Visar resultat för..."Frankensteins"

This book surveys the early history of one of our most important modern myths: the story of Frankenstein and the monster he created from dismembered corpses, as it appeared in fictional and other writings before its translation to the cinema screen. It examines the range of meanings which Mary Shelley's Frankenstein offers in the light of the political images of `monstrosity' generated by the French Revolution. Later chapters trace the myth's analogues and protean transformations in subsequent writings, from the tales of Hoffmann and Hawthorne to the novels of Dickens, Melville, Conrad, and Lawrence, taking in the historical and political writings of Carlyle and Marx as well as the science fiction of Stevenson and Wells. The author shows that while the myth did come to be applied metaphorically to technological development, its most powerful associations have centred on relationships between people, in the family, in work, and in politics.

Victor dreams of inventing something worthy of winning The Scariest Thing trophy. However, Victor's inventions aren't scary enough, unless you're afraid of cheese-flavoured sweets ... But this year Victor is dreaming up his scariest invention yet - a monster! But his monster turns out to be pinker, frillier and, well, more sofa-like than he intended ...Oxford Reading Tree Story Sparks is an emotionally-engaging fiction series that will fire children's imaginations. These 36 original stories will get children thinking, and develop and deepen their comprehension skills. The variety of authors and illustration styles broadens children's reading experience, with something to appeal to every child. All the books in the series are carefully levelled, so it's easy to match every child to the right book for them. They also contain inside cover notes, to enable parents and teachers to support children in their reading. Help with children's reading development is also available at www.oxfordowl.co.uk.

Mary Shelley’s Frankenstein, a tale crafted two centuries ago "to awaken thrilling horror," is a story that speaks to deep fears and desires that lie at the heart of our response to biological science. Tracing the history of the development of biological science and how it has been received and understood by the public in the nineteenth and twentieth centuries, Jon Turney’s intriguing book argues that the Frankenstein story governs much of today’s debate about the onrushing new age of biotechnology.Popular images of biological science have been influenced by Mary Shelley and such literary descendants as H. G. Wells, Jack London, Karel Capek, and Aldous Huxley, as well as by pulp writers, journalists, essayists, filmmakers, and other commentators. This book examines how these images have developed as the growth of experimental methods has created a biology with real power to control and manipulate life. Frankenstein’s shadow is long, Turney finds. It has affected the debates over vivisection in Victorian Britain, early twentieth-century responses to the widely advertised possibility of laboratory creation of life, and current controversies about test-tube babies, genetic engineering, and cloning. But the Frankenstein story may have outlived its usefulness as a frame for interpreting the significance of real, as opposed to fictional, science. Recognizing the need to understand the old stories, Turney calls also for new ones to help shape and regulate the unprecedented set of possibilities biological science now offers for fashioning life to suit our own ends.

Professor Prawer's new book documents Heinrich Heine's lifelong involvement with England and the English. It shows him to have been a witty and intelligent observer of English men and women, institutions and politics, and books and journals of his own day; and to have extended his observation backwards into English history and literature of the past in a way that constantly welds the past to the present. The picture which emerges is one shaped by traditional preconceptions, political considerations, social philosophies and aesthetic experiences. The author (who is an authority on Heine) has amassed a vast amount of quotations; many of these passages have never been available in English before. The book will be an important reference work for scholars of nineteenth-century German literature and history; and, since all quotations are rendered in English, it will appeal to general readers interested in verbal caricature and in the changing image of England and the English in Europe.

A shorter, reworked version of "The House of Frankenstein". The Baron tries to counsel and cure a motley crew of monsters he has invited to his castle, immediately regretting his action. When the Baroness hits the bottle, his guests reveal their true colours.

