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Reimagining Frankenstein

Otherness, Responsibility, and Visions of Future Technologies in Ahmed Saadawi's Frankenstein in Baghdad and Jeanette Winterson's Frankissstein

Amal Al Shamsi

Cemented within the modern imagination, the grisly creature of Mary Shelley's Frankenstein continues to permeate contemporary narratives long after its publication in the early nineteenth century. Creatives across various mediums have returned

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Monstrous Genres: Inverting the Romantic Poetics in Shelley Jackson’s Patchwork Girl

Eliza Deac

ignore the interpretative possibilities that these ones still offer. Book/Hypertext/Typographical and Hypertextual Bodies of Text The contrast Patchwork Girl sets up between book and hypertext by presenting itself as a derivative of Mary Shelley’s

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The Seduction of the Text in Muriel Spark's Work

Fotini Apostolou

This excerpt from Mary Shelley’s introduction to Frankenstein, I believe, puts into a context the idea of the author’s relation to his/her text, working on two levels at the same time. It is at this point that the ‘author’s’ chase by his creature begins, and it is at this moment that Shelley’s pursuit by her text is phrased. Frankenstein’s ‘text’, a mixture of pieces from dead bodies, is brought to life and begins its wandering and the chase of its ‘author’, at times reading its own body, at other times demanding a change in the author’s narrative, a participation in the ‘writing’ of his destiny.

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Dennis Brown, Anna Birch, Eibhlín Evans, and Andrew Maunder

Wyndham Lewis: Painter and Writer Paul Edwards (New Haven and London: Yale University Press, 2000), ISBN 0–300–08209–6, hardback £40

The Routledge Reader in Politics and Performance, edited by Lizbeth Goodman with Jane de Gay (London: Routledge, 2000), ISBN 0–415–17473–2 paperback £15.99

Seamus Heaney Andrew Murphy (Tavistock: Northcote House, 1996, 2nd Edition, 2000). ISBN 0 7463 09627 paperback £8.99

Women’s Gothic: From Clara Reeve to Mary Shelley E. J. Clery (Tavistock: Northcote House, 2000), ISBN 0 7463 0872 8 paperback £9.99

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‘No More Let Life Divide…’

Victorian Metropolitan Confluence in Penny Dreadful

Sinan Akilli and Seda Öz

prolific of Penny Dreadful ’s characters when it comes to accommodating more than one personality. In his case, it is possible to extend the discussion into quadruple selves. Without a doubt, Mary Shelley’s Gothic novel Frankenstein can be read as a

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“Many and Dreadful Disasters”

Mediterranean Travel, Plague, and Quarantine in the Late Eighteenth Century

Kathryn Walchester

Walchester (London and New York: Anthem, 2019), 22–25. 2 “Contagion, n.,” 2020, OED online. Oxford University Press, March 2020, Web, March 27. 3 In the chapter, “Contagion, Sympathy, Invisibility: Mary Shelley's Frankenstein, ” Elizabeth A. Dolan

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Carroll on the Emotion of Horror

Filippo Contesi

another example, Katerina Bantinaki (2012, 383 ) assumes the same view as “pretheoretical,” without any argument or references to support it. 2 And, indeed, from Mary Shelley's Frankenstein (1818) to the latest installment in the Hannibal Lecter saga

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Toward an Ecology of Disentanglement

Jozef Keulartz

Latour used Mary Shelley's novel Frankenstein, or the Modern Prometheus to lecture the environmental movement for its alleged technophobia. In 2011, this part was included as an essay in an anthology, Love Your Monsters : Post-Environmentalism and the

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‘Failed Feminism’

Anne Tyler's Vinegar Girl in the Chinese Market

Yingjie Duan and Junwu Tian

coat was so dingy that it very nearly matched Dr. Battista's pale-gray overalls’. 14 Dr. Battista's slovenliness is reinforced by the seedy laboratory, a reminder of Mary Shelley's Victor Frankenstein and H. G. Wells’ Dr. Moreau – mad scientists who

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Walking with the Goat-God

Gothic Ecology in Algernon Blackwood’s Pan’s Garden: A Volume of Nature Stories

Michelle Poland

-century British constructs of gradualism, coherency, and balance, the works of authors such as Mary Shelley and H.G. Wells developed conceptual innovations of chaotic nature that certainly resonate with a contemporary outlook. Scott argues that, by demonstrating a