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Frankenstein's Theatrical Doppelgänger
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-08-27 From Prometheus to Presumption: Frankenstein's Theatrical Doppelgänger Reid, Brittany Lee Alexandra Reid, B. L. (2013). From Prometheus to Presumption: Frankenstein's Theatrical Doppelgänger (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26236 http://hdl.handle.net/11023/894 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY From Prometheus to Presumption: Frankenstein’s Theatrical Doppelgänger by Brittany Reid A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ENGLISH CALGARY, ALBERTA AUGUST, 2013 © Brittany Reid 2013 ii Abstract This thesis examines the Doppelgänger relationship between Victor Frankenstein and the Creature, as it is characterized through both Frankenstein and its first theatrical adaptation. With a specific focus on Richard Brinsley Peake’s 1823 gothic melodrama, Presumption; or, The Fate of Frankenstein I unpack how the novel’s cross-medium adaptation leads to a changed conception of the relationship of its central characters. In Frankenstein, Victor is the focal figure and acts as the Creature’s dominant counterpart. However, the characters’ cross-medium adaptation from page to stage inverts this Doppelgänger relationship from Shelley’s initial conception in the novel. -
An Introduction to Mary Shelley's Frankenstein
An Introduction to Mary Shelley's Frankenstein By Stephanie Forward Cover illustration courtesy of Stephen Collins This eBook was produced by OpenLearn - The home of free learning from The Open University. It is made available to you under a Creative Commons (BY-NC-SA 4.0) licence. ‘I busied myself to think of a story…One which would speak to the mysterious fears of our nature, and awaken thrilling horror—one to make the reader dread to look round, to curdle the blood, and quicken the beatings of the heart.’ (From Mary Shelley’s Introduction to the 1831 edition of Frankenstein). The life of Mary Shelley (1797- 1851) Mary Wollstonecraft Godwin was born in London on 30 August 1797, to the radical feminist Mary Wollstonecraft and the philosopher William Godwin. Her mother died as a result of complications following the birth, and after Godwin’s second marriage Mary was brought up with two stepsiblings, a half-sister (Fanny Imlay), and a half-brother (named William, after their father). Their home in Holborn was located near the candlelit abattoirs under Smithfield: indeed, the children could hear the screams of animals being slaughtered. On a more positive note Mary benefited from a broad education, enhanced by visits to the household from literary luminaries including William Hazlitt, Charles Lamb and Samuel Taylor Coleridge. At the age of ten she had an amusing poem published: Mounseer Nongtongpaw; or, The Discoveries of John Bull in a Trip to Paris. Unfortunately her relationship with her stepmother was far from cordial, and the onset of eczema when Mary was thirteen may have been partly psychosomatic. -
Faire-Valoir Et Seconds Couteaux Sidekicks and Underlings
Essais Revue interdisciplinaire d’Humanités 10 | 2016 Faire-valoir et seconds couteaux Sidekicks and Underlings Nathalie Jaëck et Jean-Paul Gabilliet (dir.) Édition électronique URL : http://journals.openedition.org/essais/3692 DOI : 10.4000/essais.3692 ISSN : 2276-0970 Éditeur École doctorale Montaigne Humanités Édition imprimée Date de publication : 15 septembre 2016 ISBN : 978-2-9544269-9-0 ISSN : 2417-4211 Référence électronique Nathalie Jaëck et Jean-Paul Gabilliet (dir.), Essais, 10 | 2016, « Faire-valoir et seconds couteaux » [En ligne], mis en ligne le 15 octobre 2020, consulté le 21 octobre 2020. URL : http:// journals.openedition.org/essais/3692 ; DOI : https://doi.org/10.4000/essais.3692 Essais Revue interdisciplinaire d’Humanités Faire-valoir et seconds couteaux Sidekicks and Underlings Études réunies par Nathalie Jaëck et Jean-Paul Gabilliet Numéro 10 - 2016 (1 - 2016) ÉCOLE DOCTORALE MONTAIGNE-HUMANITÉS Comité de rédaction Jean-Luc Bergey, Laetitia Biscarrat, Charlotte Blanc, Fanny Blin, Brice Chamouleau, Antonin Congy, Marco Conti, Laurent Coste, Hélène Crombet, Jean-Paul Engélibert, Rime Fetnan, Magali Fourgnaud, Jean-Paul Gabilliet, Stanislas Gauthier, Aubin Gonzalez, Bertrand Guest, Sandro Landi, Sandra Lemeilleur, Mathilde Lerenard, Maria Caterina Manes Gallo, Nina Mansion, Mélanie Mauvoisin, Myriam Metayer, Isabelle Poulin, Anne-Laure Rebreyend, Jeffrey