Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof
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Representations of Love and Marriage in the Works of Mary Wollstonecraft Hels Ley and Percy Bysshe Shelley Jenna E
Student Publications Student Scholarship Spring 2016 “One Feeling in Such a Solitude”: Representations of Love and Marriage in the Works of Mary Wollstonecraft helS ley and Percy Bysshe Shelley Jenna E. Fleming Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the Comparative Literature Commons, and the Literature in English, British Isles Commons Share feedback about the accessibility of this item. Fleming, Jenna E., "“One Feeling in Such a Solitude”: Representations of Love and Marriage in the Works of Mary Wollstonecraft Shelley and Percy Bysshe Shelley" (2016). Student Publications. 456. https://cupola.gettysburg.edu/student_scholarship/456 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/student_scholarship/ 456 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. “One Feeling in Such a Solitude”: Representations of Love and Marriage in the Works of Mary Wollstonecraft helS ley and Percy Bysshe Shelley Abstract The ae rly nineteenth century was characterized by a dynamic literary discussion and debate over the nature and effects of human relationships. Mary Wollstonecraft heS lley and Percy Bysshe Shelley, two of the foremost writers of the period, experimented with and drew conclusions about differing images of marriage within their works. Making use of this public literary genre, the couple engaged in a conversation with one another as they explored and refined their views and judgments of relationships including their own. -
The Machine at the Mad Monster Party
1 The Machine at the Mad Monster Party Mad Monster Party (dir. Jules Bass, 1967) is a beguiling film: the superb Rankin/Bass “Animagic” stop-motion animation is burdened by interminable pacing, the celebrity voice cast includes the terrific Boris Karloff and Phyllis Diller caricaturing themselves but with flat and contradictory dialogue, and its celebration of classic Universal Studios movie monsters surprisingly culminates in their total annihilation in the film’s closing moments. The plot finds famous Dr. Baron Boris von Frankenstein convening his “Worldwide Organization of Monsters” to announce both his greatest discovery, a “formula which can completely destroy all matter,” and his retirement, where he will surprisingly be succeeded not by a monster but by something far worse: a human, his nebbish pharmacist nephew Felix Flanken. Naturally, this does not sit well with the current membership, nor even Felix, who is exposed to monsters for the first time in his life and is petrified at what he sees. Thus, a series of classic monsters team up to try to knock off Felix and take over for Baron Frankenstein: Dracula, The Werewolf, The Mummy, The Invisible Man, Dr. Jekyll & Mr. Hyde, The Creature from the Black Lagoon, The Hunchback of Notre Dame, Frankenstein’s Monster, The Monster's Mate, King Kong (referred to only as “It”), Yetch (an ersatz Peter Lorre/Igor hybrid), and Francesca, the buxom red-head secretary. Much of the plot’s comedy is that Felix is so humanly clueless: glasses-wearing, naive, constantly sneezing, he fails to recognize the monsters’ horribleness and manages to avoid their traps mainly by accident and dumb luck. -
Mary Shelley: Teaching and Learning Through Frankenstein Theresa M
Forum on Public Policy Mary Shelley: Teaching and Learning through Frankenstein Theresa M. Girard, Adjunct Professor, Central Michigan University Abstract In the writing of Frankenstein, Mary Shelley was able to change the course of women’s learning, forever. Her life started from an elite standpoint as the child of Mary Wollstonecraft and William Godwin. As such, she was destined to grow to be a major influence in the world. Mary Shelley’s formative years were spent with her father and his many learned friends. Her adult years were spent with her husband, Percy Bysshe Shelley, and their literary friends. It was on the occasion of the Shelleys’ visit to Lord Byron at his summer home that Mary Shelley was to begin her novel which changed the course of women’s ideas about safety and the home. No longer were women to view staying in the home as a means to staying safe and secure. While women always knew that men could be unreliable, Mary Shelley openly acknowledged that fact and provided a forum from which it could be discussed. Furthermore, women learned that they were vulnerable and that, in order to insure their own safety, they could not entirely depend upon men to rescue them; in fact, in some cases, women needed to save themselves from the men in their lives, often with no one to turn to except themselves and other women. There are many instances where this is shown throughout Frankenstein, such as: Justine’s prosecution and execution and Elizabeth’s murder. Mary Shelley educated women in the most fundamental of ways and continues to do so through every reading of Frankenstein. -
