DOCSLIB.ORG

Full Screen View

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Full Screen View The Malignant Intimacy: Doubles, Atheists, and Orphans in Frankenstein Unbound by Stuart Clarry III A Thesis Submitted to the Faculty of The Schmidt College of Arts and Humanities in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida August 1997 © Copyright by Stuart Clarry III 1997 ll The Malignant Intimacy: Doubles, Atheists, and Orphans in Frankenstein Unbound by Stuart Clarry III This thesis was prepared under the direction of the candidate's thesis advisor, Dr. Robert A. Collins, Department of English, and has been approved by the members of his supervisory committee. It was submitted to the faculty of the Schmidt College of Arts and Humanities and was accepted in partial fulfillment of the requirements for the degree of Master of Arts. SUPERVISORY COMMITIEE: ~=·=·=--...:,:---- J> '"'-;k? R- ll~ Gu,«c_)LG ~k ~~ Chairperson, Department of English ~ean, TheA Schmidt~ College of Arts and Humanities ~ -J 3- 97 D Date 1ll Acknowledgments Although my name is on the cover of this thesis, it would have been virtually impossible to complete without the encouragement and support of several people. I would like to extend my appreciation to Stacy Acker, Jennifer Brachfeld, and the rest of the lunch crowd for allowing me to bounce ideas around and helping me create some kind of organizational plan. Many thanks to Dr. Howard Pearce for helping me organize these ideas and plans into something coherent. Thanks also to Traci Klass for always being that breath of fresh air in the doorway. Finally, heartfelt thanks go out to my Thesis Committee: Dr. Robert Collins, Dr. Carol McGuirk, and Dr. David Anderson, who patiently and faithfully guided me through this proJect. Special thanks are due for three individuals, without whom this project would never have come to fruition. Monica Lewman has been a constant source of vital energy and encouragement; she made me believe that this could be done. Dr. Robert Collins provided critical guidance and support, from the genesis of my ideas through the completed manuscript. He also has the patience of Job! And finally, none of this would have been possible without my Mother's love and encouragement, and her unfaltering belief in my abilities (even when I wasn't sure). Thank you all! IV ABSTRACT Author: Stuart Clarry Title: The Malignant Intimacy: Doubles, Atheists, and Orphans in Frankenstein Unbound Institution: Florida Atlantic University Thesis Advisor: Dr. Robert A. Collins Degree: Master of Arts Year: 1997 Brian Aldiss's Frankenstein Unbound is both a tribute to and exegesis of Mary Shelley's novel. The central figure, Joseph Bodenland, the 'everyman' of modern technological society, emerges as a composite of Victor Frankenstein and the Creature; he is the pivotal character through whom Aldiss revises and reinterprets Shelley's themes. Bodenland's role as a double reveals how Aldiss has updated Shelley's biographically inspired atheism and psychological orphanhood. As an atheist, Bodenland symbolizes technology and modern society's increasing separation from faith and God. Bodenland's sense of orphanhood suggests humanity's separation from the natural world, and by extension, the loss of individual identity in a technological, scientific world. Bodenland's status as the last man on Earth symbolizes Aldiss's concern that modern society has not been responsible for its acnons. v To My Mother, and in Memory of My Grandparents TABLE OF CONTENTS Introduction . 1 Chapter One: Dualism and Doubles I. Doubling and the Gothic Tradition .......................... ll II. Victor, the Creature, and the Dualistic Nature of Frankenstein ... ... 15 III. The Double in Frankenstein Unbound ... ....... .... ..... ... 18 Chapter Two: Frankenstein, God of Technology I. Shelley's New Man ............... ................... ... 