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Tesi sul tema "Frankenstein’s monster"

Autore: Grafiati

Pubblicato: 25 luglio 2024

Ultima modifica: 30 luglio 2024

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1

Linter, Simon. "Mary Shelley’s Unrealised Vision : The Cinematic Evolution of Frankenstein’s Monster." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104476.

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Abstract (sommario):

Mary Shelley’s novel Frankenstein has been the direct source for many adaptations on stage, television and film, and an indirect source for innumerable hybrid versions. One of the central premises of Julie Sanders’s Adaptation and Appropriation (2006) is that adaptations go through a movement of proximation that brings them closer to the audience’s cultural and social spheres. This essay looks at how this movement of proximation has impacted the monster’s form and behaviour and concludes that this is the main reason Shelley’s vision of her monster has rarely been accurately reproduced on scree

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2

Bondy, David J. "Frankenstein's monster and the politics of the black body." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ52516.pdf.

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3

Lange, Dirk. "Warum will Frankensteins Monster sterben? Selbstmord im englischen Roman des 19. Jahrhunderts." Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2679712&prov=M&dok_var=1&dok_ext=htm.

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4

Lange, Dirk. "Warum will Frankensteins Monster sterben? : Selbstmord im englischen Roman des 19. Jahrhunderts." Heidelberg Winter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2679712&prov=M&dokv̲ar=1&doke̲xt=htm.

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5

Nidesjö, Liselott. "Who is the Monster in Mary Shelley's Frankenstein? : A Psychoanalytic Reading of the Double Nature of Victor Frankenstein." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-18981.

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Abstract (sommario):

This essay challanges one of the worlds most famous horror story, Mary Shelley'sFrankenstein.Who is the monster in this novel? People know the story but they often tend to blend the two head characters, Victor Frankenstein and his creature. Based on the psychoanalysis, founded by Sigmund Freud, this essay argues that Victor Frankenstein is not the nice guy he seems to be. Appearances are not always what they seem and Victor Frankenstein turns into a "monster of the soul" due to suppressed feelings. His creature never stands a chance without any guidence and love. The creature is instead turned

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6

Hawley, Erin. "Filmic machines and animated monsters: retelling Frankenstein in the digital age." Thesis, Hawley, Erin (2011) Filmic machines and animated monsters: retelling Frankenstein in the digital age. PhD thesis, Murdoch University, 2011. https://researchrepository.murdoch.edu.au/id/eprint/5382/.

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Abstract (sommario):

Frankensteinian monsters have appeared on our screens since the early days of cinema. Indeed, across the history of film we see Mary Shelley’s “hideous progeny” rewritten as alchemical creations, animated corpses, lumbering fiends, robots, cyborgs, replicants, dinosaurs, artificial intelligences and digital constructions. In particular, Shelley’s text shares its speculative depiction of a posthuman future with fantastic and science-fictional cinema of the digital age. At the same time, posthuman bodies are being created by filmmakers. New possibilities in the digital imaging of human presence

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7

Edfors, Evelina. "Personer och monster : om litteraturens bidrag till religionsfilosofin." Thesis, Uppsala universitet, Teologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323604.

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This paper examines the relationship between literature and philosophy, with special regards to how literature can contribute to deepen the understanding in philosophical matters. This is executed by a comparison between how a work of fiction, versus works of philosophy, can tackle the issue of personhood. Mary Shelley’s Frankenstein is being compared with philosopher Lynne Rudder Baker’s Persons and Bodies and Jacques Maritain’s The Person and the Common Good in order to map out how literature can contribute to the philosophical discourse regarding personhood. The paper finalizes that the mai

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8

Atkins, Emily. "An Exploration of Costume Design For David Emerson Toney's "Frankenstein: Dawn of a Monster"." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3963.

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This thesis details the Costume Design process for David Emerson Toney’s Frankenstein: Dawn of a Monster at Virginia Commonwealth University. Toney’s original adaptation interprets Mary Shelley’s genre-defying novel as biography, directly influenced by the tragic events of her young life. Costumes differentiate the two narratives, with Mary Shelly in gray scale, regency-inspired modern dress and the novel in period and color. This follows the design process from concept to production to execution.

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9

Heidenescher, Joseph D. ""Listen to my tale": Shelley's Literate Monster." University of Toledo Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450430867.

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10

Van, Wyk Wihan. "Shelleyan monsters: the figure of Percy Shelley in Mary Shelley’s Frankenstein and Peter Ackroyd’s The Casebook of Victor Frankenstein." University of the Western Cape, 2015. http://hdl.handle.net/11394/4860.

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Magister Artium - MA<br>This thesis will examine the representation of the figure of Percy Shelley in the text of Mary Shelley’s Frankenstein (1818). My hypothesis is that Percy Shelley represents to Mary Shelley a figure who embodies the contrasting and more startling aspects of both the Romantic Movement and the Enlightenment era. This I will demonstrate through a close examination of the text of Frankenstein and through an exploration of the figure of Percy Shelley as he is represented in the novel. The representation of Shelley is most marked in the figures of Victor and the Creature, but

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11

Kindström, Niklas. "Monster och människor : Identitetsbyggande och vetenskap i Mary Shelleys Frankenstein; or the Modern Prometheus ur ett didaktiskt perspektiv." Thesis, Högskolan i Gävle, Avdelningen för utbildningsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-24664.