Of Gods and Monsters: Signification in Franz Waxman's Film Score Bride of Frankenstein
This is a repository copy of Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/118268/ Version: Accepted Version Article: McClelland, C (Cover date: 2014) Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. Journal of Film Music, 7 (1). pp. 5-19. ISSN 1087-7142 https://doi.org/10.1558/jfm.27224 © Copyright the International Film Music Society, published by Equinox Publishing Ltd 2017, This is an author produced version of a paper published in the Journal of Film Music. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Paper for the Journal of Film Music Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein Universal’s horror classic Bride of Frankenstein (1935) directed by James Whale is iconic not just because of its enduring images and acting, but also because of the high quality of its score by Franz Waxman. -
The Real "Monster" in Frankenstein
ISSN 2380-5064 | Arsenal is published by the Augusta University Libraries | http://guides.augusta.edu/arsenal Volume 1, Issue 1 (2016) The Real "Monster" in Frankenstein David O. Urizar Citation Urizar, D. O. (2016). The Real "Monster" in Frankenstein. Arsenal: The undergraduate research journal of Augusta University, 1(1), 20-27. http://doi.org/10.21633/issn.2380.5064/f.2016.01.20 © 2016 Urizar. This open access article is distributed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.0 Generic License (https://creativecommons.org/licenses/by-nc-nd/2.0/) ISSN 2380-5064 10.21633/issn.2380.5064/f.2016.01.20 Real “Monster” in Frankenstein David O. Urizar Department of Biological Sciences College of Science and Mathematics Faculty Mentor: Todd Hoffman, Ph.D., Department of English and Foreign Languages The story of Frankenstein is typically seen as a battle between Victor Frankenstein and the “monster” of the story. However I argue that that the real “monster” of the story is in fact Victor Frankenstein who is suffering from paranoid schizophrenia and that the “monster” is really just a delusions that Victor uses to cope with the idea that he in fact is the killer of the story. This concept is evident in the fact that no one in the story has ever seen both Victor Frankenstein and the “monster” alive in the same place. The characteristics of the “monster’ also point towards the idea that the “monster” could not possibly exist. Even the way that Victor acts throughout the book point to the idea that he does not really care for the safety of his loved ones. -
Young Frankenstein"
"YOUNG FRANKENSTEIN" SCREENPLAY by GENE WILDER FIRST DRAFT FADE IN: EXT. FRANKENSTEIN CASTLE A BOLT OF LIGHTNING! A CRACK OF THUNDER! On a distant, rainy hill, the old Frankenstein castle, as we knew and loved it, is illuminated by ANOTHER BOLT OF LIGHTNING. MUSIC: AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in the b.g. as we MOVE SLOWLY CLOSER to the castle. It is completely dark, except for one room -- a study in the corner of the castle -- which is only lit by candles. Now we are just outside a rain-splattered window of the study. We LOOK IN and SEE: INT. STUDY - NIGHT An open coffin rests on a table we can not see it's contents. As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW... A CLOCK BEGINS TO CHIME: "ONE," "TWO," "THREE," "FOUR..." We are ALMOST FACING the front of the coffin. "FIVE," "SIX," "SEVEN," "EIGHT..." The CAMERA STOPS. Now it MOVES UP AND ABOVE the satin-lined coffin. "NINE," "TEN," "ELEVEN," "T W E L V E!" CUT TO: THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN Half of still clings to the waxen balm; the other half has decayed to skull. Below his head is a skeleton, whose bony fingers cling to a metal box. A HAND reaches in to grasp the metal box. It lifts the box halfway out of the coffin -- the skeleton's fingers rising, involuntarily, with the box. Then, as of by force of will, the skeleton's fingers grab the box back and place it where it was. Now the "Hand" -- using its other hand -- grabs the box back from the skeleton's fingers. -
The Last Man"
