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Monday, September 30, 2013

Frankenstein novel article from Wikipedia

Frankenstein;
or, The Modern Prometheus
Frankenstein 1818 edition title page.jpg
Volume I, first edition

Author
Mary Shelley
Language
English
Genre
Horror, Gothic, Romance, science fiction
Publisher
Lackington, Hughes, Harding, Mavor & Jones
Publication date
1 January 1818
Pages
280
Frankenstein; or, The Modern Prometheus is a novel written by Mary Shelley about eccentric scientist Victor Frankenstein, who creates a grotesque creature in an unorthodox scientific experiment. Shelley started writing the story when she was nineteen, and the novel was published when she was twenty-one. The first edition was published anonymously in London in 1818. Shelley's name appears on the second edition, published in France in 1823.
Shelley had travelled in the region of Geneva, where much of the story takes place, and the topics of galvanism and other similar occult ideas were themes of conversation among her companions, particularly her future husband, Percy Shelley. The storyline emerged from a dream. Mary, Percy, Lord Byron, and John Polidori decided to have a competition to see who could write the best horror story. After thinking for weeks about what her possible storyline could be, Shelley dreamt about a scientist who created life and was horrified by what he had made. She then wrote Frankenstein.
Frankenstein is infused with some elements of the Gothic novel and the Romantic movement and is also considered to be one of the earliest examples of science fiction. Brian Aldiss has argued that it should be considered the first true science fiction story, because unlike in previous stories with fantastical elements resembling those of later science fiction, the central character "makes a deliberate decision" and "turns to modern experiments in the laboratory" to achieve fantastic results.[1] It has had a considerable influence across literature and popular culture and spawned a complete genre of horror stories, films, and plays.
Since publication of the novel, the name "Frankenstein" is often used to refer to the monster itself, as is done in the stage adaptation by Peggy Webling. This usage is sometimes considered erroneous, but usage commentators regard the monster sense of "Frankenstein" as well-established and an acceptable usage.[2][3][4] In the novel, the monster is identified via words such as "creature", "monster", "fiend", "wretch", "vile insect", "daemon", "being", and "it". Speaking to Victor Frankenstein, the monster refers to himself as "the Adam of your labors", and elsewhere as someone who "would have" been "your Adam", but is instead "your fallen angel."

Contents
[hide] •1 Summary ◦1.1 Captain Walton's introductory frame narrative
◦1.2 Victor Frankenstein's narrative
◦1.3 Captain Walton's concluding frame narrative
•2 Composition
•3 Publication
•4 Name origins ◦4.1 The monster
◦4.2 Victor Frankenstein's surname
◦4.3 Victor Frankenstein's given name
◦4.4 Modern Prometheus
•5 Shelley's sources
•6 Reception
•7 Derivative works
•8 Films, plays and television
•9 See also
•10 Notes
•11 References
•12 External links
Summary[edit]

