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Frankenstein: Or, the Modern Prometheus, the Pennyroyal Edition (Englisch) Taschenbuch – Mai 1996

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  • Taschenbuch: 270 Seiten
  • Verlag: Univ of California Pr; Auflage: Revised. (Mai 1996)
  • Sprache: Englisch
  • ISBN-10: 0520201795
  • ISBN-13: 978-0520201798
  • Größe und/oder Gewicht: 15,2 x 1,9 x 22,9 cm
  • Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen  Alle Rezensionen anzeigen (110 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 1.177.961 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
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Frankenstein, loved by many decades of readers and praised by such eminent literary critics as Harold Bloom, seems hardly to need a recommendation. If you haven't read it recently, though, you may not remember the sweeping force of the prose, the grotesque, surreal imagery, and the multilayered doppelgänger themes of Mary Shelley's masterpiece. As fantasy writer Jane Yolen writes of this (the reviewer's favorite) edition, "The strong black and whites of the main text [illustrations] are dark and brooding, with unremitting shadows and stark contrasts. But the central conversation with the monster--who owes nothing to the overused movie image … but is rather the novel's charnel-house composite--is where [Barry] Moser's illustrations show their greatest power ... The viewer can all but smell the powerful stench of the monster's breath as its words spill out across the page. Strong book-making for one of the world's strongest and most remarkable books." Includes an illuminating afterword by Joyce Carol Oates.


"Moser's magnificent rendering . . . is a work of art bound for many collections."--"Kansas City Star

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The event on which this fiction is founded has been supposed, by Dr Darwin,* and some of the physiological writers of Germany,* as not of impossible occurrence. Lesen Sie die erste Seite
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Die hilfreichsten Kundenrezensionen

4 von 4 Kunden fanden die folgende Rezension hilfreich Von Hasenpapa am 12. Juni 2000
Format: Taschenbuch
"Frankenstein" is a typical novel from the romantic period. The story is based on the conflict of a scientist with the results of his work. But Frankenstein is far more than that: It is the story of two individuals (Frankenstein and his "monster") and their acceptance and behavior in society, and of course, the novel contains a lot of latent psychological information (what would Freud have said about that?). However, it is typical for the age of romanticism that the feelings and thoughts of the individuum are at the center of the plot (see e.g. the works by Byron or by the German authors Eichendorff and Novalis). This holds as well for the music composed during that time (Schubert, Schumann, Chopin, ...). Mary Shelley describes in great detail the innermost feelings of Frankenstein and his "wretch" and how they changed from one minute to the other, and what made them change their moods, and why and how, and who was around etc. This actually - because presented through the entire book - makes the reading of the highly interesting story rather tedious. Story: 5 stars, Fun: 1 star
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3 von 3 Kunden fanden die folgende Rezension hilfreich Von bernie am 4. März 2006
Format: Taschenbuch
Victor grew up reading the works of Paracelsus, Agrippa, and Albertus Magnus, the alchemists of the time. Toss in a little natural philosophy (sciences) and you have the making of a monster. Or at least a being that after being spurned for looking ugly becomes ugly. So for revenge the creature decides unless Victor makes another (female this time) creature, that Victor will also suffer the loss of friends and relatives. What is victor to do? Bow to the wishes and needs of his creation? Or challenge it to the death? What would you do?
Although the concept of the monster is good, and the conflicts of the story well thought out, Shelly suffers from the writing style of the time. Many people do not finish the book as the language is stilted and verbose for example when was the last time you said, “Little did I then expect the calamity that was in a few moments to overwhelm me and extinguish in horror and despair all fear of ignominy of death.”
Much of the book seems like travel log filler. More time describing the surroundings of Europe than the reason for traveling or just traveling. Many writers use traveling to reflect time passing or the character growing in stature or knowledge. In this story they just travel a lot.
This book is definitely worth plodding through for moviegoers. The record needs to be set strait. First shock is that the creator is named Victor Frankenstein; the creature is just “monster” not Frankenstein. And it is Victor that is backwards which added in him doing the impossible by not knowing any better. The monster is well read in “Sorrows of a Young Werther,” “Paradise Lost,” and Plutarch’s “Lives.” The debate (mixed with a few murders) rages on as to whether the monster was doing evil because of his nature or because he was spurned?
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2 von 2 Kunden fanden die folgende Rezension hilfreich Von Ilina ( am 17. April 1998
Format: Taschenbuch
!Correction! Frankenstein is the name of the scientist - the monster that he creates is nameless and is referred to usually as a "demon" Moving onwards....
If you have ever sat down to watch a horror movie from anything dating back to the 80s or earlier, it is usually for the purpose of getting a few laughs (those are special effects?!?),but the horror in the book is quite tangible. The most fascinating aspect of the novel is the transformation of the monster - initially the reader is repulsed at the creature, and then as they learn the monster's biography, humanitarian feelings of pity and of sympathy is all that the monster deserves. Hatred towards Frankenstein grows - due to his selfish thirst for knowledge, the downfall of him, his family, and his creation is inevitable. Easy to read, Shelley's descriptive language and moving plot keep the reader continually turning the pages to discover the next twist. Told in frames, Frankenstein is a classic - the origin of all horror.
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1 von 1 Kunden fanden die folgende Rezension hilfreich Von "aw1" am 3. Mai 2000
Format: Taschenbuch
Despite many strengths, Frankenstein has fatal flaws. Coleridge wrote that readers must approach a novel with "a willing suspension of disbelief," a willingness in turn nurtured by the novelist. Such suspension is required of readers because they must understand that a novelist cannot represent everything. Part of the novelist's art lies in the simulation of reality through selective withholding and revealing of various information. Conversely, novelists lose readers when they ask them to suspend disbelief too often, or to accept details or events that just do not logically seem to make sense. Such is the case of Mary Shelley and her creation, Victor Frankenstein.
Unlike its portrayal in the movies, which involves an assistant (Igor), various trips to the cemetery for body parts, and a lightning-filled climax in a laboratory, creation of Frankenstein's monster is anti-climactic. Shelley dispatches the entire incident in about three paragraphs. Just as quickly, Frankenstein is repulsed by his creation. The creature opens his eyes, Frankenstein sees its ugliness, and flees - all in the space of two or three sentences. Thus begins a slippery slope of disbelief.
Readers are expected to believe that the creature could evolve into a perfect example of cultured, Enlightened, rational thinking simply by observing a simple family and reading a handful of books. The monster's inner being is too perfect. It is inconceivable that his rhetoric, designed to make the reader sympathetic, cannot also appeal to Frankenstein. And Frankenstein himself is too blind. Once he is finally rebuked, the monster vows to avenge himself upon Frankenstein. He systematically murders members of Frankenstein's family and friends.
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