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1

The Narrator’s Identity and the Pursuit of Trespassing Boundaries in Mary Shelley’s Frankenstein

100%

Filutowska K., University of Warsaw, Dr. Katarzyna Filutowska is a philosopher r. i. t. I. o. P.

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

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2016

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vol. 4

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issue 1

EN

The article focuses on the problem of the narrator’s and the author’s identity in Mary Shelley’s Frankenstein. According to Charles Taylor’s philosophy of subjectivity in order to have an identity we have to know what kind of good we would like to fulfil in our life. Such an orientation to the good (an orientation in moral space) and an endeavour after realizing this main value defines us as ourselves. In the paper it is argued that the pursuit of trespassing boundaries is constitutive to the narrator’s identity in the novel as it is such kind of an aim without which they could not have been themselves. It is also the key to the author’s identity. Through the medium of the stories of her male story-tellers she confronts her own demons, explores the territories of the subconscious beyond the bounds of understanding and depicts her struggle with the limitations she overcame as a woman in a patriarchal society and as a person who invented a new literary genre – science-fiction literature.

2

Family Resemblance: Frankenstein’s Monster and the Phantom of the Opera in ”Penny Dreadful” (2014-2016)

100%

Babilas D.

Lublin Studies in Modern Languages and Literature

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2019

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vol. 43

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issue 2

DE

Der Artikel enthält Zusammenfassungen nur in Englisch.

EN

The Creature of Frankenstein never managed to fulfil his desire of finding a loving partner in Mary Shelley’s novel, but his symbolic progeny continues to haunt the modern popular culture. The article discusses the case of “family resemblance” between Frankenstein’s Creature and the title antihero of Gaston Leroux’s The Phantom of the Opera. In their respective literary sources, they share an inborn deformity, an appreciation for music, a romantic yearning for love and acceptance matched with sociopathic violence. Recently, the TV series Penny Dreadful elaborates on these allusions, conflating the narratives by Shelley and Leroux, as well as their later adaptations.

FR

L'article contient uniquement les résumés en anglais.

3

Mary Shelley’s Frankenstein; or, the Modern Prometheus: Friendship, Monstrosity and Radical Otherness

86%

Jeray C.

Anglica. An International Journal of English Studies

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2016

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issue 25/1

59-71

XX

This essay looks at the relationship between Victor Frankenstein and his Creature, examining the ethical implications of Victor’s hostility towards the Creature. This problem is considered with reference to the views of various philosophers, ancient and modern, stressing one’s responsibility for the Other and the importance of the Self’s will to befriend another being. It is argued that Shelley indeed presents the Creature as “befriendable.” Such presentation, this article indicates, is a consequence of Shelley’s sympathy for the rejected and persecuted and her insistence on parental responsibility – the ideas actually emphasised in the novel, yet passed over in the 1930’s Hollywood production, as a consequence, permanently affecting the popular image of the Creature.

4

PRZEKROCZYĆ GRANICĘ: MONSTRUM FRANKENSTEINA Z POWIEŚCI MARY WOLLSTONECRAFT SHELLEY

81%

Gemra A.

Rocznik Lubuski

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2016

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vol. 42

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issue 2

153-165

EN

The novel titled "Frankenstein" (published in 1818) written by Mary Wollstonecraft Shelley is one of the earliest and the most important piece of writing where the problem of the human - nonhuman appears. It is the problem of the being whose existence raises doubts of ethical and ontological origin. The reason for this is that this kind of creature is the source of existence of many different entities - not only of the human kind. While reading the novel by Shelley the questions about the limits of knowledge, life and death are posed, however, the most important thing here is that it calls for the definition of what it means to be human, for the definition of the word "humanity".

PL

Powieść Frankenstein (1818) Mary Wollstonecraft Shelley jest jednym z najwcześniejszych i najważniejszych utworów, w których pojawia się problem człowieka nie-człowieka: bytu, którego istnienie budzi wątpliwości natury etycznej i ontologicznej. Nosi on bowiem w sobie istnienia wielu stworzeń – nie tylko ludzi. Lektura powieści Shelley każe stawiać m.in. pytania o granice nauki, życia i śmierci – a przede wszystkim o istotę człowieka, o definicję człowieczeństwa.

5

The Cult ural Legacy of Mary Shelley’s Frankenstein

81%

Weseliński A.