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2016 Renegotiating the Apocalypse: Mary Shelley’s "The Last Man" Kathryn Joan Darling College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Literature in English, British Isles Commons Recommended Citation Darling, Kathryn Joan, "Renegotiating the Apocalypse: Mary Shelley’s "The Last Man"" (2016). Undergraduate Honors Theses. Paper 908. https://scholarworks.wm.edu/honorstheses/908 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. 1 The apocalypse has been written about as many times as it hasn’t taken place, and imagined ever since creation mythologies logically mandated destructive counterparts. Interest in the apocalypse never seems to fade, but what does change is what form that apocalypse is thought to take, and the ever-keen question of what comes after. The most classic Western version of the apocalypse, the millennial Judgement Day based on Revelation – an absolute event encompassing all of humankind – has given way in recent decades to speculation about political dystopias following catastrophic war or ecological disaster, and how the remnants of mankind claw tooth-and-nail for survival in the aftermath. Desolate landscapes populated by cannibals or supernatural creatures produce the awe that sublime imagery, like in the paintings of John Martin, once inspired. The Byronic hero reincarnates in an extreme version as the apocalyptic wanderer trapped in and traversing a ruined world, searching for some solace in the dust. -
Movies & Languages 2013-2014 Hotel Transylvania
Movies & Languages 2013-2014 Hotel Transylvania About the movie (subtitled version) DIRECTOR Genndy Tartakovsky YEAR / COUNTRY 2012 U.S.A GENRE Comedy, Animation ACTORS Adam Sandler, Andy Samberg, Steve Buscemi, Selena Gomez PLOT The Hotel Transylvania is Dracula's lavish five-stake resort he built for his beloved wife Martha and their daughter Mavis. Monsters and their families are invited to Mavis's 118th birthday party where they can live it up, free from meddling with the human world. But here's a little known fact about Dracula: he is not only the Prince of Darkness; he is also a dad. Over-protective of his teenage daughter, Mavis, Dracula fabricates tales of elaborate dangers to dissuade her adventurous spirit. As a haven for Mavis, he opens the Hotel Transylvania, where his daughter and some of the world's most famous monsters – Frankenstein and his bride, the Mummy, the Invisible Man, a family of werewolves, gremlins and more – can kick back in safety and peace. For Drac, catering to all of these legendary monsters is no problem but his world could come crashing down when one ordinary guy discovers the hotel and takes a shine to Mavis. LANGUAGE Simple English spoken in Eastern European, American and French accents GRAMMAR INDEPENDENT ELEMENTS/INTERJECTIONS Introductory - Oh! ah! alas! Ha ha, ha! hollo! hurrah! pshaw! etc. express sudden bursts of feeling. As they have no grammatical relation to any other word in the sentence, we say that they are independent. Words belonging to other parts of speech become interjections when used as mere exclamations: What! are you going? Well! you surprise me Other words besides interjections may be used independently: Come on boys Well, we will try it Now, that is strange Why, this looks right There is reason in this Boys simply arrests the attention of the persons addressed. -
La Novia De Frankenstein La Rara Proeza De Mejorar La Obra Inicial Y Acercarse Mucho Al Nivel De Lo Que Se Puede Entender Como Una Obra Maestra
Una de las obras cumbre del género fantástico FICHA TÉCNICA: Título original: Bride of Frankenstein Nacionalidad: EEUU Año: 1935 Dirección: James Whale Guión: William Hurlbut, John Balderston (sugerido por la novela Frankenstein o el moderno Prometeo de Mary W. Shelley) Producción: Carl Laemmle Jr. Dirección de Fotografía: John Mescall Montaje: Ted Kent Dirección Artística: Charles D. Hall Música: Franz Waxman Maquillaje: Jack Pierce Efectos Especiales: John P. Fulton Reparto: Boris Karloff ( El Monstruo ), Colin Clive (Barón Henry Frankenstein ), Valerie Hobson ( Eli- zabeth ), Ernest Thesiger ( Dr. Septimus Pretorius ), Elsa Lanchester ( Mary W. Shelley / Compañera del Monstruo ), Gavin Gordon ( Lord Byron ), Douglas Walton ( Percy Bysshe Shelley ), Una O'Connor (Minnie ), E.E. Clive ( Burgomaestre ), Lucien Prival (Albert, el Mayordomo ), Dwight Frye ( Karl, el Jo- robado ) Duración: 75 min. (B/N) SINOPSIS: Durante su convalecencia, Henry Frankenstein recibe la visita de un hombre extravagante que dice ser el Dr. Pretorious , quien le pide que colabore con él en sus experimentos para la creación de la vida. Con objeto de animarle a ello, Pretorious le muestra una colección de homúnculos que reviven durante unos segundos un mundo mágico ante la mirada fascinada de Henry . No obstante, Frankenstein no se deja tentar y rehúsa el ofrecimiento. Pero Pretorious contará con una baza inesperada a su favor: El Monstruo . Juntos obligan a Henry a crear una mujer que sea la compañera del monstruo. HOJA INFORMAT IVA Nº 68 Abril 2005 COMENTARIOS: Cuatro años después de su éxito inicial con El Dr. Frankenstein y tras haber rodado, entre otras, la magnífica adaptación cinematográfica de la novela El Hombre Invisible de H.G. -
