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The Endurance of the Frankenstein Myth:A History of Ideas
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2017 The Endurance of the Frankenstein Myth:A History of Ideas Prescod, Ronald Prescod, R. (2017). The Endurance of the Frankenstein Myth:A History of Ideas (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28126 http://hdl.handle.net/11023/3650 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 The Endurance of the Frankenstein Myth: A History of Ideas by Ronald Prescod A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN COMMUNICATIONS STUDIES CALGARY, ALBERTA FEBRUARY, 2017 © Ronald Prescod 2017 Abstract The term “Frankenstein foods” is an interesting and unique phenomenon. The term represents ideas and themes transported over two hundred years from the novel Frankenstein (Shelley, 1818) to contemporary critical discourse about biotechnology. Most studies of Frankenstein’s endurance have focused on the novel’s intrinsic literary form, that is, its reception history, adaptations, interpretations, its publication, or its canonical status as a classic. However, this thesis is a history of ideas that offers a unique examination of Frankenstein’s endurance in mythical form as the Frankenstein myth. -
Chapter 1 Chapter 2
Notes Chapter 1 1. Jeffrey Mirel, “The Traditional High School: Historical Debates over Its Nature and Function,” Education Next 6 (2006): 14–21. 2. US Census Bureau, “Education Summary––High School Gradu- ates, and College Enrollment and Degrees: 1900 to 2001,” His- torical Statistics Table HS-21, http://www.census.gov/statab/ hist/HS-21.pdf. 3. Andrew Monument, dir., Nightmares in Red, White, and Blue: The Evolution of American Horror Film (Lux Digital Pictures, 2009). 4. Monument, Nightmares in Red. Chapter 2 1. David J. Skal, Screams of Reason: Mad Science and Modern Cul- ture (New York: Norton, 1998), 18–19. For a discussion of this more complex image of the mad scientist within the context of postwar film science fiction comedies, see also Sevan Terzian and Andrew Grunzke, “Scrambled Eggheads: Ambivalent Represen- tations of Scientists in Six Hollywood Film Comedies from 1961 to 1965,” Public Understanding of Science 16 (October 2007): 407–419. 2. Esther Schor, “Frankenstein and Film,” in The Cambridge Com- panion to Mary Shelley (Cambridge: Cambridge University Press, 2003), 63; James A. W. Heffernan, “Looking at the Monster: Frankenstein and Film,” Critical Inquiry 24, no. 1 (Autumn 1997): 136. 3. Russell Jacoby, The Last Intellectuals: American Culture in the Age of Academe (New York: Basic Books, 1987). 4. Richard Hofstadter, Anti-Intellectualism and American Life (New York: Knopf, 1963); Craig Howley, Aimee Howley, and Edwine D. Pendarvis, Out of Our Minds: Anti-Intellectualism and Talent 178 Notes Development in American Schooling (New York: Teachers Col- lege Press: 1995); Merle Curti, “Intellectuals and Other People,” American Historical Review 60 (1955): 259–282. -
Frankenstein and the Problem of Modern Science, Part 3 of 3)
Keeping the Monster at a Distance: Artificial Humanity and Victimary Otherness (Frankenstein and the Problem of Modern Science, Part 3 of 3) Andrew Bartlett English Department Kwantlen University College Surrey, B. C. Canada V3W 2M8 [email protected] Introduction 1 In Part One of this study, our task was to construct a notion of originary science that would help us to account for the power of Mary Shelley’s Frankenstein (1818) as the textual source of the mythical mad scientist who plays God by creating the artificial human. An idea of originary science was crystallized in its definition as “the sign deployed in a mode of minimal desacralization and maximal exchangeability,” within the context of ritual substitution of one valuable central object for another. In Part Two, we discovered that Mary Shelley’s character Victor Frankenstein as a representative of modern science at its least prudent and most dangerous reversed the religious spirit of humility before the community inherent to originary science: Frankenstein’s technological experiment in making an artificial human demonstrates scientific