Abstract
A global event brought Mary Shelley’s Frankenstein into being, when a volcanic eruption triggered devasting tsunamis and led to 1816 being the so-called year without a summer. These provided the conditions for the writing of Frankenstein, which, like the volcano blasting human and geographical boundaries, disrupted religious sensibilities and broke down assumptions about science and technology. This introduction traces the history of the novel from its critical reception and various interpretations to its popularisation through theatre and film adaptation. Its cultural offshoots have a multi-disciplinary appeal and global reach, that has included a live musical drama Frankenstein’s Wedding (2011), televised to a live audience of 12,000 in Leeds, and the prize-winning novel Frankenstein in Baghdad (2014) about a creature comprised of body parts stitched together to create a monster in war-torn Iraq. In this volume, contributors from around the world explore the significance of the novel for the twenty-first century from within a global context and this introduction provides a synopsis of the chapters, which span traditional approaches through to science fiction. Areas include humour, ballet, surgery, disability, technology, comics, cinema, book illustration, children’s literature, digital technologies, and the posthuman. The book concludes with an appropriately moving poetic meditation on the monster.
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Notes
- 1.
See also the works of Brian Stableford, Judith A. Spector and the first chapter in Brian Aldiss.
- 2.
See Angela Wright’s recent assessment of the Female Gothic elements of Frankenstein, alongside the dozens of articles and book chapters situating it within that generic domain.
- 3.
According to Horace Walpole, the grandfather of the Gothic, Wollstonecraft was a ‘hyena in petticoats’ and Godwin ‘one of the greatest monsters exhibited by history’ (qtd. in Sterrenburg 1974: 146). Ironically, Thomas de Quincey declared, looking back at the 1790s, that ‘most people felt of Mr. Godwin with the same alienation and horror as of a ghoul, or a bloodless vampyre, or the monster created by Frankenstein’ (qtd. in Sterrenburg 1974: 147).
- 4.
See this link to the refereed, scholarly website ‘Romantic Circles’ for a fairly extensive catalogue of editions of Mary Shelley’s Frankenstein: https://www.rc.umd.edu/editions/frankenstein/textual
- 5.
MIT have developed a system of AI inspired by the work of Mary Shelley that writes stories in a collaborative way with human writers. It launches Halloween 2018 and is called Shelley: Human-AI Collaborated Horror Stories. See the following link for more information: https://www.media.mit.edu/projects/shelley/overview/
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Davison, C.M., Mulvey-Roberts, M. (2018). Introduction: Global Reanimations of 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_1
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