31 II. Atheism and the God ofTechnology ....................... .. 34 Chapter Three: The Orphaned Culture I. From the Orphaned Child to the Orphaned Nation ........... .. 37 II. Joe Bodenland: Aldiss's "Last Man" ......................... 41 Conclusion . 45 Notes . ... .... ............ .. ....................... .. ..... 50 Works Cited ............ .. ..................................... 52 Vl LIST OF ILLUSTRATIONS H . Fuseli- The Nightmare . ..... ....... ...... ... ... ... .. 15 Poster Art for Roger Connan)s Frankenstein Unbound . .... ... .. .. ... .... 46 Vll Introduction Like figures in a dream, all the people in Frankenstein have different bodies, and somehow, horribly, the same face, or worse--the same two faces. (Gilbert) A the time of its publication in 1973, Brian Aldiss's Billion Year Spree represented the most complete history of science fiction. Aldiss argues that the genre of science fiction began with Mary Shelley's novel Frankenstein. Although Aldiss's contention that Shelley wrote the first science fiction novel (and possibly the second in The Last Man) was controversial, he reaffirmed this position in Trillion Year Spree (1986), a revised edition. Since the publication of Billion Year Spree, Frankenstein has received increasing critical attention. Aldiss must be given credit for recognizing a novel that has since become central in the feminist and mainstream canons. Aldiss was so taken with Mary Shelley and her dark novel that upon completing Billion Year Spree he wrote Frankenstein Unbound, a contemporary retelling of the original novel. Of his novel, Aldiss writes that it was "designed to draw attention to its great original" (Trillion 18) and was "an act of homage to and exegesis of a novel that I regard as one of the very few rare masterworks of science fiction" (Griffin and Wingrove 162). 1 Frankenstein Unbound explores two central 1 themes in Shelley's novel: "man's confrontation with himself, . .. [and] the disintegration of society which follows man's arrogation of power'' (Billion 2 7) . Yet Frankenstein Unbound is much more than a mere extension of Frankenstein. David Wingrove argues that Frankenstein Unbound "imposes a Modernist framework upon the original gothic foundations to create something distinct from and yet immediately related to the original" (Griffm and Wingrove 163). Citing Ezra Pound's five forms of criticism, 2 Wingrove declares that Frankenstein Unbound is an example of"criticism by new composition"; Aldiss "was not attempting simply to rewrite the original without its flaws, but to reinterpret it from our modern perspective" (163). Aldiss updates Frankenstein) showing its relevance to contemporary culture. He abandons Shelley's gothic and religious trappings in favor of addressing issues such as the world wars, the cold war, and racial extermination. Richard Mathews also notes modernist features in Aldiss's novel, recognizing, for example, Aldiss's fascination with temporal breakdowns: In Probability A, we learned that artists of the nineteenth century felt trapped in time; the twentieth century artist feels time slipping beneath him. Bounded by future shock and historical awareness of an unprecedented order, the literary artist [i.e., Brian Aldiss], particularly one influenced by T.S. Eliot's belief in "Tradition and the Individual Talent," finds that present-tense work is constantly subject to slips into the past and future .... In this novel, Bodenland experiences a shock of recognition which seems similar to what Aldiss must have felt when he recognized Mary Shelley's influence in his own work: "I felt myself in the presence of myth, and by association, accepted myself as mythical!" (51) 2 Relying on Eliot's modernist ideology, Mathews concludes that myths achieve an existence beyond time. Hence the novel's protagonist, Joe Bodenland, and the creature have the same mythic reality as the Shelleys. In the novel, Bodenland supports this idea of mythic