A variety of different editions

This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (May 2012)
Frankenstein is written in the form of a frame story that starts with Captain Robert Walton writing letters to his sister.
Captain Walton's introductory frame narrative[edit]
The novel Frankenstein is written in epistolary form, documenting a correspondence between Captain Robert Walton and his sister, Margaret Walton Saville. Walton is a failed writer who sets out to explore the North Pole and expand his scientific knowledge in hopes of achieving fame. During the voyage the crew spots a dog sled mastered by a gigantic figure. A few hours later, the crew rescues a nearly frozen and emaciated man named Victor Frankenstein. Frankenstein has been in pursuit of the gigantic man observed by Walton's crew. Frankenstein starts to recover from his exertion; he sees in Walton the same over-ambitiousness and recounts a story of his life's miseries to Walton as a warning.
Victor Frankenstein's narrative[edit]
Victor begins by telling of his childhood. Born into a wealthy family in Geneva, he is encouraged to seek a greater understanding of the world around him through science. He grows up in a safe environment, surrounded by loving family and friends. When he is four years old, his parents adopt Elizabeth Lavenza, an orphan whose mother has just died. Victor has a possessive infatuation with Elizabeth. Much of the story focuses on this infatuation and the rise and fall of their interactions. He has two younger brothers: Ernest and William.
As a young boy, Victor is obsessed with studying outdated theories of science that focus on achieving natural wonders. When he witnesses lightning strike an oak tree, splitting it in two, he is inspired to harness the power of lightning. His mother dies of scarlet fever weeks before he leaves for the University of Ingolstadt in Germany. At university, he excels at chemistry and other sciences, and develops a secret technique to imbue inanimate bodies with life. Victor constructs a reanimated creature.
The details of the monster's construction are left ambiguous, but Frankenstein is forced to make the creature roughly eight feet tall because of the difficulty in replicating the minute parts of the human body. His creation, which he has hoped would be beautiful, is instead hideous, with watery yellow eyes, and a withered, translucent, yellowish skin that barely conceals the muscular system and blood vessels. The creature has perfect, white teeth, black lips and long black hair. After bringing his creation to life, Victor is repulsed by his work: he flees the room, leaving the monster. Hopeless and saddened from rejection, the monster disappears.
Victor becomes ill from the experience. He is nursed back to health by his childhood friend, Henry Clerval. After a four-month recovery, he decides to return home when his brother William is found murdered. Upon arriving in Geneva, he sees the monster near the site of the murder, and becomes certain the creature is the killer. William's nanny, Justine, is hanged for the murder based on the discovery of William's locket in her pocket. Victor, though certain the monster is responsible, doubts anyone would believe him and is unable to stop the hanging.
Ravaged by his grief and self-reproach, Victor retreats into the mountains to find peace. The monster approaches him, ignoring his threats and pleading with Victor to hear his own tale. Intelligent and articulate, The Creature tells Victor of his own encounters with people, and how he had become afraid of them and spent a year living near a cottage, observing the DeLacey family living there and growing fond of them. The monster learned to speak by listening to the DeLaceys. He also discovered a lost satchel of books and taught himself to read. When he saw his reflection in a pool, he realised that his physical appearance is hideous compared to the humans he observed. Though he eventually approached the family with hope of becoming their friend, they were frightened by his appearance and drove him away, and then left the residence permanently. The creature, in a fit of rage, burned the cottage and left.
The monster concludes his story with a demand that Frankenstein create for him a female companion like himself. He argues that as a living thing, he has a right to happiness. He promises that if Victor grants his request, he and his mate will vanish into the wilderness of South America uninhabited by man, never to reappear.
Fearing for his family, Victor reluctantly agrees and travels to England to do his work. He is accompanied by Clerval, but they separate in Scotland. Through their travels, Victor suspects that the monster is following him. Working on a second being on the Orkney Islands, he is plagued by premonitions of what his work might wreak, particularly the idea that creating a mate for the creature might lead to the breeding of an entire race of creatures that could plague mankind. He destroys the unfinished female creature after he sees his first creation looking through the window. The monster witnesses this and, confronting Victor, vows to be with Victor on his upcoming wedding night. The monster murders Clerval and leaves the corpse on an Irish beach, where Victor lands upon leaving the island. Victor is imprisoned for the murder of Clerval, and becomes seriously ill, suffering another mental breakdown in prison. After being acquitted, and with his health renewed, he returns home with his father.
Once home Victor marries Elizabeth and prepares for a fight with the monster. Wrongly believing the monster's vowed revenge was for his own life, Victor asks Elizabeth to retire to her room for the night while he goes looking for "the fiend". While Victor searches the house and grounds, the creature murders Elizabeth. Victor sees the monster at the window, and the monster taunts Victor by pointing at Elizabeth's corpse. Grief-stricken by the deaths of William, Justine, Clerval, and now Elizabeth, Victor's father dies. Victor pursues the monster to the North Pole, but he does not kill his creation.
Captain Walton's concluding frame narrative[edit]
At the end of Victor's narrative, Captain Walton resumes the telling of the story. A few days after the creature vanishes, the ship becomes entombed in ice and Walton's crew insists on returning south once they are freed. In spite of a passionate speech from Frankenstein, encouraging the crew to push further north, Walton realises that he must relent to his men's demands and agrees to head for home. Frankenstein dies shortly thereafter.
Walton discovers the creature on his ship, mourning over Frankenstein's body. Walton hears the creature's misguided reasons for his vengeance and expressions of remorse. Frankenstein's death has not brought him peace. Rather, his crimes have increased his misery and alienation, and his words are almost exactly identical to Victor's own in describing himself. He vows to kill himself on his own funeral pyre so that no others will ever know of his existence. Walton watches as he drifts away on an ice raft that is soon lost in darkness.
Composition[edit]

Draft of Frankenstein ("It was on a dreary night of November that I beheld my man completed ...")
How I, then a young girl, came to think of, and to dilate upon, so very hideous an idea?[5]
During the rainy summer of 1816, the "Year Without a Summer", the world was locked in a long cold volcanic winter caused by the eruption of Mount Tambora in 1815.[6] Mary Shelley, aged 18, and her lover (and later husband) Percy Bysshe Shelley, visited Lord Byron at the Villa Diodati by Lake Geneva in Switzerland. The weather was consistently too cold and dreary that summer to enjoy the outdoor holiday activities they had planned, so the group retired indoors until dawn.
Among other subjects, the conversation turned to galvanism and the feasibility of returning a corpse or assembled body parts to life, and to the experiments of the 18th-century natural philosopher and poet Erasmus Darwin, who was said to have animated dead matter.[7] Sitting around a log fire at Byron's villa, the company also amused themselves by reading German ghost stories translated into French from the book Fantasmagoriana,[8] prompting Byron to suggest they each write their own supernatural tale. Shortly afterward, in a waking dream, Mary Shelley conceived the idea for Frankenstein:

