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A very funny green book that raises pressing current issues about waste and recycling. When Frank's classmates notice that his name in the register reads Frank N. Stein they insist that he build a monster. The boys make a creature out of rubbish but then a flash of lightning brings the monster alive. However, when they discover that all the monster wants to do is eat rubbish, they quickly realise how useful the monster will be. But try telling that to parents and police, the army and the adult world in general! A very funny green book, that raises pressing current issues of about waste and recycling.
In this not for the faint of mind, politically incorrect, social satire (can you write a social satire without being politically incorrect?), the authors blow apart the traditional Frankenstein story and reassemble what's left of the pieces to make something relevant (ooh! dirty word) about the modern world, as they pit the everyman against the corporate global mentality (ooh! big word). Yeah, we don't patronize here. If you want patronizing, better catch an Al Gore show at the Petrified Forest. Set in New York City in the dawn of 21st century, Frankenstein, having long since Americanized his name to Frank N. Stein, is a once famous but now hopelessly incompetent and out of work actor, struggling in vain to keep his non-existent acting career on track, money in the bank to pay the rent, and a cap on his rumbling monster instincts. Suffering from stress induced back issues, separated from his singer/performer diva wife, and barely in control of his wayward 17 year-old daughter, our much-too-mild-mannered "Frankie" accidently crosses paths with and trips the hair-triggered wrath of the image-obsessed, New York billionaire, Benedict Sedgwick, CEO of the multi-lifestyle Classy Corp product empire, who quickly proceeds to strip away what's left of Frankie's unhinged world, forcing Frankie to tap into his long dormant inner monster to get tough and survive... or continue on his downward spiral. Revolving around the periphery of Frankie's fast crumbling world is his old pal, Joe "his bark is as big as his bite" Dogman, who, along with other of the city's independent hotdog vendors, and despite being one of New York's ace hotdog vendors himself, is fast losing the economic battle to Classy Corp's Classy Dogs which are quickly cornering the New York hotdog market. Looking to recruit a reluctant and independent obsessed Frankie into the local hotdog fight, Joe sums up the conflict between the everyman's struggle and Frankie's diehard independence streak when he serves up the streetwise advise: ..". you know, Frankie, the funny thing about independence is that... if you don't band together with other likeminded independents, you usually stand a good chance of losing what little independence you started out with." With an idea originally conceived a decade ago, this irreverent comedy holds even more relevance today as it offers up the age old question, who is the real monster in the room, while suggesting what the everyman and woman might want to do about it...while there's still time to do something about it. While its very easy to read "screen story" (screenplay) format will be more fully explained in the Preface, and should pose no problem at all for any reader short or tall, skinny or fat, black or white, male or female... or any permutation in between.
Este volumen busca reivindicar el legado de Mary Wollstonecraft Shelley y celebrar los doscientos años de la publicación de su obra maestra, Frankenstein o el Moderno Prometeo (1818). Para ello, expone la permeabilidad del mito del científico y su criatura a través de una serie en ensayos que exploran adaptaciones contemporáneas en diversos medios (literatura, cine, televisión, videojuegos, YouTube) que demuestran la relevancia de Frankenstein en nuestros días. Los capítulos permiten al lector conocer las reescrituras populares del teatro del siglo XIX y su impacto en la ficción cinematográfica más reciente; descubrir la influencia de Shelley sobre otras escritoras con un inmenso legado, como es Margaret Atwood; reconocer las distintas apropiaciones del mito en los videojuegos y su reescritura en nuevos formatos audiovisuales; y, finalmente, mostrar cómo la intertextualidad con la novela de Shelley permite enriquecer narrativas que quizá parezcan más lejanas a simple vista. Este es, pues, un volumen esencial para quienes se interesen por las reescrituras contemporáneas del mito, con especial énfasis en la cultura popular o las nuevas plataformas de creación. Borham Puyal, Miriam (ed.). Frankestein revisited : the legacy of Mary Shelley’s masterpiece.