transcendence when he reflects that "One thing you see I had already accepted. I had accepted the equal reality of Mary Shelley and her creation, Victor Frankenstein, just as I had accepted the equal reality of Victor and his monster. In my position, there was no difficulty in so doing, for they accepted my reality, and I was as much a mythical creature in their world as they would have been in mine" (Frankenstein Unbound 89). For Joe Bodenland, reality is fleeting; with each successive timeslip, his physical and mental grounding becomes more tenuous. Aldiss invokes Derrida's philosophy that everything is a text, from Victor's fictive existence, to Shelley's mythic existence, to Bodenland's quickly fading eXIstence. Frankenstein Unbound runs the risk of deconstructing itself out of eXIstence. Additionally, reality's breakdown and the merging of fact and fiction in Aldiss's novel forces the reader to address a disturbing question: is Joseph Bodenland merely a fictional character in a story or has his fictive existence granted him a timeless "mythic reality'' as real as Mary Shelley's historical identity? Extending this question, does Bodenland's mythic reality threaten our own reality-are we alive or merely fictional characters in yet another layered text? This thesis will attempt to assess Bodenland's role as a mythic figure and determine his 3 purpose in the novel. Other critics have considered Frankenstein Unbound's central protagonist, Joseph Bodenland. Much of the discussion on the novel revolves around the presence of this "new" character. Wingrove, approaching the novel from a modernist viewpoint, attempts to illustrate how Aldiss's post-Freudian characters are representative of the superego (Victor), the ego (Bodenland),
Load more

Recommended publications
  • To Sunday 31St August 2003
    The World Science Fiction Society Minutes of the Business Meeting at Torcon 3 th Friday 29 to Sunday 31st August 2003 Introduction………………………………………………………………….… 3 Preliminary Business Meeting, Friday……………………………………… 4 Main Business Meeting, Saturday…………………………………………… 11 Main Business Meeting, Sunday……………………………………………… 16 Preliminary Business Meeting Agenda, Friday………………………………. 21 Report of the WSFS Nitpicking and Flyspecking Committee 27 FOLLE Report 33 LA con III Financial Report 48 LoneStarCon II Financial Report 50 BucConeer Financial Report 51 Chicon 2000 Financial Report 52 The Millennium Philcon Financial Report 53 ConJosé Financial Report 54 Torcon 3 Financial Report 59 Noreascon 4 Financial Report 62 Interaction Financial Report 63 WSFS Business Meeting Procedures 65 Main Business Meeting Agenda, Saturday…………………………………...... 69 Report of the Mark Protection Committee 73 ConAdian Financial Report 77 Aussiecon Three Financial Report 78 Main Business Meeting Agenda, Sunday………………………….................... 79 Time Travel Worldcon Report………………………………………………… 81 Response to the Time Travel Worldcon Report, from the 1939 World Science Fiction Convention…………………………… 82 WSFS Constitution, with amendments ratified at Torcon 3……...……………. 83 Standing Rules ……………………………………………………………….. 96 Proposed Agenda for Noreascon 4, including Business Passed On from Torcon 3…….……………………………………… 100 Site Selection Report………………………………………………………… 106 Attendance List ………………………………………………………………. 109 Resolutions and Rulings of Continuing Effect………………………………… 111 Mark Protection Committee Members………………………………………… 121 Introduction All three meetings were held in the Ontario Room of the Fairmont Royal York Hotel. The head table officers were: Chair: Kevin Standlee Deputy Chair / P.O: Donald Eastlake III Secretary: Pat McMurray Timekeeper: Clint Budd Tech Support: William J Keaton, Glenn Glazer [Secretary: The debates in these minutes are not word for word accurate, but every attempt has been made to represent the sense of the arguments made.
    [Show full text]
  • 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.