I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for SUPREMELY frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world.[9]
She began writing what she assumed would be a short story. With Percy Shelley's encouragement, she expanded this tale into a full-fledged novel.[10] She later described that summer in Switzerland as the moment "when I first stepped out from childhood into life".[11] Shelley wrote the first four chapters in the weeks following the suicide of her half-sister Fanny.[12] Byron managed to write just a fragment based on the vampire legends he heard while travelling the Balkans, and from this John Polidori created The Vampyre (1819), the progenitor of the romantic vampire literary genre. Thus, two legendary horror tales originated from this one circumstance.
The group talked about Enlightenment and Counter-Enlightenment ideas as well. Shelley believed the Enlightenment idea that society could progress and grow if political leaders used their powers responsibly; however, she also believed the Romantic ideal that misused power could destroy society (Bennett 36–42).[13]
Mary's and Percy Bysshe Shelley's manuscripts for the first three-volume edition in 1818 (written 1816–1817), as well as Mary Shelley's fair copy for her publisher, are now housed in the Bodleian Library in Oxford. The Bodleian acquired the papers in 2004, and they belong now to the Abinger Collection.[14] On 1 October 2008, the Bodleian published a new edition of Frankenstein which contains comparisons of Mary Shelley's original text with Percy Shelley's additions and interventions alongside. The new edition is edited by Charles E. Robinson: The Original Frankenstein (ISBN 978-1851243969).[15]
In September 2011 the astronomer Donald Olson, inspecting data about the motion of the moon and stars, concluded that the original conversation, and the waking dream, took place on the night of 16 June 1816.[16]
Publication[edit]

Mary Shelley by Richard Rothwell (1840–41)
Shelley completed her writing in May 1817, and Frankenstein; or, The Modern Prometheus was first published on 1 January 1818 by the small London publishing house of Lackington, Hughes, Harding, Mavor, & Jones.[17][18] It was issued anonymously, with a preface written for Mary by Percy Bysshe Shelley and with a dedication to philosopher William Godwin, her father. It was published in an edition of just 500 copies in three volumes, the standard "triple-decker" format for 19th-century first editions. The novel had been previously rejected by Percy Bysshe Shelley's publisher, Charles Ollier, and by Byron's publisher, John Murray.[citation needed]
The second edition of Frankenstein was published on 11 August 1822 in two volumes (by G. and W. B. Whittaker) following the success of the stage play Presumption; or, the Fate of Frankenstein by Richard Brinsley Peake;[19] this edition credited Mary Shelley as the author.
On 31 October 1831, the first "popular" edition in one volume appeared, published by Henry Colburn & Richard Bentley.[20] This edition was heavily revised by Mary Shelley, partially because of pressure to make the story more conservative, and included a new, longer preface by her, presenting a somewhat embellished version of the genesis of the story. This edition tends to be the one most widely read now, although editions containing the original 1818 text are still published.[21] Many scholars prefer the 1818 text, arguing that it preserves the spirit of Shelley's original publication (see Anne K. Mellor's "Choosing a Text of Frankenstein to Teach" in the W.W. Norton Critical edition).