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12

Visilitskij, Egor. "Människan, naturen, monstret och vetenskapsmannen : En ekokritisk analys av Mary Shelleys Frankenstein; or, The Modern Prometheus (1818) och filmatiseringen Frankenstein (1994)." Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-42547.

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Abstract (sommario):

The main focus of this essay is to attempt to answer the question of how Mary Shelley in her novel Frankenstein; or, The Modern Prometheus (1818), and Kenneth Branagh in his film Frankenstein (1994) portray nature, the environment and the characters with the help of an ecocritical perspective, and how Frankenstein could be used by high school teachers to teach students about the ecocritical perspective, but also the global sustainability goals. The questions that I have tried to answer in this analysis are: How is nature used in the two versions to reflect the main characters? How can the main

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13

Ring, Isa. "Frankenstein; or, the trials of a posthuman subject : An investigation of the Monster in Mary Shelley's "Frankenstein" and his attempt at acquiring human subjectivity in a posthuman state." Thesis, Södertörns högskola, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34419.

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Frankenstein; or, The Modern Prometheus by Mary Shelley and the characters within, tell a prominent story of the posthuman condition in a society where humanist thought is the only conception of subjectivity. The use of not only posthuman studies, but more specifically studies including subjectivity was needed, in order to analyse the relationship between the humanist and the posthuman subjects. Theories of posthuman subjectivity and subjectivity by Rosi Braidotti and Michel Foucault were used in order to examine the posthuman condition of “Frankenstein’s monster” and the role of humanist vs.

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14

Andrade, Arancibia Génesis. "Gazing at the creature, gazing at the monster: an insight into monstrosity in Mary Shelley's Frankenstein; or, the modern prometheus." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137755.

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15

Conrad, Courtney A. "Tracing the Origins of the Eighteenth- and Nineteenth-Century Rake Character to Depictions of the Modern Monster." Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu1560014785115022.

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16

Paré, Eric Zavenne. "Madame Bovary est une machine." Thesis, Metz, 2009. http://www.theses.fr/2009METZ003L.

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Partant du principe qu'une machine ne sait pas qu'elle est une machine et du présupposé selon lequel un robot n'a pas de conscience, ce travail étudie le parallèle entre la fabrication des créatures de roman et la fabrication des machines. Parmi ces figures, Madame Bovary est un archétype. Comme tout autre machine, Emma Bovary ne sait pas qu'elle en est une. Emma est une machine à texte, elle est faite de livres. Pourtant, elle ne peut pas avoir lu Madame Bovary. Parce qu'Emma n'est pas consciente qu’elle est l'appareil de Flaubert, nous l'avons rapproché des fonctionnements et des disfonction

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17

Gardner, Kelly. "The emergence and development of the sentient zombie : zombie monstrosity in postmodern and posthuman Gothic." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/23901.

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Abstract (sommario):

The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argu

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18

Kapadia, Ninna. "Re-Story : The O.T.M.I* project*O.T.M.I = Obsolete Technical Mechanical Item." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5234.

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The core question in this master thesis is: What happens to the essence of an object when it becomes out of date and is no longer in use? I am addressing the sense of dignity in once meticulously designed technical/mechanical items that now has become obsolete. The intention has been to investigate how to give new meaning to obsolete items and find new eligibility for their existence. The investigation was conducted through the development of a method: collection, analysis, deconstruction, investigation and resurrection of a number of O.T.M.I. (Obsolete Technical Mechanical Items). The re

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19

Anzaldua, Saraliza, and 愛麗達. "There is No Monster: Monstrosity and the Monstrous in ''Frankenstein'&apos." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/10383434748644682411.

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碩士<br>國立臺灣大學<br>外國語文學研究所<br>104<br>To date, the majority of scholars have framed the creature in Frankenstein as a monster. By focusing on a single embodiment, scholars have neglected the monstrous aspects pervasive in the novel and ignored the fact that Shelley’s creature actually reflects nineteenth-century Britain. This thesis argues that there is no monster, and Shelley’s intention was to display the monstrosity of her own society –– not to write a monster novel. Through a textual and historical analysis, this thesis will elucidate the spiritual, physical, mental, and social monstrosities

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20

令狐莉蓮 and Lenka Liskova. "The Portrait of Monster in Frankenstein, The Strange Case of Dr. Jekyll and MR. Hyde and The Picture of Dorian Gray." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/3tqm29.

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Abstract (sommario):

碩士<br>逢甲大學<br>外國語文學系<br>105<br>This thesis deals with the analysis of monsters in three major novels of British Gothic literature of the 19th Century with an attempt to determine the concept and the identity of these monsters. The thesis also tries to identify the creators of these monsters and explore the complicating relationship between them. The primary texts from which these monsters came from are Marry Shelley’s Frankenstein, Robert Lewis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde and Oscar Wilde’s The Picture of Dorian Gray. The thesis largely focuses on the physical as wel

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