Abstract
The virtual, hypertextual spaces of interactive digital media are commonly considered to be uniquely modern phenomena. Adaptations of classic texts into this format are therefore seen as radical departures from the original texts and the experience of reading them. This chapter proposes, however, that the adaptation of Mary Shelley’s Frankenstein into the new form of the interactive ‘digital book’ paradoxically marks a return to its central—yet often overlooked—concerns with higher-dimensional (hyper-) space, which Shelley explored both thematically and formally, and which were also involved in nineteenth-century approaches to reading. As well as examining these early forms of virtual space, this chapter proposes that the ‘digital book’ is itself an inherently gothic form that reveals the uncanny potential of new media in the twenty-first century.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsNotes
- 1.
Chris Baldick notes the role of the famous 1931 cinematic adaptation in this narrowing of possible meanings (1987: 5).
- 2.
Though the gothic nature of the ‘digital book’ has not previously been examined, various scholars have drawn attention to the relationship between technology and the gothic. Studies by Fred Botting (2008), Isabella van Elferen (2014), and Justin D. Edwards (2015) examine different aspects of technology as a gothic mode and its manifestation in new hybrid forms of cybergothic or technogothic. While their approaches vary, these analyses align in their identification of technogothic’s reliance upon the uncanny, liminality, the blurring of categorical boundaries, and, in particular, related anxieties over the cybernetic merger of human and machine.
Works Cited
Aikin, J., and A.L. Aikin. 2000 [1773]. On the Pleasure Derived from Objects of Terror. In Gothic Documents: A Sourcebook 1700–1820, ed. E.J. Clery and Robert Miles, 127–132. Manchester: Manchester University Press.
Baddeley, Anna. 2012. Digital Butchery Makes a Monster of Frankenstein. The Guardian, April 15. https://www.theguardian.com/books/2012/apr/15/mary-shelley-frankenstein-app-review. Accessed 1 July 2016.
Baldick, Chris. 1987. In Frankenstein’s Shadow: Myth, Monstrosity and Nineteenth-Century Writing. Oxford: Clarendon.
Botting, Fred. 2008. Limits of Horror: Technology, Bodies, Gothic. Manchester: Manchester University Press.
Edwards, Justin D., ed. 2015. Technologies of the Gothic in Literature and Culture. New York: Routledge.
Hayles, N. Katherine. 2002. Foreword. In Prefiguring Cyberculture: An Intellectual History, ed. Darren Tofts, Annemarie Jonson, and Alessio Cavallaro, xxii–xxiv. Sydney: Power Publications.
Kant, Immanuel. 2004 [1783]. Prolegomena to Any Future Metaphysics. Trans: Gary Hatfield. Cambridge: Cambridge University Press.
Morris, Dave. 2012a. Frankenstein. Cambridge: Profile Books and Inkle. https://itunes.apple.com/app/frankenstein-interactive/id516047066
———. 2012b. ‘Interview with Dave Morris, Creator of Frankenstein App’, Interview by Dale Townshend and Padmini Ray Murray. The Gothic Imagination, April 29. http://www.gothic.stir.ac.uk/interviews/interview-with-dave-morris-creator-of-frankenstein-app/. Accessed 27 Aug 2017.
Otto, Peter. 2011. Multiplying Worlds: Romanticism, Modernity, and the Emergence of Virtual Reality. Oxford: Oxford University Press.
Pullinger, Kate. 2012. Frankenstein by Dave Morris—Review. The Guardian, May 17. https://www.theguardian.com/books/2012/may/17/frankenstein-dave-morris-app-review. Accessed 1 July 2016.
Radcliffe, Ann. 1824. The Novels of Mrs Ann Radcliffe. London: Hurst, Robinson, and Co.
Shelley, Mary. 2003 [1831]. Introduction. In Frankenstein, 5–10. London: Penguin Books.
———. 2012 [1818]. Frankenstein. New York/London: W. W. Norton and Co.
van Elferen, Isabella. 2014. Techno-Gothics of the Early-twenty-first Century. In The Cambridge Companion to the Modern Gothic, ed. Jerrold E. Hogle, 138–154. Cambridge: Cambridge University Press.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Mills, K.A. (2018). Frankenstein in Hyperspace: The Gothic Return of Digital Technologies to the Origins of Virtual Space in Mary Shelley’s Frankenstein. In: Davison, C., Mulvey-Roberts, M. (eds) Global Frankenstein. Studies in Global Science Fiction. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-78142-6_15
Download citation
DOI: https://doi.org/10.1007/978-3-319-78142-6_15
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-78141-9
Online ISBN: 978-3-319-78142-6
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)