Name origins[edit]
The monster[edit]
Main article: Frankenstein's monster

An English editorial cartoonist conceived the Irish as akin to Frankenstein's monster. Illustration from an 1882 issue of Punch[22]
Part of Frankenstein's rejection of his creation is the fact that he does not give it a name, which gives it a lack of identity. Instead it is referred to by words such as "monster", "creature", "daemon", "devil", "fiend", "wretch" and "it". When Frankenstein converses with the monster in Chapter 10, he addresses it as "vile insect", "abhorred monster", "fiend", "wretched devil" and "abhorred devil".
During a telling of Frankenstein, Shelley referred to the creature as "Adam".[23] Shelley was referring to the first man in the Garden of Eden, as in her epigraph:
Did I request thee, Maker, from my clayTo mould Me man? Did I solicit theeFrom darkness to promote me? John Milton, Paradise Lost (X.743–5)
The creature has often been mistakenly called "Frankenstein". In 1908 one author said "It is strange to note how well-nigh universally the term "Frankenstein" is misused, even by intelligent people, as describing some hideous monster...".[24] Edith Wharton's The Reef (1916) describes an unruly child as an "infant Frankenstein."[25] David Lindsay's "The Bridal Ornament", published in The Rover, 12 June 1844, mentioned "the maker of poor Frankenstein." After the release of James Whale's popular 1931 film Frankenstein, the public at large began speaking of the monster itself as "Frankenstein". A reference to this occurs in Bride of Frankenstein (1935) and in several subsequent films in the series, as well as in film titles such as Abbott and Costello Meet Frankenstein.
Victor Frankenstein's surname[edit]
Mary Shelley maintained that she derived the name "Frankenstein" from a dream-vision. Despite her public claims of originality, the significance of the name has been a source of speculation. Literally, in German, the name Frankenstein means "Stone of the Franks". The name is associated with various places in Germany, such as Castle Frankenstein (Burg Frankenstein) in Mühltal, Hesse, or Castle Frankenstein in Frankenstein, Palatinate. There is also a castle called Frankenstein in Bad Salzungen, Thuringia. Furthermore, there is a municipality called Frankenstein in Saxony, and before 1946, Ząbkowice Śląskie, a city in Silesia, Poland, was known as Frankenstein in Schlesien. Furthermore the name is carried by the noble House of Franckenstein from Franconia.
More recently, Radu Florescu, in his book In Search of Frankenstein, argued that Mary and Percy Shelley visited Castle Frankenstein near Darmstadt, on their way to Switzerland, where a notorious alchemist named Konrad Dippel had experimented with human bodies, but that Mary suppressed mentioning this visit, to maintain her public claim of originality. A recent literary essay[26] by A.J. Day supports Florescu's position that Mary Shelley knew of, and visited Castle Frankenstein[27] before writing her debut novel. Day includes details of an alleged description of the Frankenstein castle that exists in Mary Shelley's 'lost' journals. According to Jörg Heléne, the 'lost journals' as well as Florescu's claims could not be verified.[28]
Victor Frankenstein's given name[edit]
Main article: Victor Frankenstein
A possible interpretation of the name Victor derives from Paradise Lost by John Milton, a great influence on Shelley (a quotation from Paradise Lost is on the opening page of Frankenstein and Shelley even allows the monster himself to read it).[29][30] Milton frequently refers to God as "the Victor" in Paradise Lost, and Shelley sees Victor as playing God by creating life. In addition to this, Shelley's portrayal of the monster owes much to the character of Satan in Paradise Lost; indeed, the monster says, after reading the epic poem, that he empathises with Satan's role in the story.
There are many similarities between Victor and Percy Shelley, Mary's husband. Victor was a pen name of Percy Shelley's, as in the collection of poetry he wrote with his sister Elizabeth, Original Poetry by Victor and Cazire.[31] There is speculation that one of Mary Shelley's models for Victor Frankenstein was Percy, who at Eton had "experimented with electricity and magnetism as well as with gunpowder and numerous chemical reactions", and whose rooms at Oxford were filled with scientific equipment.[32]
Percy Shelley was the first-born son of a wealthy country squire with strong political connections and a descendant of Sir Bysshe Shelley, 1st Baronet of Castle Goring, and Richard Fitzalan, 10th Earl of Arundel.[33] Victor's family is one of the most distinguished of that republic and his ancestors were counsellors and syndics.
Percy had a sister named Elizabeth. Victor had an adopted sister, named Elizabeth.
On 22 February 1815, Mary Shelley delivered a two-month premature baby and the baby died two weeks later. Percy did not care about the condition of this premature infant and left with Claire, Mary's stepsister, for a lurid affair.[34] When Victor saw the creature come to life he fled the apartment, though the newborn creature approached him, as a child would a parent. The question of Victor's responsibility to the creature is one of the main themes of the book.
Modern Prometheus[edit]
The Modern Prometheus is the novel's subtitle (though some modern editions now drop the subtitle, mentioning it only in an introduction).[35] Prometheus, in later versions of Greek mythology, was the Titan who created mankind at the behest of Zeus. He made a being in the image of the gods that could have a spirit breathed into it.[36] Prometheus taught man to hunt, read, and heal their sick, but after he tricked Zeus into accepting poor-quality offerings from humans, Zeus kept fire from mankind. Prometheus being the creator, took back the fire from Zeus to give to man. When Zeus discovered this, he sentenced Prometheus to be eternally punished by fixing him to a rock of Caucasus, where each day an eagle would peck out his liver, only for the liver to regrow the next day because of his immortality as a god. He was intended to suffer alone for eternity, but eventually Heracles (Hercules) released him.
Prometheus was also a myth told in Latin but was a very different story. In this version Prometheus makes man from clay and water, again a very relevant theme to Frankenstein, as Victor rebels against the laws of nature (how life is naturally made) and as a result is punished by his creation. Prometheus, a Greek Titan who sculpted man from clay and then stole the light of fire from the gods to give to man, these acts can be attributed to the enabling of civilisation and the gift of knowledge man acquired from him. Zeus punished Prometheus; bound to stone while an eagle each day would eat away Prometheus's liver. Suffering this agonising torment Prometheus would face his punishment for eternity. “Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein.” [14] Mary Shelley seemingly titled the book after the conflicted principles of knowledge in the story symbolising Victor as the Modern Prometheus.