Zeszyty Naukowe Uczelni Vistula

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2018

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issue 58(1) Filologia

5-17

EN

Shortly after the publication of Mary Shelley’s novel, its eponymous character, Victor Frankenstein, and the unnamed creature, often referred to as “Frankenstein”, gained iconic status. Initially, the Creature and his Creator became thriving figures of popular culture through the many theatrical versions produced in the 19th century. The advent of film in the 20th century contributed enormously to the circulation of Frankenstein as a cultural icon, in general, and the dissemination of the myth of a mad scientist, in particular. The aim of this paper is to explore the many representative manifestations and the development of one of the enduring icons of modern culture.

PL

Tytułowa postać powieści Mary Shelley – Wiktor Frankenstein – oraz postać bezimiennego potwora, określanego w potocznym obiegu również jako „Frankenstein”, uzyskały status ikony kulturowej wkrótce po ukazaniu się powieści drukiem (1818). Początkowo, obydwie postaci zdobyły popularność dzięki dziewiętnastowiecznym adaptacjom teatralnym. W XX wieku, liczne ekranizacje powieści przyczyniły się do rozpowszechnienia mitu Frankensteina jako szaleńca-naukowca. Celem artykułu jest zbadanie kulturowej spuścizny powieści i funkcjonowanie mitu kulturowego Frankensteina we współczesnym świecie.

6

Do Androids Have Nightmares About Electric Sheep? Science Fiction Portrayals of Trauma Manifestations in the Posthuman Subject in Frankenstein, Do Androids Dream of Electric Sheep?, and ‘Nine Lives’

72%

Olsen I. M., Okuń-Jaśkowiak A., Głaz A., Kniaź-Hunek L., Bendrat A., Prażmo E., Terejko P., Szczypa P., Czemiel G., Antoszek E., Galant J., Komsta M., Frelik E., Waszkiewicz A., Oleszczuk A., Waszkiewicz A., Okuń-Jaśkowiak A.

New Horizons in English Studies

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2018

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issue 3

EN

This essay draws upon the contention that posthuman subjects, such as androids, clones, and robots, can experience psychological trauma. The aim of the paper is to examine this notion in three science fiction texts: Mary Shelley’s Frankenstein, Philip K. Dick’s Do Androids Dream of Electric Sheep?, and Ursula Le Guin’s short story ‘Nine Lives’. What these narratives illustrate is that trauma manifestations contribute to a disruption of ontological frameworks that regard categories such as ‘human’ and ‘non-human’ as permanent and distinct. As a result, it might be argued that these texts undermine anthropocentrism and invite a reconceptualising around the term ‘human’, but also around trauma as an experience that is conventionally understood as a primarily human experience. Science fiction is thereby a significant genre when it comes to debunking anthropocentric perspectives. Using posthuman theory and trauma studies, I argue here that these three texts portray their respective posthuman subjects as trauma victims, and further that they demonstrate how the experience of trauma carries with it the potential to bridge the gap between human and posthuman through the act of bearing witness to one another’s trauma.

Refine search results

1 Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

1 Anglica. An International Journal of English Studies

1 Lublin Studies in Modern Languages and Literature

1 New Horizons in English Studies

1 Rocznik Lubuski

1 Zeszyty Naukowe Uczelni Vistula

1 Antoszek E.

1 Babilas D.

1 Bendrat A.

1 Czemiel G.

1 Dr. Katarzyna Filutowska is a philosopher r. i. t. I. o. P.

1 Filutowska K.

1 Frelik E.

1 Galant J.

1 Gemra A.

1 Głaz A.

1 Jeray C.

1 Kniaź-Hunek L.

1 Komsta M.

1 Okuń-Jaśkowiak A.

1 Oleszczuk A.

1 Olsen I. M.

1 Prażmo E.

1 Szczypa P.

1 Terejko P.

1 University of Warsaw

1 Waszkiewicz A.

1 Weseliński A.

1 2019

2 2018

3 2016

The Narrator’s Identity and the Pursuit of Trespassing Boundaries in Mary Shelley’s Frankenstein

Family Resemblance: Frankenstein’s Monster and the Phantom of the Opera in ”Penny Dreadful” (2014-2016)

Mary Shelley’s Frankenstein; or, the Modern Prometheus: Friendship, Monstrosity and Radical Otherness

PRZEKROCZYĆ GRANICĘ: MONSTRUM FRANKENSTEINA Z POWIEŚCI MARY WOLLSTONECRAFT SHELLEY

The Cult ural Legacy of Mary Shelley’s Frankenstein

Do Androids Have Nightmares About Electric Sheep? Science Fiction Portrayals of Trauma Manifestations in the Posthuman Subject in Frankenstein, Do Androids Dream of Electric Sheep?, and ‘Nine Lives’