Swartwood, François Trahais Comité scientifique Anne-Emmanuelle Berger (Université Paris 8), Patrick Boucheron (Collège de France), Jean Boutier (EHESS), Catherine Coquio (université Paris 7), Phillipe Desan (University of Chicago), Javier Fernandez Sebastian (UPV), Carlo Ginzburg (UCLA et Scuola Normale Superiore, Pise), German Labrador Mendez (Princeton University), Hélène Merlin-Kajman (Université Paris 3), Franco Pierno (Victoria University in Toronto), Dominique Rabaté (Université Paris 7), Charles Walton (University of Warwick) Directeur de publication Sandro Landi Secrétaire de rédaction Chantal Duthu Les articles publiés par Essais sont des textes originaux. -
Views, Playbills, Prompt Books Or Practitioner Interviews
Staging the Shelleys: A Case Study in Romantic Biodrama by Brittany Reid A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies University of Alberta © Brittany Reid, 2018 ii Abstract Although it has been nearly two hundred years since they lived and wrote, Romantic writers Mary and Percy Bysshe Shelley continue to haunt the theatre in the twenty-first century. However, it is not only their plays, poems, and novels that have been adapted for the modern stage. Beginning in the twentieth century, renewed interest in the Shelleys’ lives led to the composition of numerous biographical plays based on Mary and Percy’s personal and creative partnership. But while these nineteenth-century writers enjoyed particular moments of such interest in the 1980s, the early twenty-first century has seen this interest flourish like never before. Consequently, the turn of the twenty-first century coincided with an unprecedented increase in the number and variety of plays about the Shelleys’ lives, writing, and literary legacies. As a testament to this recent resurgence, more than twenty theatrical adaptations of the Shelleys have been created and staged in the last twenty years. But although these plays continue to feature both Shelleys, most contemporary biographical plays about the couple now privilege Mary as their focal figure and prioritize her life, writing, and perspective. In this way, these plays represent a creative corollary of a broader cultural shift in interest from Percy to Mary as a biographical subject, which was first initiated in the 1980s through the recovery efforts of Mary Shelley scholars. -
Aoise Stratford Received a Bachelor of Arts Degree with Honors from the University of New
STILL HAUNTING THE CASTLE: FEMINIST AND POSTCOLONIAL GOTHIC THEATRE AT THE END OF THE TWENTIETH CENTURY A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the DeGree of Doctor of Philosophy by Aoise A. Stratford February 2016 © 2016 Aoise A. Stratford STILL HAUNTING THE CASTLE: FEMINIST AND POSTCOLONIAL GOTHIC THEATRE AT THE END OF THE TWENTIETH CENTURY Aoise A. Stratford, Ph.D. Cornell University 2016 Abstract: Despite the fact that Gothic drama dominated London and American staGes around the turn of the nineteenth century, Gothic is a critically disparaGed term rarely used in contemporary theatre scholarship. This project seeks to reclaim the term in the context of certain twentieth-century plays by women that can be said to belong to a genealogy of contemporary feminist theatre. These plays use Gothic themes, imaGes, and conventions to challenGe dominant patriarchal ideologies in the postcolonial cultures of England, Australia, Canada, and the USA. The playwriGhts primarily studied in this regard are Beatrix Christian, Judith Thompson, Connie Gault, Alma De Groen, Caryl Churchill, Suzan-Lori Parks, Liz Lochhead, Adrienne Kennedy, Sarah Kane, and The Five Lesbian Brothers. AnalyzinG this significant body of work, I arGue for the presence of a Gothic mode across a range of plays that are variously consciously Gothic (in that they take known Gothic texts as intertexts), evocatively Gothic (in that they present an accumulation of tropes, imaGes and conventions recoGnizable from earlier Gothic novels and examined in extant Gothic scholarship), or that use the Gothic as a siGnificant dramaturGical strateGy that interrupts and (re)frames the play’s narrative and meaninG. -
The Living Theatre of Horror: Examining How Centuries of Western Theatrical Practice and Theory Inform the Modern-Day Haunted House