In 1910, Edison Studios released the first motion-picture adaptation of Shelley's story.
The Titan in the Greek mythology of Prometheus parallels Victor Frankenstein. Victor's work by creating man by new means reflects the same innovative work of the Titan in creating humans.
Some have claimed that for Mary Shelley, Prometheus was not a hero but rather something of a devil, whom she blamed for bringing fire to man and thereby seducing the human race to the vice of eating meat (fire brought cooking which brought hunting and killing).[37]
Byron was particularly attached to the play Prometheus Bound by Aeschylus, and Percy Shelley would soon write his own Prometheus Unbound (1820). The term "Modern Prometheus" was actually coined by Immanuel Kant, referring to Benjamin Franklin and his then recent experiments with electricity.[38]
Shelley's sources[edit]
Shelley incorporated a number of different sources into her work, one of which was the Promethean myth from Ovid. The influence of John Milton's Paradise Lost, and Samuel Taylor Coleridge's The Rime of the Ancient Mariner, are also clearly evident within the novel. Also, both Shelleys had read William Thomas Beckford's Gothic novel Vathek.[citation needed] Frankenstein also contains multiple references to her mother, Mary Wollstonecraft, and her major work A Vindication of the Rights of Woman which discusses the lack of equal education for males and females. The inclusion of her mother's ideas in her work is also related to the theme of creation and motherhood in the novel. Mary is likely to have acquired some ideas for Frankenstein's character from Humphry Davy's book Elements of Chemical Philosophy, in which he had written that "science has ... bestowed upon man powers which may be called creative; which have enabled him to change and modify the beings around him ...". References to the French Revolution run through the novel; a possible source may lie in François-Félix Nogaret's Le Miroir des événemens actuels, ou la Belle au plus offrant (1790): a political parable about scientific progress featuring an inventor named Frankénsteïn who creates a life-sized automaton.[39]
Within the last thirty years or so, many writers and historians have attempted to associate several then popular natural philosophers (now called physical scientists) to Shelley's work due to several notable similarities. Two of the most notable then-contemporary natural philosophers have been Giovanni Aldini and his many public attempts in London from 1801 to 1804 at human reanimation through bio-electric Galvanism (as reported by History Channel), and Johann Konrad Dippel who was supposed to have developed chemical means to extend the life span of humans. In both cases, while Shelley was obviously aware of these men and their activities, in no published or released notes written by Shelley, does Shelley herself make any mention or reference of these men or their experiments.
Reception[edit]

Illustration by Theodor von Holst from the frontispiece of the 1831 edition[40]
Initial critical reception of the book mostly was unfavourable, compounded by confused speculation as to the identity of the author. Sir Walter Scott wrote that "upon the whole, the work impresses us with a high idea of the author's original genius and happy power of expression", but the Quarterly Review described it "a tissue of horrible and disgusting absurdity".
Mary Shelley had contact with some of the most influential minds of her time. Shelley's father, William Godwin, was very progressive and encouraged his daughter to participate in the conversations that took place in his home with various scientific minds, many of whom were actively engaged in the study of anatomy. She was familiar with the ideas of using dead bodies for study, the newer theory of using electricity to animate the dead, and the concerns of religion and the general public regarding the morality of tampering with God's work.
Despite the reviews, Frankenstein achieved an almost immediate popular success. It became widely known especially through melodramatic theatrical adaptations—Mary Shelley saw a production of Presumption; or The Fate of Frankenstein, a play by Richard Brinsley Peake, in 1823. A French translation appeared as early as 1821 (Frankenstein: ou le Prométhée Moderne, translated by Jules Saladin).
Frankenstein has been both well received and disregarded since its anonymous publication in 1818. Critical reviews of that time demonstrate these two views. The Belle Assemblee described the novel as "very bold fiction" (139). The Quarterly Review stated that "the author has the power of both conception and language" (185). Sir Walter Scott, writing in Blackwood's Edinburgh Magazine congratulated "the author's original genius and happy power of expression" (620), although he is less convinced about the way in which the monster gains knowledge about the world and language.[41] The Edinburgh Magazine and Literary Miscellany hoped to see "more productions from this author" (253).
In two other reviews where the author is known as the daughter of William Godwin, the criticism of the novel makes reference to the feminine nature of Mary Shelley. The British Critic attacks the novel's flaws as the fault of the author: "The writer of it is, we understand, a female; this is an aggravation of that which is the prevailing fault of the novel; but if our authoress can forget the gentleness of her sex, it is no reason why we should; and we shall therefore dismiss the novel without further comment" (438). The Literary Panorama and National Register attacks the novel as a "feeble imitation of Mr. Godwin's novels" produced by the "daughter of a celebrated living novelist" (414).
Despite these initial dismissals, critical reception has been largely positive since the mid-20th century.[42] Major critics such as M. A. Goldberg and Harold Bloom have praised the "aesthetic and moral" relevance of the novel[43] and in more recent years the novel has become a popular subject for psychoanalytic and feminist criticism. The novel today is generally considered to be a landmark work of romantic and gothic literature, as well as science fiction.[44]
In his 1981 non-fiction book Danse Macabre, author Stephen King considers Frankenstein's monster (along with Dracula and the Werewolf) to be an archetype of numerous horrific creations that followed in literature, film, and television, in a role he refers to as "The Thing Without A Name." He considers such contemporary creations as the 1951 film The Thing from Another World and The Incredible Hulk as examples of similar monstrosities that have followed in its wake. He views the book as "a Shakespearean tragedy" and argues: "its classical unity is broken only by the author's uncertainty as to where the fatal flaw lies—is it in Victor's hubris (usurping a power that belongs only to God) or in his failure to take responsibility for his creation after endowing it with the life-spark?"[45]
Frankenstein discussed controversial topics and touched on religious ideas. Victor Frankenstein plays God when he creates a new being. Frankenstein deals with Christian and metaphysical themes. The importance of Paradise Lost and the creature's belief that it is "a true history" brings a religious tone to the novel.[46]
Derivative works[edit]
There are numerous novels retelling or continuing the story of Frankenstein and his monster.
For more details on derivative works, see Frankenstein in popular culture.
Films, plays and television[edit]