During the second quarter of the nineteenth century, Londoners were enthralled by a strange fluid called electricity. In examining this period, Iwan Morus moves beyond the conventional focus on the celebrated Michael Faraday to discuss other electrical experimenters, who aspired to spectacular public displays of their discoveries. Revealing connections among such diverse fields as scientific lecturing, laboratory research, telegraphic communication, industrial electroplating, patent conventions, and innovative medical therapies, Morus also shows how electrical culture was integrated into a new machine-dominated, consumer society. He sees the history of science as part of the history of production, and emphasizes the labor and material resources needed to make electricity work. Frankenstein's Children explains that Faraday, with his colleagues at the Royal Society and the Royal Institution, looked at science as the province of a highly trained elite, who presented their abstract picture of nature only to select groups. The book contrasts Faraday's views with those of other practitioners, to whom science was a practical, skill-based activity open to all.In venues such as the Galleries of Practical Science, electrical phenomena were presented to a public less distinguished but no less enthusiastic and curious than Faraday's audiences. William Sturgeon, for instance, emphasized building apparatus and exhibiting electrical phenomena, while chemists, instrument-makers, and popular lecturers supported the London Electrical Society. These previously little studied "electricians" contributed much to the birth of "Frankenstein's children"--the not completely benign effects of electricity on a new consumer world. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

During the second quarter of the nineteenth century, Londoners were enthralled by a strange fluid called electricity. In examining this period, Iwan Morus moves beyond the conventional focus on the celebrated Michael Faraday to discuss other electrical experimenters, who aspired to spectacular public displays of their discoveries. Revealing connections among such diverse fields as scientific lecturing, laboratory research, telegraphic communication, industrial electroplating, patent conventions, and innovative medical therapies, Morus also shows how electrical culture was integrated into a new machine-dominated, consumer society. He sees the history of science as part of the history of production, and emphasizes the labor and material resources needed to make electricity work. Frankenstein's Children explains that Faraday, with his colleagues at the Royal Society and the Royal Institution, looked at science as the province of a highly trained elite, who presented their abstract picture of nature only to select groups. The book contrasts Faraday's views with those of other practitioners, to whom science was a practical, skill-based activity open to all.In venues such as the Galleries of Practical Science, electrical phenomena were presented to a public less distinguished but no less enthusiastic and curious than Faraday's audiences. William Sturgeon, for instance, emphasized building apparatus and exhibiting electrical phenomena, while chemists, instrument-makers, and popular lecturers supported the London Electrical Society. These previously little studied "electricians" contributed much to the birth of "Frankenstein's children"--the not completely benign effects of electricity on a new consumer world. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Though Mary Shelley's Frankenstein has inspired a vast body of criticism, there are no book-length studies that contextualise this widely taught novel in contemporary scientific and literary debates. The essays in this volume by leading writers in their fields provide new historical scholarship into areas of science and pseudo-science that generated fierce controversy in Mary Shelley's time: anatomy, electricity, medicine, teratology, Mesmerism, quackery and proto-evolutionary biology. The collection embraces a multifaceted view of the exciting cultural climate in Britain and Europe from 1780 to 1830. While Frankenstein is all too often read as a cautionary tale of the inherent dangers of uncontrolled scientific experimentation, the essays here take the reader back to a period when experimenters and radical thinkers viewed science as the harbinger of social innovation that would counter the virulent conservative backlash following the French Revolution. The collection will be an invaluable resource for students and scholars specialising in Romanticism, cultural history, philosophy and the history of science.

Kenneth Strickfaden, innovative genius of illusionary special effects from silent films to the age of television, set the standard for Hollywood's mad scientists. Strickfaden created the science fiction apparatus in more than 100 motion picture films and television programs, from 1931's Frankenstein to the Wizard of Oz and The Mask of Fu Manchu to television's The Munsters. The skilled technician, known around Hollywood's back lots as "Mr. Electric," once doubled for Boris Karloff in a dangerous scene and was nearly electrocuted.From his birth in 1896 to his death in 1984, Strickfaden's life was filled with adventure. He spent his early years working the amusement parks on both coasts, served overseas as a Marine during World War I, took a 1919 cross-country trip in a dilapidated Model T, and favored risky pursuits like automobile and speedboat racing. He worked as an aeronautical mechanic, constructing airplanes for an historic around-the-world flight. A science teacher at heart, he gave 1,500 traveling science demonstration lectures across the U.S. and Canada.Besides covering Strickfaden's entire personal and professional life, this book discusses how later films show his influence. It reveals the fate of his collection of equipment, and is richly illustrated with numerous rare and previously unpublished photographs. Appendices provide a selection of notes, doodles, and scribbles from Strickfaden's notebooks, informal sketches, correspondence, documents, a chronology of his film and television contributions, a bibliography, a film index, and a complete subject index.