    [Show full text]
  • Table of Contents MAIN STORIES Gardner Dozois, Ed.; Throy, Jack Vance
    Table of Contents MAIN STORIES Gardner Dozois, ed.; Throy, Jack Vance. ABA draws 27,000 ...............................................6 Reviews by Gary K. Wolfe:............................... 27 Baen Unveils New L ogo..................................... 6 Hearts, Hands and Voices aka The Broken Land, Fritz Leiber V Margo Skinner............................6 Ian McDonald; Tales of Chicago, R.A. Lafferty; Clarke Takes Plunge............................................ 6 Canadian Science Fiction and Fantasy, David THE NEWSPAPER OF THE SCIENCE FICTION FIELD Foundation: The Movie....................................... 6 Ketterer; Fairy Tale Romance: The Grimms, Wyatt Quits Ballantine Books............................7 Basile, and Perrault, James M. McGlathery. (ISSN-0047-4959) DimeNovels Debacle........................................... 7 Reviews by Dan Chow:...................................... 29 EDITOR & PUBLISHER Bloch’s 75th Birthday B ash.................................9 Beachhead, Jack Williamson; Labyrinth of Night, Charles N. Brown THE DATA FILE Allen Steele; Mining the Oort, Frederik Pohl; ASSOCIATE EDITOR Worldcon News....................................................7 The Year’s Best Science Fiction: Ninth Annual Faren C. Miller Bookstore News...................................................7 Collection, Gardner Dozois, ed. ASSISTANT EDITORS Satanic Verses Update........................................ 7 Reviews by Carolyn Cushman:..........................31 Marianne S. Jablon Copyright News..................................................69
    [Show full text]
  • SF Commentary 83
    SSFF CCoommmmeennttaarryy 8833 October 2012 GUY SALVIDGE ON THE NOVELS OF PHILIP K. DICK ALSO IN THIS ISSUE: Brian ALDISS Eric MAYER John BAXTER Cath ORTLIEB Greg BENFORD Rog PEYTON Helena BINNS Mark PLUMMER Damien BRODERICK Franz ROTTENSTEINER Ned BROOKS Yvonne ROUSSEAU Ian COVELL David RUSSELL Bruce GILLESPIE Darrell SCHWEITZER Fenna HOGG Steve SNEYD John-Henri HOLMBERG Ian WATSON Carol KEWLEY Taral WAYNE Robert LICHTMAN Frank WEISSENBORN Patrick MCGUIRE Ray WOOD Murray MACLACHLAN Martin Morse WOOSTER Tim MARION Cover: Fenna Hogg S F Commentary 83 SF Commentary No 83, October 2012, 107 pages, is edited and published by Bruce Gillespie ([email protected]), 5 Howard St., Greensborough VIC 3088, Australia, and http://efanzines.com/SFC/SFC83.pdf. All correspondence: [email protected]. Member fwa. First edition and primary publication is electronic. All material in this publication was contributed for one-time use only, and copyrights belong to the contributors. Alternate editions: * A very limited number of print copies are available. Enquiries to the editor. * The alternate PDF version is portrait-shaped, i.e. it looks the same as the print edition, but with colour graphics. Front cover: Melbourne graphic artist Fenna Hogg’s cover does not in fact portray Philip K. Dick wearing a scramble suit. That’s what it looks like to me. It is actually based on a photograph of Melbourne writer and teacher Steve Cameron, who arranged with Fenna for its use as a cover. Graphic: Carol Kewley (p. 105). Photographs: Damien Broderick (p. 5); Guy Salvidge (p. 10); Jim Sakland/Dick Eney (p. 67); Jerry Bauer (p.
    [Show full text]
  • Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof
    Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof. Kirsten Parkinson As you read Mary Shelley’s Frankenstein, either on your own or with a group, we invite you to use these questions to add layers to your discussion or thinking about the novel. The first section includes questions for each chapter of the novel; you will find questions reflecting on the book as a whole at the end. We have not included specific pages numbers as various editions have different page numbers, but the quotations are based on the 1831 edition of the novel. Discussion Questions for Each Chapter Letters I through IV 1. Frankenstein begins and ends with letters written by Robert Walton. Why do you think that Mary Shelley chose to have him frame the novel? How would your opinions of Victor Frankenstein and his creation differ if their story was told directly by Victor Frankenstein himself? What if the story was told solely by the creation? 2. Walton yearns for a friend, much like Victor Frankenstein’s creature does. What does this tell you about human nature? Is it in our nature to want companionship, someone to confide in, and someone to care for? 3. In Letter IV, Walton writes, “Yesterday the stranger said to me, “You may easily perceive, Captain Walton, that I have suffered great and unparalleled misfortunes. I had determined at one time that the memory of these evils should die with me, but you have won me to alter my determination. You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been.