A promotional photo of Boris Karloff as Frankenstein's monster, using Jack Pierce's makeup design•1826: Henry M. Milner's adaptation, The Man and The Monster; or The Fate of Frankenstein opened on 3 July at the Royal Coburg Theatre, London.[47]
•1910: Edison Studios produced the first Frankenstein film, directed by J. Searle Dawley.
•1915: Life Without Soul, the second film adaptation of Mary Shelley's novel, was released. No known copy of the film has survived, but unreliable sources[who?] claim that the film has been in an anonymous private collection since at least 2004.
•1931: Universal Studios' Frankenstein, directed by James Whale, starring Colin Clive, Mae Clarke, John Boles, Edward Van Sloan, Dwight Frye, and Boris Karloff as the monster.
•1935: James Whale directed the sequel Bride of Frankenstein, starring Colin Clive as the Doctor, and Boris Karloff as the monster once more. This incorporated the novel's plot motif of Doctor Frankenstein creating a bride for the monster omitted from Whale's earlier film. There were two more sequels, prior to the Universal "monster rally" films combining multiple monsters from various movie series or film franchises.
•1942–1948: Universal did "monster rally" films featuring Frankenstein's Monster, Dracula and the Wolf-Man. Included would be Frankenstein Meets the Wolf Man, House of Frankenstein, House of Dracula and Abbott and Costello Meet Frankenstein.
•1957–1974: Hammer Films in England did a string of Frankenstein films starring Peter Cushing, including The Curse of Frankenstein, The Revenge of Frankenstein and Frankenstein Must Be Destroyed. Co-starring in these films were Christopher Lee, Hazel Court, Veronica Carlson and Simon Ward. Another Hammer film, The Horror of Frankenstein, starred Ralph Bates as the main character, Victor Frankenstein.
•1965: Toho Studios created the film Frankenstein Conquers the World or Frankenstein vs. Baragon, followed by War of the Gargantuas.
•1972: A comedic stage adaptation, Frankenstein's Monster, by Sally Netzel, was produced by the Dallas Theater Center.[48]
•1973: The TV film Frankenstein: The True Story appeared on NBC. The movie starred Leonard Whiting, Michael Sarrazin, James Mason, and Jane Seymour.
•1981: A Broadway adaptation by Victor Gialanella played for one performance (after 29 previews) and was considered the most expensive flop ever produced to that date.[49]
•1985: The flop Broadway production yielded a TV film starring Robert Powell, Carrie Fisher, David Warner, and John Gielgud.
•1992: Frankenstein became a Turner Network Television film directed by David Wickes, starring Patrick Bergin and Randy Quaid. John Mills played the blind man.
•1994: Mary Shelley's Frankenstein appeared in theatres, directed by and starring Kenneth Branagh, with Robert De Niro and Helena Bonham Carter. Its all-star cast also included John Cleese, Ian Holm, and Tom Hulce.
•2011: The National Theatre, London, presents a stage version of Frankenstein, running until 2 May 2011. The play was written by Nick Dear and directed by Danny Boyle. Jonny Lee Miller and Benedict Cumberbatch alternate the roles of Frankenstein and the Creature. The National Theatre broadcast live performances of the play worldwide (at 13:00 and 19:30) on 17 March.
Free adaptations•1967: I'm Sorry the Bridge Is Out, You'll Have to Spend the Night and its sequel, Frankenstein Unbound (Another Monster Musical), are a pair of musical comedies written by Bobby Pickett and Sheldon Allman. The casts of both feature several classic horror characters including Dr. Frankenstein and his monster.
•1973: The Rocky Horror Show, is a British horror comedy stage musical written by Richard O'Brian in which Dr. Frank N. Furter has created a creature (Rocky), to satisfy his (pro)creative drives. Elements are similar to I'm Sorry the Bridge Is Out, You'll Have to Spend the Night.
•1973: Frankenstein: The True Story has the monster be originally very handsome but become progressively uglier as the story progresses. It incorporates many elements from the Hammer horror series.
•1973: Andy Warhol's Frankenstein. Usually, the doctor is a man whose dedication to science takes him too far, but here his interest is to rule the world by creating a new species that will obey him and do his bidding.
•1974: Young Frankenstein. Directed by Mel Brooks, this sequel-spoof has been mentioned[50] as one of the best movie comedies of any comedy genre ever made, even prompting an American film preservation program to include it on its listings.[51] It reuses many props from James Whale's 1931 Frankenstein and is shot in black-and-white with 1930s-style credits. Gene Wilder portrayed the descendant of Dr. Frankenstein, with Peter Boyle as the Monster.
•1975: The Rocky Horror Picture Show is the 1975 film adaptation of the British rock musical stageplay, The Rocky Horror Show (1973), written by Richard O'Brien.
•1984: Frankenweenie is a parody short film directed by Tim Burton, starring Barrett Oliver, Shelley Duvall and Daniel Stern.
•1985: The Bride. Specifically, a remake of 1935's The Bride of Frankenstein which incorporated the novel's bride-motif omitted from the 1931 film.
•1990: Frankenstein Unbound. Combines a time-travel story with the story of Shelley's novel. Scientist Joe Buchanan accidentally creates a time-rift which takes him back to the events of the novel. Filmed as a low-budget independent film in 1990, based on a novel published in 1973 by Brian Aldiss. This novel bears no relation to the 1967 stage musical with the same name listed above.
•1991: Frankenstein: The College Years, directed by Tom Shadyac, is another sequel-spoof in which Frankenstein's monster is revived by college students.
•1995: Monster Mash is a film adaptation of I'm Sorry the Bridge Is Out, You'll Have to Spend the Night starring Bobby Pickett as Dr. Frankenstein. The film also features Candace Cameron Bure, Anthony Crivello and Mink Stole.
•1998: Billy Frankenstein is a very loose adaptation about a boy who moves into a mansion with his family and brings the Frankenstein monster to life. The film was directed by Fred Olen Ray.
•2004: Frankenstein made for TV film based on Dean Koontz's Frankenstein.
•2009: The Diary of Anne Frankenstein, a short film from Chillerrama.
•2011: Frankenstein: Day of the Beast is an independent horror film based loosely on the original book.
•2011: Victor Frankenstein appears in the ABC show Once Upon a Time.
•2012: Frankenweenie, Tim Burton's film remake of short film of the same name.
•2012: A Nightmare on Lime Street, Fred Lawless's comedy play starring David Gest staged at the Royal Court Theatre, Liverpool.[52]
•2014 Bruce vs. Frankenstein, Bruce Campbell – Actor and Direction, film based loosely on the original book.
See also[edit]

