The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein...The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.展开更多
A multi-genre and interdisciplinary analysis that compares Sam Shepard＇s classic, Buried Child （1978）, to Mary Shelley＇s Gothic thriller, Frankenstein （2004）. This paper, using a comparative analysis of the tex...A multi-genre and interdisciplinary analysis that compares Sam Shepard＇s classic, Buried Child （1978）, to Mary Shelley＇s Gothic thriller, Frankenstein （2004）. This paper, using a comparative analysis of the texts （a play versus a novel）, argues that Shepard follows Shelley＇s theme and characters in order to frame and create his own even-more modern ＂Prometheus＂, a premise that Shelley borrows to center her novel and to establish the antagonistic origins of her monster-man. Shepard＇s splintered individuals all share a postmodern disillusionment, and as Shelley＇s novel establishes, it is a conflict brought on by an absent or emotionally-removed mother and a brutal father who denies or disavows the ＂child＂ he considers an abomination. Other themes that Shelley and Shepard＇s works have in common include infanticide, incest, a life built on lies, patricide, and an unnatural relationship with Nature.展开更多
Mary Shelley, a British famous female writer in the 19th century, wrote Frankenstein in 1818, which was regarded as a noted classic gothic fiction. The gothic style enriches the connotation of the novel and endows her...Mary Shelley, a British famous female writer in the 19th century, wrote Frankenstein in 1818, which was regarded as a noted classic gothic fiction. The gothic style enriches the connotation of the novel and endows her works with a mysterious sublimity in such a way as to carry gothic novels into a new stage of development. This article attempts to analyze the gothic sublime of Frankenstein commencing from sublime theories of Longinus, Burke and Kant and the definition of he father of gothic novels Horace Walpole＇s ＂gothic＂. The study finds that the gothic sublime of Frankenstein is mainly embodied in three aspects as ugliness, the production of the monster and the torture by an endless terror展开更多
Frankenstein;or,The Modern Prometheus is Mary Shelley’s masterpiece published in 1818.Since the novel’s publica⁃tion,it has been adapted to produce a number of films which enjoyed great popularity.This article mainl...Frankenstein;or,The Modern Prometheus is Mary Shelley’s masterpiece published in 1818.Since the novel’s publica⁃tion,it has been adapted to produce a number of films which enjoyed great popularity.This article mainly focuses on the differenc⁃es between the book Frankenstein and the movie Victor Frankenstein in order to study the meaning and value of these changes in the movie.展开更多
Frankenstein is the representative work of Mary Shelley. In this work, there are three main characters: Victor Frankenstein, the Creature and Walton. This essay will explore the variety of meaning of the three main ch...Frankenstein is the representative work of Mary Shelley. In this work, there are three main characters: Victor Frankenstein, the Creature and Walton. This essay will explore the variety of meaning of the three main characters in this novel.展开更多
文摘The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.
文摘A multi-genre and interdisciplinary analysis that compares Sam Shepard＇s classic, Buried Child （1978）, to Mary Shelley＇s Gothic thriller, Frankenstein （2004）. This paper, using a comparative analysis of the texts （a play versus a novel）, argues that Shepard follows Shelley＇s theme and characters in order to frame and create his own even-more modern ＂Prometheus＂, a premise that Shelley borrows to center her novel and to establish the antagonistic origins of her monster-man. Shepard＇s splintered individuals all share a postmodern disillusionment, and as Shelley＇s novel establishes, it is a conflict brought on by an absent or emotionally-removed mother and a brutal father who denies or disavows the ＂child＂ he considers an abomination. Other themes that Shelley and Shepard＇s works have in common include infanticide, incest, a life built on lies, patricide, and an unnatural relationship with Nature.
文摘Mary Shelley, a British famous female writer in the 19th century, wrote Frankenstein in 1818, which was regarded as a noted classic gothic fiction. The gothic style enriches the connotation of the novel and endows her works with a mysterious sublimity in such a way as to carry gothic novels into a new stage of development. This article attempts to analyze the gothic sublime of Frankenstein commencing from sublime theories of Longinus, Burke and Kant and the definition of he father of gothic novels Horace Walpole＇s ＂gothic＂. The study finds that the gothic sublime of Frankenstein is mainly embodied in three aspects as ugliness, the production of the monster and the torture by an endless terror
文摘Frankenstein;or,The Modern Prometheus is Mary Shelley’s masterpiece published in 1818.Since the novel’s publica⁃tion,it has been adapted to produce a number of films which enjoyed great popularity.This article mainly focuses on the differenc⁃es between the book Frankenstein and the movie Victor Frankenstein in order to study the meaning and value of these changes in the movie.
文摘Frankenstein is the representative work of Mary Shelley. In this work, there are three main characters: Victor Frankenstein, the Creature and Walton. This essay will explore the variety of meaning of the three main characters in this novel.