representation in the mode of maximal desacralization and minimal exchangeability. Nevertheless, we argued, in his desire to know the object, Frankenstein is characteristically, legitimately modern. If we recognize Mary Shelley’s grasp of the event structure of scientific revelation, then we will avoid an oversimplifying moral condemnation of Frankenstein’s failure to foresee the effects of the Creature’s animation into moving ugliness. In this final Part Three, our focus will be on the career of the Monster, specifically on the two “creation scenes” analogous to the paradoxical animation of the Monster we analyzed last time: first, the creation scene of the Monster’s failure to integrate into the DeLacey family; second, the creation scene of the abortive destruction of the Monster’s female companion. -
Sexuality in the Horror Soundtrack (1968-1981)
UNIVERSITY OF CALIFORNIA Los Angeles Monstrous Resonance: Sexuality in the Horror Soundtrack (1968-1981) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Morgan Fifield Woolsey 2018 © Copyright by Morgan Fifield Woolsey 2018 ABSTRACT OF THE DISSERTATION Monstrous Resonance: Sexuality in the Horror Soundtrack (1968-1981) by Morgan Fifield Woolsey Doctor of Philosophy in Musicology University of California, Los Angeles, 2018 Professor Raymond L. Knapp, Co-Chair Professor Mitchell Bryan Morris, Co-Chair In this dissertation I argue for the importance of the film soundtrack as affective archive through a consideration of the horror soundtrack. Long dismissed by scholars in both cinema media studies and musicology as one of horror’s many manipulative special effects employed in the aesthetically and ideologically uncomplicated goal of arousing fear, the horror soundtrack is in fact an invaluable resource for scholars seeking to historicize changes in cultural sensibilities and public feelings about sexuality. I explore the critical potential of the horror soundtrack as affective archive through formal and theoretical analysis of the role of music in the representation of sexuality in the horror film. I focus on films consumed in the Unites States during the 1970s, a decade marked by rapid shifts in both cultural understanding and cinematic representation of sexuality. ii My analyses proceed from an interdisciplinary theoretical framework animated by methods drawn from affect studies, American studies, feminist film theory, film music studies, queer of color critique, and queer theory. What is the relationship between public discourses of fear around gender, race, class, and sexuality, and the musical framing of sexuality as fearful in the horror film? I explore this central question through the examination of significant figures in the genre (the vampire, the mad scientist/creation dyad, and the slasher or serial killer) and the musical-affective economies in which they circulate. -
Luz, Câmera… “Frankenstein”: Como Os Estudantes Do Ensino Médio Percebem a Ciência Nos Filmes
UNIVERSIDADE ESTADUAL DO OESTE DO PARANÁ - UNIOESTE CENTRO DE EDUCAÇÃO, COMUNICAÇÃO E ARTES/CECA PROGRAMA DE PÓS-GRADUAÇÃO EM EDUCAÇÃO NÍVEL DE MESTRADO/PPGE ÁREA DE CONCENTRAÇÃO: SOCIEDADE, ESTADO E EDUCAÇÃO LUZ, CÂMERA… “FRANKENSTEIN”: COMO OS ESTUDANTES DO ENSINO MÉDIO PERCEBEM A CIÊNCIA NOS FILMES KATHYA ROGERIA DA SILVA CASCAVEL – PR 2018 UNIVERSIDADE ESTADUAL DO OESTE DO PARANÁ - UNIOESTE CENTRO DE EDUCAÇÃO, COMUNICAÇÃO E ARTES/CECA PROGRAMA DE PÓS-GRADUAÇÃO EM EDUCAÇÃO NÍVEL DE MESTRADO/PPGE ÁREA DE CONCENTRAÇÃO: SOCIEDADE, ESTADO E EDUCAÇÃO LUZ, CÂMERA… “FRANKENSTEIN”: COMO OS ESTUDANTES DO ENSINO MÉDIO PERCEBEM A CIÊNCIA NOS FILMES KATHYA ROGERIA DA SILVA CASCAVEL – PR 2018 UNIVERSIDADE ESTADUAL DO OESTE DO PARANÁ - UNIOESTE CENTRO DE EDUCAÇÃO, COMUNICAÇÃO E ARTES/CECA PROGRAMA DE PÓS-GRADUAÇÃO EM EDUCAÇÃO NÍVEL DE MESTRADO/PPGE ÁREA DE CONCENTRAÇÃO: SOCIEDADE, ESTADO E EDUCAÇÃO LUZ, CÂMERA… “FRANKENSTEIN”: COMO OS ESTUDANTES DO ENSINO MÉDIO PERCEBEM A CIÊNCIA NOS FILMES KATHYA ROGERIA DA SILVA Dissertação apresentada ao Programa de Pós-Graduação em Educação – PPGE, área de concentração Sociedade, Estado e Educação, linha de pesquisa: Ensino de Ciências e Matemática da Universidade Estadual do Oeste do Paraná/Unioeste –Campus de Cascavel, com requisito parcial para obtenção do título de Mestra em Educação. Orientadora: Professora Doutora Marcia Borin da Cunha CASCAVEL – PR 2018 DEDICATÓRIA Aos meus pais, Jane e Olandir, por todo amor que dedicaram a mim. Ao Felipe Giuliano e aos meus afilhados queridos, Álvaro e Alexandre, que enchem a minha vida de amor e sorrisos sinceros. AGRADECIMENTOS Desde antes da escrita das primeiras palavras até as últimas deste trabalho, várias pessoas contribuíram e me ajudaram a finalizar. -
