Titlebook: Global Frankenstein; Carol Margaret Davison,Marie Mulvey-Roberts Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Mary Shell

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Negotiate

Promethean Myths of the Twenty-First Century: Contemporary , Film Adaptations and the Rise of the Vioor critical reception and box-office performances of post-millennial adaptations of . suggest this myth may be on the wane, at least in cinema. Mainstream adaptations persist in turning Frankenstein’s creature into a hero and victim in a move that betrays a modern preference for the sympathetic mon

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and the Peculiar Power of the Comicssentational strategies of prose and cinema around Frankenstein’s monster before turning to illustration and comics. Prose excels at presenting subjective experience, while cinema is more attuned to the imprint of the external world. Illustration accompanies printed text with the occasional image, bu

不愿

Our Progeny’s Monsters: , Retold for Children in Picturebooks and Graphic Novelsaphic narratives. I examine five books: picturebooks . by Neil Numberman (HarperCollins, New York, 2009) and . by Patrick McDonnell (Little, Brown and Company, New York, 2012), graphic novels by Chris Mould (Oxford University Press, Oxford, 1997) and Marion Mousse (Papercutz, New York, 2009), both t

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審問,審訊

genesis

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fixed-joint

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Online Analytical Processing-Systemege’. Victor’s historical antecedents will be related to Mary Shelley’s circle and look ahead to Gunther von Hagens, known as Dr Death and a modern-day Frankenstein. Female dissection, such as that of nineteenth-century prophetess Joanna Southcott and Sarah Baartman, ‘the Hottentot Venus’, was regard