    [Show full text]
  • Science Fiction
    Science Fiction Module Convenors: Dr Caroline Edwards & Dr Joe Brooker Module Level: BA Level 6 (optional module) Time: Wednesdays 6-7.20pm, 2014-15 Module description This module introduces students to some of the key concepts and methodological approaches used in the contemporary study of science fiction (SF). SF is understood inclusively, as a capacious genre overlapping at times with fantasy, utopian/dystopian literature, Gothic, satire, speculative fiction, and the alternate mappings of literary history offered by modernism or postmodernism. Focusing on its development throughout the twentieth and into the twenty-first century, we will consider the ways in which SF has evolved: in particular in the novel and the short story, but also at times invoking other forms such as drama and film. We will be drawing on a range of critical approaches through which to explore some of the defining interests of SF literature and to reflect upon its critical reception in secondary literature. Module aims and objectives • To develop understanding of debates about genre. What is ‘genre fiction’? What distinctions or hierarchies are established between ‘literary’ and ‘genre’ texts? How have our understandings of SF as a genre changed over the last century? • To become familiar with recurring tropes such as robots, space exploration, genetic engineering, dystopian futures and (post-) apocalyptic worlds. • To explore ways that Science Fiction has acted as a social commentary on contemporary society. • To gain an understanding of how Science Fiction has explored ideas including parallel worlds, alternate histories and different models of time and reality. • To gain knowledge of diverse critical approaches to SF, including those from Marxism, structuralism, gender studies, postcolonial theory, cultural history, adaptation studies, ecocriticism and utopianism / dystopianism.
    [Show full text]
  • Mary Shelley: Life and Works British Romantic Indira Gandhi Literature National Open University School of Humanities
    BEGC -109 Mary Shelley: Life and Works British Romantic Indira Gandhi Literature National Open University School of Humanities Block 4 MARY SHELLEY: FRANKENSTEIN Unit 1 Mary Shelley: Life and Works 189 Unit 2 Frankenstein: A Gothic Novel 203 Unit 3 Frankenstein: Summary and Analysis 213 Unit 4 Frankenstein: Major Themes 229 187 Mary Shelley: Frankenstein BLOCK INTRODUCTION This Block will introduce you to one of the important After the completion of this block, you will be introduced toMary Shelley(1797-1851), also known as Mary Wollstonecraft Shelley, a British novelist. You will • get introduced to the gothic tradition. • be familiarised with the major influential factors on the Gothic with special reference to Mary Shelley. • comprehend her effects worldwide. • trace her impacts on the later generations. ACKNOWLEDGEMENT The material (pictures and passages) we have used is purely for educational purposes. Every effort has been made to trace the copyright holders of material reproduced in this book. Should any infringement have occurred, the publishers and editors apologize and will be pleased to make the necessary corrections in future editions of this book. 188 UNIT 1 Mary SHELLEY: LIFE AND WORKS Mary Shelley: Life and Works Structure 1.0 Objectives 1.1 Introduction 1.2 Infancy And Early Years 1.3 Challenge Preadolescence 1.4 Teenage 1.5 Mary's Relocation 1.6 Love Life 1.7 Mary's Journey To London 1.8 Mary and Her Personal Calamities 1.9 Mary's First Novel Frankenstein or The Modern Prometheus 1.10 Story of "Frankenstein or The Modern Prometheus 1.11 Other Works of Mary Shelley 1.12 Last Stage of Mary Shelley's Life 1.13 Let Us Sum Up 1.14 Questions and Answer Keys 1.15 Suggested Readings 1.0 OBJECTIVES It is evident that the life account of a famous novelist is a storehouse of facts and events which are essential to grasp the background of the author and the literary works.