Mr. and Mrs. Stein are shocked when their baby boy arrives and is nothing like them
Frankenstein is a novel by Mary Shelley. It was first published in 1818. Ever since its publication, the story of Frankenstein has remained brightly in the imagination of the readers and literary circles across the countries. In the novel, an English explorer in the Arctic, who assists Victor Frankenstein on the final leg of his chase, tells the story. As a talented young medical student, Frankenstein strikes upon the secret of endowing life to the dead. He becomes obsessed with the idea that he might make a man. The Outcome is a miserable and an outcast who seeks murderous revenge for his condition. Frankenstein pursues him when the creature flees. It is at this juncture t that Frankenstein meets the explorer and recounts his story, dying soon after. Although it has been adapted into films numerous times, they failed to effectively convey the stark horror and philosophical vision of the novel. Shelley's novel is a combination of Gothic horror story and science fiction.
This “thought-provoking and . . . unabashedly entertaining . . . novel defies conventional expectations and exists, brilliantly and defiantly, on its own terms” (Sarah Lotz, New York Times Book Review). Lake Geneva, 1816. Nineteen-year-old Mary Shelley is inspired to write a story about a scientist who creates a new life-form. In Brexit Britain, a young transgender doctor called Ry is falling in love with Victor Stein, a celebrated professor leading the public debate around AI and carrying out some experiments of his own in a vast underground network of tunnels. Meanwhile, Ron Lord, just divorced and living with his mom again, is set to make his fortune launching a new generation of sex dolls. Across the Atlantic, in Phoenix, Arizona, a cryogenics facility houses dozens of bodies of men and women who are medically and legally dead . . . but waiting to return to life. Since her astonishing debut Oranges Are Not the Only Fruit, Jeanette Winterson has achieved worldwide acclaim as “one of the most daring and inventive writers of our time” (Elle). In Frankissstein, she shares an audacious love story that weaves together disparate lives into an exploration of transhumanism, artificial intelligence, and queer love. Longlisted for the Booker Prize
Peter Ackroyd's imagination dazzles in this brilliant novel written in the voice of Victor Frankenstein himself. Mary Shelley and Shelley are characters in the novel. It was at Oxford that I first met Bysshe. We arrived at our college on the same day; confusing to a mere foreigner, it is called University College. I had seen him from my window and had been struck by his auburn locks. The long-haired poet -- "Mad Shelley" -- and the serious-minded student from Switzerland spark each other's interest in the new philosophy of science which is overturning long-cherished beliefs. Perhaps there is no God. In which case, where is the divine spark, the soul? Can it be found in the human brain? The heart? The eyes? Victor Frankenstein begins his anatomy experiments in a barn near Oxford. The coroner's office provides corpses -- but they have often died of violence and drowning; they are damaged and putrifying. Victor moves his coils and jars and electrical fluids to a deserted pottery and from there, makes contact with the Doomesday Men -- the resurrectionists. Victor finds that perfect specimens are hard to come by . . . until that Thames-side dawn when, wrapped in his greatcoat, he hears the splashing of oars and sees in the half-light the approaching boat where, slung into the stern, is the corpse of a handsome young man, one hand trailing in the water. . . .
* Contains computer algebra worksheets or "recipes" designed using MAPLE (System 10); no prior knowledge of MAPLE is assumed * Effective computational science text for first- and second-year undergraduates in mathematics, physics, engineering, chemistry, economics, biology, and pre-medicine * Examples and problems provide basis for both self-study and on-line course
»Postnaturalism« offers an original account of human-technological co-evolution and argues that film and media theory, in particular, needs to be re-evaluated from the perspective of our material interfaces with a constantly changing environment. Extrapolating from Frankenstein films and the resonances they establish between a hybrid monster and the spectator hooked into the machinery of the cinema, Shane Denson engages debates in science studies and philosophy of technology to rethink histories of cinema, media, technology, and ultimately of the affective channels of our own embodiment. With a foreword by media theorist Mark B. N. Hansen.