HORROR FILMS Page 1 of 23
HORROR FILMS Page 1 of 23 HORROR FILMS Horror Films are unsettling films designed to frighten and panic, cause dread and alarm, and to invoke our hidden worst fears, often in a terrifying, shocking finale, while captivating and entertaining us at the same time in a cathartic experience. Horror films effectively center on the dark side of life, the forbidden, and strange and alarming events. They deal with our most primal nature and its fears: our nightmares, our vulnerability, our alienation, our revulsions, our terror of the unknown, our fear of death and dismemberment, loss of identity, or fear of sexuality. Horror films go back as far as the onset of films themselves, over a 100 years ago. From our earliest days, we use our vivid imaginations to see ghosts in shadowy shapes, to be emotionally connected to the unknown and to fear things that are improbable. Watching a horror film gives an opening into that scary world, into an outlet for the essence of fear itself, without actually being in danger. Weird as it sounds, there's a very real thrill and fun factor in being scared or watching disturbing, horrific images. Whatever dark, primitive, and revolting traits that simultaneously attract and repel us are featured in the horror genre. Horror films are often combined with science fiction when the menace or monster is related to a corruption of technology, or when Earth is threatened by aliens. The fantasy and supernatural film genres are not synonymous with the horror genre, although thriller films may have some relation when they focus on the revolting and horrible acts of the killer/madman. -
"Frankenstein" and the Tradition of Realism Author(S): George Levine Source: NOVEL: a Forum on Fiction, Vol
"Frankenstein" and the Tradition of Realism Author(s): George Levine Source: NOVEL: A Forum on Fiction, Vol. 7, No. 1 (Autumn, 1973), pp. 14-30 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/1345050 Accessed: 04-11-2016 13:12 UTC 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Duke University Press is collaborating with JSTOR to digitize, preserve and extend access to NOVEL: A Forum on Fiction This content downloaded from 209.221.91.250 on Fri, 04 Nov 2016 13:12:59 UTC All use subject to http://about.jstor.org/terms Frankenstein and the Tradition of Realism GEORGE LEVINE The English novel, as a form, has rarely been kind to characters with large aspira- tions. For the most part, it has preferred to chastise them and to praise those heroes reconciled to unheroic lives. In a way, the limits of praiseworthy aspiration and of the capacity to act effectively on the world are established in Robinson Crusoe, which offers us a hero whose heroism consists in survival and learning to use the most ordinary materials to build a home and a thriving economy. That the story is, as a whole, incredible makes it all the more characteristic since its literary strategy is to make the unbelievable seem quite ordinary, and it uses ex- travagance not to create a hero with the kind of aspirations appropriate to romance, but with great expectations which go no further than getting rich. -
Frankenstein and the Inoculated Reader Frankenstein; Or the Modern Prometheus