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2021 THE LIVING THEATRE OF HORROR: EXAMINING HOW CENTURIES OF WESTERN THEATRICAL PRACTICE AND THEORY INFORM THE MODERN-DAY HAUNTED HOUSE Scott Dittman VCU Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the American Popular Culture Commons, and the Theatre History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/6675 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. THE LIVING THEATRE OF HORROR: EXAMINING HOW CENTURIES OF WESTERN THEATRICAL PRACTICE AND THEORY INFORM THE MODERN-DAY HAUNTED HOUSE A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts, Pedagogical Performance at Virginia Commonwealth University. by Scott Dittman Bachelor of Arts, Theatre Studies, Education Minor University of Central Florida, May 2017 Director: Dr. Keith Byron Kirk Director of Graduate Studies, School of the Arts Virginia Commonwealth University Richmond, Virginia May 2021 1 | P a g e Acknowledgment I would like to thank my husband James who supported me as much as I did him while we both pursued our higher degrees. To the faculty of VCU, and particularly my committee members, who have changed the trajectory of my thinking in so many ways in theatre and taught me not to just act on instinct but dig deeper for meaning. -
The Life and Plays of Richard Brinsley Peake (1792-1847)
ACKNOWLEDGMENTS I wish to express my appreciation to all of the people whose aid, advice, and encouragement have made this study possible. To the staffs of the Literature Division of the Cleveland Public Library and the Li lly Library of Indiana University, who have aided me in retrieving and examining some very fragile original texts, I offer my sincerest thanks. I am especially indebted to the staff of the Ohio State University Theatre Research Institute, and in particular Barbara Kachur, for assistance with the microfilm resources of the archives so painstakingly developed by Professor John H. McDowell over many years. Of the many students, staff, and faculty members of the Ohio State University Department of Theatre who have shown great interest and support for this project, only a handful can be mentioned in this space. But to each of these co-workers and friends, I extend my thanks. especially thank my advisers Dr. John C. Morrow and Dr. Alan Woods, whose unceasing enthusiasm and guidance have sustained this study for over a year. To Anna Sears, who typed the final draft of this thesis, I offer my most sincere appreciation. Finally, wish to thank my wife, Laura, for long months of patient assistance as I gathered and organized the material needed for the study, and for her invaluable companionship and suggestions during the typing of the first draft. i i Page VI. PEAKE'S COMEDY. 107 Overview .•..... 107 ~ C1 imbing Boy (1832) 110 The Title Deeds (1847). 113 VII. CONCLUSIONS 120 The Importance of Peake . 120 Suggestions For Further Studies. -
Writing the Disaster: Franklin and Frankenstein Author(S): Adriana Craciun Source: Nineteenth-Century Literature, Vol
Writing the Disaster: Franklin and Frankenstein Author(s): Adriana Craciun Source: Nineteenth-Century Literature, Vol. 65, No. 4 (March 2011), pp. 433-480 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/ncl.2011.65.4.433 . Accessed: 03/08/2011 10:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Nineteenth-Century Literature. http://www.jstor.org -
Faire-Valoir Et Seconds Couteaux Sidekicks and Underlings Nathalie Jaëck, Jean-Paul Gabilliet
Faire-valoir et seconds couteaux Sidekicks and Underlings Nathalie Jaëck, Jean-Paul Gabilliet To cite this version: Nathalie Jaëck, Jean-Paul Gabilliet. Faire-valoir et seconds couteaux Sidekicks and Underlings. Es- sais : revue interdisciplinaire d’Humanités, 2016. hal-02508451 HAL Id: hal-02508451 https://hal.archives-ouvertes.fr/hal-02508451 Submitted on 17 Mar 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Revue interdisciplinaire d’Humanités Faire-valoir et seconds couteaux Sidekicks and Underlings Études réunies par Nathalie Jaëck et Jean-Paul Gabilliet Numéro 10 - 2016 (1 - 2016) ÉCOLE DOCTORALE MONTAIGNE-HUMANITÉS Comité de rédaction Jean-Luc Bergey, Laetitia Biscarrat, Charlotte Blanc, Fanny Blin, Brice Chamouleau, Antonin Congy, Marco Conti, Laurent Coste, Hélène Crombet, Jean-Paul Engélibert, Rime Fetnan, Magali Fourgnaud, Jean-Paul Gabilliet, Stanislas Gauthier, Aubin Gonzalez, Bertrand Guest, Sandro Landi, Sandra Lemeilleur, Mathilde Lerenard, Maria Caterina Manes Gallo, Nina Mansion, Mélanie Mauvoisin, Myriam Metayer, Isabelle -
Frankenstein (Max Tachis, Left) and Henry Clerval (Jeremy Ryan) Create Life from Lifelessness in Frankenstein