Portal icon United Kingdom portal
Portal icon Books portal
•Frankenstein argument
•Frankenstein complex
•Frankenstein's monster
•Frankenstein in popular culture
•Homunculus
•Golem
•List of dreams
•Johann Conrad Dippel
•John Lauritsen
Notes[edit]
1.Jump up ^ The Detached Retina: Aspects of SF and Fantasy by Brian Aldiss (1995), page 78.
2.Jump up ^ Bergen Evans, "Comfortable Words," New York: Random House, 1957
3.Jump up ^ Bryan Garner, "A Dictionary of Modern American Usage", New York, Oxford: Oxford University Press, 1998
4.Jump up ^ "Merriam-Webster's Dictionary of American English", Merriam-Webster: 2002
5.Jump up ^ "Preface", 1831 edition of Frankenstein
6.Jump up ^ Sunstein, 118.
7.Jump up ^ Holmes, 328; see also Mary Shelley's introduction to the 1831 edition of Frankenstein.
8.Jump up ^ Dr. John Polidori, "The Vampyre" 1819, The New Monthly Magazine and Universal Register; London: H. Colburn, 1814–1820. Vol. 1, No. 63.
9.Jump up ^ Quoted in Spark, 157, from Mary Shelley's introduction to the 1831 edition of Frankenstein.
10.Jump up ^ Bennett, An Introduction, 30–31; Sunstein, 124.
11.Jump up ^ Sunstein, 117.
12.Jump up ^ Hay, 103.
13.Jump up ^ Bennett, Betty T. Mary Wollstonecraft Shelley: An Introduction. Baltimore: Johns Hopkins University Press, 1998.
14.Jump up ^ "OX.ac.uk". Bodley.ox.ac.uk. 15 December 2009. Retrieved 28 August 2010.
15.Jump up ^ "Amazon.co.uk". Amazon.co.uk. Retrieved 28 August 2010.
16.Jump up ^ Scientist: Sky confirms "shining moon" behind Frankenstein (retrieved 28 September 2011)
17.Jump up ^ Bennett, Betty T. Mary Wollstonecraft. Shelley: An Introduction. Baltimore: Johns Hopkins University Press, 1998
18.Jump up ^ D. L. Macdonald and Kathleen Scherf, "A Note on the Text", Frankenstein, 2nd ed., Peterborough: Broadview Press, 1999.
19.Jump up ^ [1] Shelley, Mary Wollstonecraft Frankenstein Bedford Publishing (2000) pg 3
20.Jump up ^ See forward to Barnes and Noble classic edition.
21.Jump up ^ The edition published by Forgotten Books is the original text, as is the "Ignatius Critical Edition". Vintage Books has an edition presenting both versions.
22.Jump up ^ Frankenstein:Celluloid Monster at the National Library of Medicine website of the (U.S.) National Institutes of Health
23.Jump up ^ "Frankenstein: Penetrating the Secrets of Nature / Exhibit Text" (PDF). National Library of Medicine and ALA Public Programs Office. Archived from the original on 6 March 2005. Retrieved 31 December 2007. from the traveling exhibition Frankenstein: Penetrating the Secrets of Nature
24.Jump up ^ Author's Digest: The World's Great Stories in Brief, by Rossiter Johnson, 1908
25.Jump up ^ The Reef, page 96.
26.Jump up ^ This essay was included in the 2005 publication of Fantasmagoriana; the first full English translation of the book of 'ghost stories' that inspired the literary competition resulting in Mary's writing of Frankenstein.
27.Jump up ^ "Burg Frankenstein". burg-frankenstein.de. Retrieved 2 January 2007.