FRANKENSTEIN AND THE INOCULATED READER FRANKENSTEIN; OR THE MODERN PROMETHEUS AND THE INOCULATED READER By JANE L. DROVER, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University (c) Copyright by Jane L. Drover, June 1990 DOCTOR OF PHILOSOPHY (1990) MCMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Frankenstein; Or The Modern Prometheus and The Inoculated Reader AUTHOR: Jane Drover, B.A. (McMaster University) M.A. (McMaster University) SUPERVISOR: Dr. Joan Coldwell NUMBER OF PAGES: vii, 337 ii Abstract My thesis examines the relationship between Mary Shelley's novel Frankenstein; or, The Modern Prometheus and the Frankenstein myth as it has come to be known because of film. I propose that present-day readers, in addition to having a repository of literary knowledge, also have a reservoir of f ilmic memories on which to draw when they read. These visual 'texts' can function, I argue, not only as inter-texts but also as signs, indicating to us how to read certain written texts. Building on reader-response criticism, I include these visual signs in my analysis of the reading experience of Frankenstein. After outlining a brief history of visualizations of the novel on stage and in film and commenting on the contributions these adaptations gave to the story, I focus on the James Whale classics of 1931 and 1935. It is to. these films that we owe the figures of the Karloffian monster, the hunchbacked assistant, the 'mad' scientist, and the monster's grotesque 'bride.' Having imitated the common order of our exposure to the myth -- that is we know or know of Frankenstein films before we arrive at the novel I define and explain the iii theoretical concepts of narrative and filmic afterimages. -
The Paper Jam Fall 2017
Reedley College Fall October 2017 Reading & Writing Center presents... The Paper Jam Fall 2017 By Gabriella Quijano Inside this issue Halloween and Thanksgiving are October Authors ……..2 the most anticipated holidays in Horoscopes .............. 4 Fall. But before everyone puts History of Jack-o- on their costumes and starts lanterns .................... 5 decorating their houses, let’s Chocolate! ................ 7 take a minute to wander through the change of seasons. Somewhere in mid to late September, cold air starts rifling through our clothes on our Grammar Corner: ..... 8 daily outings. We suddenly feel chilly in our tank tops and shorts, and Word Search ............. 9 the heat from the sun isn’t beating down on us as it used to: instead, it IT: Movie Review ...... 11 radiates warmth. The trees change into their red, orange, yellow, and Anne Rice ................. 12 auburn leaves, and before you know it, the familiar crunch of leaves are Mary Shelly .............. 14 beneath your feet. But, we all know that Fall doesn’t officially start until Starbucks releases their most beloved drink: Pumpkin. Spice. Lattes. October Poem Pick ... 15 They are everywhere you look. Stores begin to bring out their Hallow- een and Fall decorations, food aisles are stocked to the brim with cinna- mon, hot chocolate, and marshmallows, and you can almost feel the shift in demeanor: everyone seems happier, and they welcome a cool change from the unbearably hot and humid weather, and this momen- tum is directed toward Halloween. Continued on page 6 Born in October By: Kimberly Baker & Veronica Vela Anne Tyler “Life is continual shoring up...against one thing and another just eroding and crumbling away.” -Anne Tyler Arthur Miller “Why am I trying to become what I don’t want to be...when all I want is out there, waiting for me the minute I say I know who I am.” -Arthur Miller Dylan Thomas “Do not go gentle into that good night, old age should burn and rave at close of day; Rage, rage against the dying of light.” -Dylan Thomas 2 E. -
Now in It's 30 Year 25Th
Now in it’s 30th Year 25th - 27th October 2019 Welcome to the first progress report for our 30th festival. This annual event has become part of our lives and we would like to thank you all for the support you have shown. We have already lined up some great guests and we are working to add a few more surprises. Please let us know what you want to see and how you think we should celebrate three decades? Guests We are pleased to announce that the following guests have confirmed that they can attend (subject to work commitments). Dana Deirdre Pauline Peart Lawrence Costello Gordon Clark Gillespie 1 A message from the Festival’s Chairman As we reach the 30th anniversary of the annual event which has brought us both friendships and a weekend when we can usually park our 1990 