Next on our stage: RAPTURE, BLISTER, BURN LIZZIE STAY TUNED FOR OUR MAY 18-JUNE 18 JULY 13-AUGUST 20 2016-2017 SEASON! HIGHLIGHTS Victor Frankenstein (Max Tachis, left) and Henry Clerval (Jeremy Ryan) create life from lifelessness in Frankenstein. Photo by Taylor Sanders. A companion guide to “Frankenstein” adapted by Kit Wilder from the novel by Mary Shelley March 23-April 23, 2017 This issue of Highlights was researched and written by Kit Wilder. Read past issues, and a digital version of this issue, at cltc.org/highlights. WHY “FRANKENSTEIN” “You are young, and eager, but let me caution you! You want to make your mark, surely, but you cannot yet see the dangers that lie ahead. Know thyself, young man – know the world in which you live – lest you unleash the unimaginable!” -Prof. Waldman in Frankenstein For 200 years, Frankenstein, or The Modern Prometheus – Mary Shelley’s tale of horror and hubris, of the follies and flaws of humanity — has gripped the imagination of readers around the world. Now, City Lights revisits Frankenstein with a fresh perspective and the use of modern multimedia technology, including projection mapping. This commissioned work, the second in City Lights history, is written and directed by Kit Wilder, who was director and co-writer of the company’s first original commissioned piece, Truce: A Christmas Wish From the Great War, in 2014. Wilder explores the hubris that brings the young scientist Victor Frankenstein to play God and create a sapient creature. When he rejects his work, Frankenstein throws his entire world into a downward spiral of violence and recriminations as the cautionary tale explores the very nature of the human existence. -
Read Book Frankenstein: Or, the Modern Prometheus Ebook
FRANKENSTEIN: OR, THE MODERN PROMETHEUS PDF, EPUB, EBOOK Mary Wollstonecraft Shelley | 304 pages | 20 Jul 2011 | Penguin Books Ltd | 9780143105039 | English | London, United Kingdom Frankenstein; or, The Modern Prometheus | novel by Shelley | Britannica Le Pere Goriot. Un Capitaine de Quinze Ans. This monograph investigates the legal status of Russian corporations at the present day. It describes the legal organization of corporate systems, defines the concepts of corporate relations and corporate property owned by members of corporations. The author The author analyzes the sources of regulation of corporate relations, identifies the place of corporate law in the Russian system of law branches, investigates the legal aspects of corporate governance mechanisms and discusses the matters pertaining to the protection of corporate rights. The described legislation is current as of August The relevance of the present work is emphasized by its consideration of the latest changes in corporate legislation and judicial practice. The book is aimed at a broad readership, including representatives of public and local authorities, legal practitioners, lecturers in entrepreneurial and corporate law, graduate and postgraduate students. Uncle Tom's Cabin. Priestess Itfat. Tufti is not a made up character. She used to exist and in some sense she still does. This book describes the amazing adventures of the priestess and her friends in metareality. What happens there is not entirely fiction. Truth be told, it is not fiction at all. The reader will have to decide for themselves how much of it they wish to believe. Der Tod in Venedig. Verwirrug Der Gefuhle. Harry Potter has never even heard of Hogwarts when the letters start dropping on the doormat at number four, Privet Drive. -
John Larpent Plays
http://oac.cdlib.org/findaid/ark:/13030/tf1h4n985c No online items John Larpent Plays Processed by Dougald MacMillan in 1939; supplementary encoding and revision by Diann Benti in January 2018. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2000 The Huntington Library. All rights reserved. John Larpent Plays mssLA 1-2503 1 Overview of the Collection Title: John Larpent Plays Dates (inclusive): 1737-1824 Collection Number: mssLA 1-2503 Creator: Larpent, John, 1741-1824. Extent: 2,503 pieces. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection consists of official manuscript copies of plays submitted for licensing in Great Britain between 1737 and 1824 that were in the possession of John Larpent (1741-1824), the examiner of plays, at the time of his death in 1824. The collection includes 2,399 identified plays as well as an additional 104 unidentified pieces including addresses, prologues, epilogues, etc. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher.