. "Shelley's Frankenstein." Explicator 64, no. 2 (2006): 85–88. http://dx.doi.org/10.3200/expl.64.2.85-88.

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Samuelson, David N. "Frankenstein Unwound." Science Fiction Studies 26, Part 3 (1999): 487–92. https://doi.org/10.1525/sfs.26.3.0487.

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Lacefield, Kristen. "Mary Shelley’s Frankenstein, the Guillotine, and Modern Ontological Anxiety." Text Matters, no. 6 (November 23, 2016): 35–52. http://dx.doi.org/10.1515/texmat-2016-0003.

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This essay begins by examining the rhetorical significance of the guillotine, an important symbol during the Romantic Period. Lacefield argues that the guillotine symbolized a range of modern ontological juxtapositions and antinomies during the period. Moreover, she argues that the guillotine influenced Mary Shelley’s novel Frankenstein through Giovanni Aldini, a scientist who experimented on guillotined corpses during the French Revolution and inspired Shelley’s characterization of Victor Frankenstein. Given the importance of the guillotine as a powerful metaphor for anxieties emergent during

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Kolasińska, Iwona. "Filmowe wizje źródeł mitu o Frankensteinie." Kwartalnik Filmowy, no. 41-42 (June 30, 2003): 250–72. https://doi.org/10.36744/kf.3812.

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Każde społeczeństwo potrzebuje mitu stworzenia. Dla stulecia Kina takim mitem stała się historia dr. Frankensteina - twierdzi Autorka. Ta monstrualna trawestacja historii biblijnej jest mitem o człowieku (mężczyźnie), który w zastępuje Boga (akt kreacji), a także kobietę (wydanie na świat potomstwa). Znamienne, że podstawy tego wielkiego mitu kina (Frankenstein; or the Modern Prometheus) stworzyła właśnie kobieta – Mary Shelley. Autorka szczegółowo omawia całościową atmosferę (włącznie z wątkami biograficznymi) jaka towarzyszyła powstaniu owego działa, jak i jego filmowe wersje przede wszystki

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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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Pinel Benayas, Ana. "Victor Frankenstein y la racionalidad instrumental = Victor Frankenstein and the instrumental rationality." Estudios Humanísticos. Filología, no. 42 (December 18, 2020): 223–34. http://dx.doi.org/10.18002/ehf.v0i42.6260.

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En este artículo se pretende hacer una relectura de Frankenstein o el moderno Prometeo (1818) desde la tesis planteada en la Dialéctica de la Ilustración (1944) de los filósofos Adorno y Horkheimer, intentando mostrar que Victor Frankenstein es un esclavo de la racionalidad instrumental. This article is intended to make a rereading of Frankenstein; o, The Modern Prometheus (1818) from the thesis presented in Dialectic of Enlightenment (1944) and Eclipse of Reason (1947) of the philosophers Adorno and Horkheimer, trying to prove that Victor Frankenstein is an instrumental´s rationality slave.

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Martín Ezpeleta, Antonio, and Yolanda Echegoyen Sanz. "Visitando a Mary Shelley. Diálogos didácticos entre ciencia y literatura. Visiting Mary Shelley. Educational dialogues between science and literature." El Guiniguada 29 (2020): 75–88. http://dx.doi.org/10.20420/elguiniguada.2020.340.

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Enmarcado en un proyecto de innovación docente relacionado con la integración de las ciencias y las letras destinado a alumnos de los Grados de Maestro en Educación Primaria e Infantil, este trabajo presenta una experiencia educativa basada en la novela mítica Frankenstein, de la creadorainglesa Mary Shelley (1818). La elección de la obra viene motivada por la efeméride de su publicación, pero especialmente por la fortuna de poder asistir a la exposición “Frankenstein o el moderno Prometeo. Diálogos entre ciencia y literatura”, comisariada por Pedro Ruiz-Castell en la Universitat de València.

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Džaja, Matea, and Anđelka Raguž. "BETWEEN MATRICIDE AND PATRICIDE: FRANKENSTEIN THROUGH A KRISTEVAN LENS." IDENTITETI – KULTURE – JEZICI, no. 5 (2019): 41–60. http://dx.doi.org/10.47960/3029-3103.2019.5.41.

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Mary Shelley’s Frankenstein is a multilayered work and, as such, enables multiple interpretations. One such interpretation is the application of Julia Kristeva’s psychoanalytic, feminist theories to Mary Shelley’s biography. By following Sigmund Freud’s and Jacques Lacan’s theories, Julia Kristeva thematized the influence of the mother in a patriarchal world. The character of the mother is at the center of her theory. She claims that one needs to separate from the mother and her body if one wishes to be independent. To be more precise, one needs to commit matricide as a first step towards inde

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Alves, Talita. "The two faces of a myth." Em Tese 20, no. 2 (2014): 131–39. https://doi.org/10.17851/1982-0739.20.2.131-139.

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Frankenstein, written by Mary Shelley, alludes to the mythological figure of Prometheus since the subtitle of the novel. Frankenstein is a modern Prometheus, adjusted to the Romantic patterns of the time it was written. Like Prometheus, Frankenstein is also the creator of a new being; however his creature becomes an uncontrollable monster, which highlights human fallibility. Prometheus is not the only myth used by Mary Shelley to compose her work; she also alludes to the Christian story of creation and fall of mankind through John Milton’s Paradise Lost. Frankenstein and his creature can be co

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McCormack-Clark, Jack Alexander. "Night of the resurrected pets: The popular monsters of Tim Burton’s Frankenweenie." Australasian Journal of Popular Culture 10, no. 1 (2021): 141–53. http://dx.doi.org/10.1386/ajpc_00043_1.

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Tim Burton’s stop motion-animated remake of his 1984 short film, Frankenweenie was produced and released by Walt Disney Studios. In the film, a young suburban Victor Frankenstein’s dog, Sparky, dies in an accident. In keeping with Burton’s absurd, macabre and Gothic auteurism’s, Frankenstein resurrects his pet. This ultimately leads to a series of chaotic events where the other students discover Frankenstein’s creation and subsequently resurrect of all of their deceased pets which reflect the form of other popular monsters such as, Frankenstein’s monster, Dracula, the Wolfman, the Mummy and th

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COLLINGS, TANYA. "Frankenstein and Feminism: Contemplating The Memoirs of Elizabeth Frankenstein." Anthropology of Consciousness 22, no. 1 (2011): 66–68. http://dx.doi.org/10.1111/j.1556-3537.2011.01040.x.

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