brains in automatic control, I have been recently reminding myself of some of the highlights (and lowlights) of the Festival which has become a 1991 real part of my life. When we started I was a relatively young man of 43 and look at me now. I believe that some of the creatures/monsters that we have seen in 1992 the films we have watched over that period have probably kept their looks better than me but what the hell, I have enjoyed almost every minute of it. 1993 What does bother me is how Tony Edwards, who started the event older than me, now seems to have found the fountain of youth and 1994 looks younger than I do! Anyway, to the point, I hope that you all enjoy the coming event, and I am grateful for the 1995 positive response received from those attending Festival number 29 last year. -
Frankenstein
Sonderausgabe 2 Liebe Leserinnen, liebe Leser, mit der zweiten Sonderausgabe von FILM und BUCH graben wir ein wenig in der Literaturgeschichte. Genauer gesagt geht es um das wohl berühmteste Werk der Literatur: Frankenstein. Der bekannte Autor und Übersetzer Alexander Pechmann geht der Spur Frankensteins nach, die eng mit der Biographie Mary Shelleys verbunden ist, und zeigt zugleich auf, wo die Ursprünge des zur Ikone der Popkultur gewordenen Monsters liegen. Ein weiterer Beitrag von Alexander Pechmann listet damalige Rezensionen zu Frankenstein auf, die zeigen, mit welcher Wucht der Roman damals in den Buchmarkt einschlug. Am Ende der Ausgabe findet sich noch eine Auflistung der Filme, die mit dem Roman in Verbindung stehen, sowie wichtige biographische Daten über Mary Shelley. Viel Spaß beim Lesen! Alexander Pechmann FRANKENSTEIN Die Hintergründe zum wohl bekanntesten Monster der Schauerliteratur s e r u t c i P l a s r e v i n FILM und BUCH Sonderausgabe 2 U : t © FILM und BUCH 2017 h g i r y p o C Mary Shelleys Frankenstein Zum 200. Geburtstag eines Meisterwerks nen und Parodien wiederbelebt. Frankenstein wurde „Mary Godwin (jetzt Mrs. Shelley) schrieb Frankenstein – zum Inbegriff des verrückten Wissenschaftlers, der den Sie, im Glauben er sei Shelleys Werk, rezensiert haben – gegen die göttliche Ordnung verstößt und dafür kon- Mir scheint, es ist eine wunderbare Arbeit für ein neunzehn- sequent bestraft oder zum Besseren bekehrt wird. jähriges Mädchen – nicht einmal neunzehn – zu jener Zeit.“ Wie wenig dies mit der Radikalität der ursprünglichen Lord Byron sandte diese Zeilen im Mai 1819 an sei- Romanvorlage zu tun hat, offenbart sich erst durch nen Verleger John Murray, der es abgelehnt hatte, einen Vergleich mit der Urfassung von 1818. -
2Nd Nov 2014 at Manchester Conference Centre
31st Oct - 2nd Nov 2014 at Manchester Conference Centre Hello and welcome to the first progress report for the 25th Festival of Fantastic Films. A quarter of a century ago we had an idea that other people shared the same interests as we did and the Festival was born. Our first guest, Ray Harryhausen was warmly welcomed and undoubtedly whetted the appetites of the attendees, as over the years many of you have returned. We greatly appreciate your support. The Festival has attracted an excellent selection of guests — one reason why so many of you are so keen to return — but it is always heart-warming when the guests praise the atmosphere and that fans are keen to return. Guests such as Richard Gordon, Norman J. Warren and Stephen Volk have returned as fans. We must be doing something right. The preparations for this year are shaping up and the Committee is working hard to make this year special. The guest line-up is still developing but we are very pleased to announce that, subject to commitments, the following guests have already confirmed that they will attend: Yvonne Monlaur Luigi Cozzi Judy Matheson Me Me Lai Caroline Munro Francesca Ciardi There are several more possible guests still to be confirmed, so we look forward to announcing these as soon as we receive confirmation. Keep up to date by checking out our website 1 Welcome to the Festival So, as the Festival approaches its 25th Birthday and I don't look a day older (who is kidding who?) it is extremely pleasing to be able to say that we are about to reach our quarter-century.