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The Frankenstein we know is not Mary Shelley's creature at all. Rather it is an amalgam of over 200 years of images and dramatizations that range from the ghoulish fiends of nineteenth-century sensation dramas to Boris Karloff's movie monster to Mel Brooks's tap-dancing giant. These versions treat the Frankenstein myth with varying levels of horror, hysteria, and humor, but all of them attest to its enduring power. In Hideous Progenies, Steven Earl Forry offers a historical overview of the legend's transformation over time—beginning with Shelley's original and the earliest popular dramatizations of it (which transformed the myth, adding a burlesque quality and simplifying its moral allegory) and continuing on through the advent of cinema. He also documents this development with actual texts of seven pre-1931 dramatizations, a sampling of cartoons and playbills, and a shooting script for the first cinematic version, Thomas Edison's Frankenstein (1910). Forry's rare materials and interesting survey offer a valuable resource for scholars and students of theater history, literary history, and popular culture.
In Hideous Progenies, Steven Earl Forry offers a historical overview of the transformation over time of the Frankenstein legend--beginning with Shelley's original and the earliest popular dramatizations of it and continuing on through the advent of cinema.
These essays deal with the scholarly study of the genesis, transmission, and editorial reconstitution of texts by exploring the connections between textual instability and textual theory, interpretation, and pedagogy. What makes this collection unique is that each essay brings a different theoretical orientation-New Historicism, Poststructuralism, or Feminism-to bear upon a different text, such as Whitman's Leaves of Grass, Faulkner's The Sound and the Fury, or hypertext fiction, to explore the dialectical relationship between texts and textuality. The essays bring some of the textual theories that compete with each other today into contact with a broad range of primarily literary textual histories. That texts are intrinsically unstable, frequently consisting of a series of determinate historical versions, has consequences for all students of literature, because different versions of a literary work frequently help shape different readings independently of the interpretations brought to bear upon them. Textual instability of the works is relevant to our understanding of how the meanings of texts are generated. The contributors build on the numerous challenges to the Anglo-American editorial tradition mounted during the past decade by scholars as diverse as Jerome McGann, D.F. McKenzie, Peter Shillingsburg, D.C. Greetham, Hershel Parker, and Hans Walter Gabler. The volume contributes to the paradigm shift in textual scholarship inaugurated by these scholars. Index.
This book posits adaptations as 'hideous progeny,' Mary Shelley's term for her novel, Frankenstein . Like Shelley's novel and her fictional Creature, adaptations that may first be seen as monstrous in fact compel us to shift our perspective on known literary or film works and the cultures that gave rise to them.
Mary Shelley’s 1818 novel Frankenstein is its own type of monster mythos that will not die, a corpus whose parts keep getting harvested to animate new artistic creations. What makes this tale so adaptable and so resilient that, nearly 200 years later, it remains vitally relevant in a culture radically different from the one that spawned its birth? Monstrous Progeny takes readers on a fascinating exploration of the Frankenstein family tree, tracing the literary and intellectual roots of Shelley’s novel from the sixteenth century and analyzing the evolution of the book’s figures and themes into modern productions that range from children’s cartoons to pornography. Along the way, media scholar Lester D. Friedman and historian Allison B. Kavey examine the adaptation and evolution of Victor Frankenstein and his monster across different genres and in different eras. In doing so, they demonstrate how Shelley’s tale and its characters continue to provide crucial reference points for current debates about bioethics, artificial intelligence, cyborg lifeforms, and the limits of scientific progress. Blending an extensive historical overview with a detailed analysis of key texts, the authors reveal how the Frankenstein legacy arose from a series of fluid intellectual contexts and continues to pulsate through an extraordinary body of media products. Both thought-provoking and entertaining, Monstrous Progeny offers a lively look at an undying and significant cultural phenomenon.
This volume, arranged alphabetically by original author, provides basic information about stage and screen productions based upon the novels of 40 women writers before 1900. Each entry includes the novel and its publication date, the published texts or dramatizations based upon the book, and the performances of the piece in live theater and film versions, including the location, dates, and playwright or screenwriter (if there was one). For some of the performances the author includes a brief annotation listing the actors and describing the production.
Sixteen original essays by leading scholars on Mary Shelley's novel provide an introduction to Frankenstein and its various critical contexts.
This edited collection is the first book-length critical study of the Showtime-Sky Atlantic television series Penny Dreadful (2014-2016), which also includes an analysis of Showtime’s 2020 spin-off City of Angels. Chapters examine the status of the series as a work of twenty-first-century cable television, contemporary Gothic-horror, and intermedial adaptation, spanning sources as diverse as eighteenth and nineteenth-century British fiction and poetry, American dime novels, theatrical performance, Hollywood movies, and fan practices. Featuring iconic monsters such as Dr. Frankenstein and his Creature, the “bride” of Frankenstein, Dracula, the werewolf, Dorian Gray, and Dr. Jekyll, Penny Dreadful is a mash-up of familiar texts and new Gothic figures such as spiritualist Vanessa Ives, played by the magnetic Eva Green. As a recent example of adapting multiple sources in different media, Penny Dreadful has as much to say about the Romantic and Victorian eras as it does about our present-day fascination with screen monsters. Hear the authors talk about the collection here: https://nrftsjournal.org/monsters-all-are-we-not-an-interview-with-julie-grossman-and-will-scheibel/
"Perhaps best recognized for the horror films it has spawned, 'Frankenstein,' written by 19-year-old Mary Shelley, was first published in 1818. 'Frankenstein' warns against the irresponsible use of science and technology and makes readers reconsider who the world's monsters really are and how society contributes to creating them. Ideal for research or general interest, this resource furnishes students with a collection of the most insightful critical essays available on this Gothic thriller, selected from a variety of literary sources."--