    [Show full text]
  • The Mutual Influence of Science Fiction and Innovation
    Nesta Working Paper No. 13/07 Better Made Up: The Mutual Influence of Science fiction and Innovation Caroline Bassett Ed Steinmueller George Voss Better Made Up: The Mutual Influence of Science fiction and Innovation Caroline Bassett Ed Steinmueller George Voss Reader in Digital Media, Professor of Information and Research Fellow, Faculty of Arts, Research Centre for Material Technology, SPRU, University University of Brighton, Visiting Digital Culture, School of of Communication Sussex Fellow at SPRU, University of Media, Film and Music, Sussex University of Sussex Nesta Working Paper 13/07 March 2013 www.nesta.org.uk/wp13-07 Abstract This report examines the relationship between SF and innovation, defined as one of mutual engagement and even co-constitution. It develops a framework for tracing the relationships between real world science and technology and innovation and science fiction/speculative fiction involving processes of transformation, central to which are questions of influence, persuasion, and desire. This is contrasted with the more commonplace assumption of direct linear transmission, SF providing the inventive seed for innovation– instances of which are the exception rather than the rule. The model of influence is developed through an investigation of the nature and evolution of genre, the various effects/appeals of different forms of expression, and the ways in which SF may be appropriated by its various audiences. This is undertaken (i) via an inter- disciplinary survey of work on SF, and a consideration the historical construction of genre and its on-going importance, (ii) through the development of a prototype database exploring transformational paths, and via more elaborated loops extracted from the database, and (iii) via experiments with the development of a web crawl tool, to understand at a different scale, using tools of digital humanities, how fictional ideas travel.
    [Show full text]
  • Frankenstein in Mary Shelley’S Novel “Frankenstein”
    A DESCRIPTION OF THE MAIN CHARACTER OF FRANKENSTEIN IN MARY SHELLEY’S NOVEL “FRANKENSTEIN” A PAPER WRITTEN BY RAHMA KESUMA ANJANI REG. NO: 152202056 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF NORTH SUMATERA MEDAN 2018 UNIVERSITAS SUMATERA UTARA It has been Approved by Supervisor, Dra. Diah Rahayu Pratama. M.Pd NIP. 195612141986012001 Submitted to Faculty of Culture Study. University of North Sumatera in partial fulfillment of the requirements for Diploma III in English Study Program. Approved by Head of Diploma III English Study Program, Dra. Swesana Mardia Lubis. M.Hum NIP. 19571002 198601 2 003 Approved by the Diploma III of English Study Program Faculty of Culture Study, University of North Sumatera. UNIVERSITAS SUMATERA UTARA As a Paper for the Diploma III Examination Accepted by the Board of Examiners in partial of the requirements for the D-III Examination of the Diploma III English Study Program, Faculty of Culture Study, University of North Sumatera. The examination is held 10th January 2018 Faculty of Culture Study University of North Sumatera Board of Examination : 1. Dra. Swesana Mardia Lubis. M.Hum 2. Dra. Diah Rahayu Pratama. M.Pd 3. Riko Andika Rahmat Pohan. S.S. M.Hum UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am, RAHMA KESUMA ANJANI, declare that I am the sole author of this paper. Except where reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person‟s work has been used without due acknowledgement in the main text of this paper.
    [Show full text]
  • UNIT TEST STUDY GUIDE QUESTIONS Frankenstein, by Mary Shelley English III-1, Mrs
    UNIT TEST STUDY GUIDE QUESTIONS Frankenstein, by Mary Shelley English III-1, Mrs. Edmonds and Mr. Oakley People (both fictional and real-life) you should know from Frankenstein: Victor Frankenstein: creator of the creature and protagonist of the story Henry Clerval: Frankenstein's best friend who is murdered by the creature Elizabeth Lavenza: lived with Frankenstein family; married Victor Robert Walton: explorer who met Frankenstein on the Arctic ice Margaret Saville: recipient of a series of letters from her brother, Robert Walton Justine Moritz: wrongly executed for the murder of young William Frankenstein Percy Shelley: famous real-life British poet and Frankenstein author’s husband Felix De Lacey: unknowingly taught the creature to read and write Alphonse Frankenstein: died of grief in his son's arms after learning that Elizabeth was dead Caroline Beaufort: Frankenstein family matriarch; Victor Frankenstein’s mother Mary Shelley: real-life author of the novel Frankenstein; she wrote the story while on vacation with Percy Shelley (her husband) and Lord Byron (her friend) while on vacation in Switzerland; both Percy Shelley and Lord Byron became world-famous British poets. William Frankenstein: a young boy who was the creature's first victim For the test, be prepared to write an essay to a question similar to the prompt below. We will discuss possible answers in class. Describe the original personality of Dr. Victor Frankenstein’s creature, and the changes that occurred to the creature’s personality over the course of the novel. In coming up with an answer, you might want to address the following questions: What was the creature like when he was first “born”? How did he change and why did he change? What was the creature like at the end of the novel? Be sure to mention the name of the novel and the name of the author somewhere in your answer.