Mary Shelley
Mary Shelley Early Life Mary Wollstonecraft Godwin Shelley was born on August 30, 1797, the daughter of two prominent radical thinkers of the Enlightenment. Her mother was the feminist Mary Wollstonecraft, author of A Vindication of the Rights of Woman, and her father was the political philosopher William Godwin, best known for An Inquiry Concerning Political Justice. Unfortunately, Wollstonecraft died just ten days after her daughter’s birth. Mary was raised by her father and stepmother Mary Jane Clairmont. When she was 16 years old, Mary fell in love with the Romantic poet Percy Bysshe Shelley, who visited her father’s house frequently. They eloped to France, as Shelley was already married. They eventually married after two years when Shelley’s wife Harriet committed suicide. The Writing of Frankenstein In the summer of 1816, the Shelleys rented a villa close to that of Lord Byron in Switzerland. The weather was bad (Mary Shelley described it as “wet, ungenial” in her 1831 introduction to Frankenstein), due to a 1815 eruption of a volcano in Indonesia that disrupted weather patterns around the world. Stuck inside much of the time, the company, including Byron, the Shelleys, Mary’s stepsister Claire Clairmont, and Byron’s personal physician John Polidori, entertained themselves with reading stories from Fantasmagoriana, a collection of German ghost stories. Inspired by the stories, the group challenged themselves to write their own ghost stories. The only two to complete their stories were Polidori, who published The Vampyre in 1819, and Mary Shelley, whose Frankenstein went on to become one of the most popular Gothic tales of all time. -
Categorizing Humans, Animals, and Machines in Mary Shelley's Frankenstein
University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2009 Categorizing Humans, Animals, and Machines in Mary Shelley’s Frankenstein Martha Bellows University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Arts and Humanities Commons Recommended Citation Bellows, Martha, "Categorizing Humans, Animals, and Machines in Mary Shelley’s Frankenstein" (2009). Senior Honors Projects. Paper 129. http://digitalcommons.uri.edu/srhonorsprog/129http://digitalcommons.uri.edu/srhonorsprog/129 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Martha Bellows Major: English and Spanish Email: [email protected] Title of Project: Categorizing Humans, Animals, and Machines in Mary Shelley’s Frankenstein Faculty Sponsor: Dr. Galen Johnson Abstract From Plato to Descartes and Kant and now to modern day, there is a general idea that pervades Western society. This idea is about the uniqueness and superiority of the human being. We are rational and conscious beings that apparently stand alone in the world, separated intellectually from animals and biologically from machines. The relationship between humans, animals, and machines is a tumultuous one and it is not easily definable. For many classical philosophers, this relationship has always been a hierarchy. Humans are on the top and animals and machines fall somewhere below. These beliefs have created a distinct category for the three terms that leaves no room for overlap. -
Monster Squad
The Monster Squad by Alek J. Talevich (Based on the 1987 original film) Working Draft Daschwah LABS Bellingham, WA (626) 590-4765 FADE IN EXT. SEATONVILLE HARBOR - NIGHT The brackish waters of a modest commercial marina, with rows of contract fishing and cargo trawlers hugging the concrete strip of the waterfront and warehouse blocks. Fog hangs low over the water. All's quiet on the night watch, save for the dinging of buoys and slow churn of the tides. INT. HARBORMASTER'S OFFICE The cluttered office of the Harbormaster, manned by a single operator: a night watchman in his late fifties. Hokey nautical memorabilia hugs the walls, a coffee pot brews, and the watchman reads from a dog-eared paperback while seated before several security monitors. NIGHT WATCHMAN (singsong) My father's a poor missionary… he saves pretty women from sin… The silhouette of a man moves across the monitors, unnoticed by the sentry; pacing from one screen to the next, along the perimeter fence. NIGHT WATCHMAN (still singing) … he'll save you a blonde for five dollars… Lord, how the money rolls in. The sentry flips a page, not noticing as the intruder nonchalantly LEAPS over the twelve-foot high fence without missing a step, vanishing from the security cameras' view. CUT TO: 2. EXT. SEATONVILLE HARBOR Leather dress shoes touch down on the corrugated steel roof of a warehouse, as the intruder is revealed: CHARLES RUEGER, somewhere in his forties, bespectacled, his expression haunted. Dressed in a threadbare overcoat and the dirty, ripped trappings of what was once a three-piece suit underneath.