Beginning with the birth of science fiction in Mary Shelley's ""Frankenstein"", Jane Donawerth takes a broad look at science fiction and utopian literature written by women. In a creative close reading of ""Frankenstein"", Donawerth pinpoints the gender problems that reside in the male-oriented science fiction genre and shows how Shelley and other women science fiction authors have typically responded to such problems. Employing feminist, social and cultural theory, Donawerth identifies new forms of science fiction that emerge from women writers as they address the problems of the genre. She includes a number of close readings from original texts to flesh out these new paradigms for the genre. The range of works by women makes this volume an invaluable scholarly review of the entire field of feminist science fiction and criticism. Without falling prey to an elitist academic discourse or establishing an exclusive science fiction canon, she generates a rigorous and extensive intellectual approach, method and sensibility that reinvents the science fiction intertext itself. The book should be of interest to scholars in a number of fields, especially women's studies and literature.

Though Mary Shelley's Frankenstein has inspired a vast body of criticism, there are no book-length studies that contextualise this widely taught novel in contemporary scientific and literary debates. The essays in this volume by leading writers in their fields provide new historical scholarship into areas of science and pseudo-science that generated fierce controversy in Mary Shelley's time: anatomy, electricity, medicine, teratology, Mesmerism, quackery and proto-evolutionary biology. The collection embraces a multifaceted view of the exciting cultural climate in Britain and Europe from 1780 to 1830. While Frankenstein is all too often read as a cautionary tale of the inherent dangers of uncontrolled scientific experimentation, the essays here take the reader back to a period when experimenters and radical thinkers viewed science as the harbinger of social innovation that would counter the virulent conservative backlash following the French Revolution. The collection will be an invaluable resource for students and scholars specialising in Romanticism, cultural history, philosophy and the history of science.

Just over 200 years ago on a stormy night, a young woman conceived of what would become one of the most iconic images of science gone wrong, the story of Victor Frankenstein and his Creature. For a long period, Mary Shelley languished in the shadow of her luminary husband, Percy Bysshe Shelley, but was rescued from obscurity by the feminist scholars of the 1970s and 1980s. This book offers a new perspective on Shelley and on science fiction, arguing that she both established a new discursive space for moral thinking and laid the groundwork for the genre of science fiction. Adopting a contextual biographical approach and undertaking a close reading of the 1818 and 1831 editions of the text give readers insight into how this story synthesizes many of the concerns about new science prevalent in Shelley's time. Using Michel Foucault's concept of discourse, the present work argues that Shelley should be not only credited with the foundation of a genre but recognized as a figure who created a new cultural space for readers to explore their fears and negotiate the moral landscape of new science.

The myth-busting Monster Science series explores the science behind the hottest monsters in pop culture.Could electricity really bring Frankenstein's creature to life? Could a zombie even move about without living flesh on its bones? What methods through time have been used to mummify people? Discover whether the scariest monsters could exist when you apply the hard facts of science.Perfect for the reluctant scientist in your life - draw them in with the graphic novel feel and spooky details of this series! Science principles come to life through quirky and humorous explanations paired with illustrations that strike a balance between the right amount of gory and funny.Author Joy Lin, named one of the most inspirational science teachers by TED Ed, has a featured series on their website. She is also a screenwriter, comedian and presents superpower science theories at various Comic Cons. Joy is also author of the series Superpower Science.