    [Show full text]
  • Frankenstein a Resource for Teachers
    English Literature Frankenstein A resource for teachers Frankenstein A resource for teachers 1 Contents 2 Guidelines for teachers 3 Teaching ideas 4 Background 5 Characters 5 Behind the scenes 6 Excerpts 8 Interview 9 OperaVision 9 La Monnie Photo credits Cover, inside cover, pages 2, 5, 6, 7 © La Monnaie Page 4 © Moviestore Collection; © Bauman Rare Books Cover Image: Act I set of Frankenstein Page 6 © Simon van Rompay Left: Chorus in Act I of Frankenstein Page 9 © Royal College of Music; © Philippe De Gobert 2 OperaVision Guidelines for teachers Frankenstein is one of the great The pack contains teaching ideas, a background works of English literature. First pub- to the novel and opera, an interview with bari- tone Scott Hendricks and excerpts from chap- lished in 1818, Mary Shelley’s novel ters 23 and 24. broke new ground and helped to define the form of modern science The opera Frankenstein is a new opera composed by Mark fiction. Its obsessive scientist and his Grey and produced by La Monnaie / De Munt. hideous monster have appeared in It received its world premiere in Brussels on 8 dozens of stage and screen adapta- March 2019. A subsequent performance was tions, from Richard Brinsley Peake’s streamed live on OperaVision on 15 March 2019. 1823 play to James Whale’s 1931 film Contextual videos staring Boris Karloff, to Mark Grey’s As showing the full performance in class may 2019 opera. be impractical, this pack instead suggests three short-form videos to illustrate the opera. They are: ‘Let us begin’, a scene from Act I; a For pupils studying the novel, these adaptations timelapse makeup video; and ‘Lifeless, inani- can breathe life into the text and help them to mate’, an aria from Act II.
    [Show full text]
  • Author Index
    SF PORNOGRAPHY AUTHOR INDEX Anonymous All the books listed here are novels. Attributions are given where known. The Adult Version of Dracula. CALGA CP808, Los Angeles, 1970, (nov,rewrite), 190pp. “3 May. Bistritz: A piece of ass is a piece of ass—be it in England or here in Transylvania.” A rewritten version of Bram Stoker’s classic vampire novel. Contains scattered fragments of Stoker’s text, with several gratuitous sex scenes added. Adapted by Hal Kantor, q.v., per copyright registration. Begotten of the Devil. SATAN’S LIBRARY SL-105, (Star Distributors, Ltd.), New York City, 1978, (nov,orig), 180pp. “She looked into his penetrating eyes and tears filled her own.” Combines elements of Rosemary's Baby and The Omen. Laura Adler's husband has made a pact with Satan. Their daughter spearheads a worldwide revival of Satanism. Beloved of Satan. SATAN’S LIBRARY SL-112, (Star Distributors, Ltd.), New York City, 1979, (nov,orig), 180pp. “She could feel the intense heat pouring off of his cock as it approached her tender young cunny.” An evil rock musician named Zorba impregnates a groupie named Dalia with a Satanic child. The Bewitched. MASTER CLASSIC 6002, (N.P., Inc.), n.p., 1969, (nov,orig), 152pp, cover by O. U. Sutinen. (“translated by A. De Granamour”) “There are certain men who constantly meet together in restaurants and bars to exchange tales of their days in the army.” A trio of ex-army buddies are seduced by a pack of demonic women. A. De Granamour is one of the many pseudonyms of Paul Hugo Little, (1915-1987) US.
    [Show full text]