Introduction: Global Reanimations of Frankenstein

Davison, Carol Margaret; Mulvey-Roberts, Marie

doi:10.1007/978-3-319-78142-6_1

Cited by 2 publications

(3 citation statements)

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“…Il se situe à l'intersection entre le monde des vivants et des morts comme Frankenstein. [23] Les monstres, quant à eux, sont souvent soit vivants, tels les infi rmes; morts, tels les fantômes ou issus de la mythologie. [22,10] Néanmoins, zombies et monstres ont en commun l'imaginaire, le monde fantasmagorique, possédant des traits humains ou humanoïdes.…”

Section: Le Zombieunclassified

“…[22 p10-11] La monstruosité fait appel à un système de représentations sociales, à des seuils de sensibilité; elle est liée à la déviance criminelle, à l'infi rmité du corps qui peut être corrigée parfois par la chirurgie. [22,23] Cette infi rmité du corps, ce handicap place le monstre à risque au sein de la société qui peut être vu comme un malheur, un déséquilibre, un signe de sorcellerie [24], une catastrophe ou le résultat d'une infection [25]. Quoiqu'il en soit, l'infi rmité, le handicap, le hors norme se situe entre ombres et lumières [26].…”

Section: Le Zombieunclassified

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L’esthétique du zombie où l’art du combat des infi rmières contre l’Infection

Bernard

2021

aporia

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L’image du zombie frappe l’imagination humaine et se décline dans différents espaces artistiques et populaires. La figure du zombie aborde des notions de pandémie et de prévention des infections. Toutefois, le concept de zombie est très peu mobilisé en sciences infirmières, contrairement aux sciences sociales. Cet article théorique critique a pour objectif d’explorer l’esthétique du zombie en sciences infirmières. La zombie catégorie d’Ulrich Beck a permis de penser la charogne, les corps à risque ainsi que les rôles de l’infirmière en prévention des infections. Nous soutenons que l’infirmière est zombifiée à la fois par son espace de pratique mais également par sa formation théorique. En effet, plusieurs modèles conceptuels constituent à eux-seuls des zombies catégories en rupture avec le corps charnel.

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Section: Le Zombieunclassified

L’esthétique du zombie où l’art du combat des infi rmières contre l’Infection

Bernard

2021

aporia

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“…I am glad that I can, even upon these terms, converse with the dead, with the wise and the good of revolving centuries". (Godwin, 2002, p. 34) Carol Margaret Davison and Marie Mulvey-Roberts (2019), in Global Frankenstein, contend that the Iraqi Frankenstein is philosophically consistent with Shelley's only at the level of the questions that it invokes concerning life, death, mortality and immortality (p. 6). According to these scholars,…”

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A Study of Ahmed Saadawi’s Frankenstein in Baghdad in Light of Appropriation of Mary Shelley’s Frankenstein Through Translation and Adaptation Studies

mahmood

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This doctoral thesis examines both Mary Shelley's Frankenstein, Or the Modern Prometheus (1888), and Ahmed Saadawi's Frankenstein in Baghdad (2014) in light of adaptation and appropriation by employing the framework of translation and adaptation studies. Adaptation studies first emerged as a field of study in the first half of the twentieth century but its generalisations and arguments initially focused on text and screen; for instance, essays and texts by Vachel Lindsay (1915), Virginia Woolf (1927), and Sergei Eisenstein's (1944 highlighted the distinctions between novels and films in general as well as the changes and transformations that the screen had brought about in the course of adaptations of texts (Leitch, 2017, p. 3). This approach established the theoretical grounds for the discipline of adaptation studies as it developed in Europe and the West in the sixties and seventies. On the one hand, this thesis aims to introduce both adaptation and translation studies into the Iraqi academia as an effort to examine Iraqi fiction, particularly Saadawi's Frankenstein in Baghdad, in parallel with the international and canonical literary works, such as Shelley's Frankenstein. On the other hand, this research will also attempt to investigate and subsequently showcase the conclusions of the analysis of the Iraqi novel to the readership and scholarship of the British and European Frankenstein. The intersectional grey zones of the West and East, the civilisational missing links between the world and marginal literature/s, and comparisons between Shelley's Gothic and science fiction and Saadawi's Iraqi 2003 post-war reality will be portrayed in both of the selected novels. Therefore, this work represents the space shared by those novels to explore and discuss the various ways in which the latter work appropriates the former. Moreover, Saadawi's work problematises several central themes also present in Saadawi's work. For instance, Shelley's Frankenstein considers science and scientific creation from various aspects as its central theme, while Iraqi Frankenstein depicts a brutal war iv against Iraq that turns Iraqi society into a slaughterhouse through the incorporation and intervention of Iraqi militias, sectarian terrorists, the US Army and its allied forces' military attacks on and within the country. In other words, the Iraqi monster of Whatsitsname rising from the ashes of the US-led 2003 invasion of Iraq, represents the failure of the Sykes-Picot Agreement of 1916, which divided the Middle East and created new artificial borders based on the interests of the early twentieth-century superpowers such as France, Britain and Russia. As a result, adaptation and cross-cultural translation will, likewise, be employed to examine the selected texts and highlight the strong relations that connect them. It will, additionally, highlight the significance of the Iraqi Frankenstein, a work that concentrates on the post-2003 war context of marginalised Iraq by problematising some of Shelley's main themes. Along with the various ...

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Introduction: Global Reanimations of Frankenstein

Cited by 2 publications

References 6 publications

L’esthétique du zombie où l’art du combat des infi rmières contre l’Infection

L’esthétique du zombie où l’art du combat des infi rmières contre l’Infection

A Study of Ahmed Saadawi’s Frankenstein in Baghdad in Light of Appropriation of Mary Shelley’s Frankenstein Through Translation and Adaptation Studies

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