28.Jump up ^ RenegadeNation.de Frankenstein Castle, Shelley and the Construction of a Myth
29.Jump up ^ Wade, Phillip. "Shelley and the Miltonic Element in Mary Shelley's Frankenstein." Milton and the Romantics, 2 (December, 1976), 23–25.
30.Jump up ^ Jones, Frederick L. "Shelley and Milton," Studies in Philology, XLIX (1952), 480.
31.Jump up ^ Sandy, Mark (20 September 2002). "Original Poetry by Victor and Cazire". The Literary Encyclopedia. The Literary Dictionary Company. Retrieved 2 January 2007.
32.Jump up ^ "Percy Bysshe Shelley (1792–1822)". Romantic Natural History. Department of English, Dickinson College. Retrieved 2 January 2007.
33.Jump up ^ Percy Shelley#Ancestry
34.Jump up ^ "Journal 6 December—Very Unwell. Shelley & Clary walk out, as usual, to heaps of places...A letter from Hookham to say that Harriet has been brought to bed of a son and heir. Shelley writes a number of circular letters on this event, which ought to be ushered in with ringing of bells, etc., for it is the son of his wife." Quoted in Spark, 39.
35.Jump up ^ For example, the Longman study edition published in India in 2007 by Pearson Education
36.Jump up ^ In the best-known versions of the Prometheus story by Hesiod and Aeschylus, Prometheus merely brings fire to mankind. But in other versions such as several of Aesop's fables (See in particular Fable 516), Sappho (Fragment 207), and Ovid's Metamorphoses, Prometheus is the actual creator of humanity.
37.Jump up ^ (Leonard Wolf, p. 20).
38.Jump up ^ RoyalSoc.ac.uk "Benjamin Franklin in London." The Royal Society. Retrieved 8 August 2007.
39.Jump up ^ Douthwaite, "The Frankenstein of the French Revolution" chapter 2 of The Frankenstein of 1790 and other Lost Chapters from Revolutionary France (Frankenstein of 1790 and other Lost Chapters from Revolutionary France, 2012).
40.Jump up ^ This illustration is reprinted in the frontispiece to the 2008 edition of Frankenstein
41.Jump up ^ "Crossref-it.info". Crossref-it.info. Retrieved 28 August 2010.
42.Jump up ^ "Enotes.com". Enotes.com. Retrieved 28 August 2010.
43.Jump up ^ "KCTCS.edu". Octc.kctcs.edu. Retrieved 28 August 2010.
44.Jump up ^ UTM.edu Lynn Alexander, Department of English, University of Tennessee at Martin. Retrieved 27 August 2009.
45.Jump up ^ Stephen King: Danse Macabre, Everest House, 1981, ISBN 978-0896961005
46.Jump up ^ Ryan, Robert M. Mary Shelley's Christian Monster. University of Pennsylvania, n.d. Web. 22 October 2011. http://www.english.upenn.edu/Projects/knarf/Articles/ryan.html.
47.Jump up ^ Lawson, Shanon (11 February 1998). "A Chronology of the Life of Mary Wollstonecraft Shelley: 1825–1835". umd.edu. Retrieved 8 July 2008.
48.Jump up ^ Blood on the Stage, 1950–1975: Milestone Plays of Crime, Mystery and Detection, by Amnon Kabatchnik. Scarecrow Press, 2011, p. 300
49.Jump up ^ Lawson, Carol (01/07/1981). ""FRANKENSTEIN" NEARLY CAME BACK TO LIFE". New York Times. Retrieved 24 January 2011
50.Jump up ^ "AFI's 100 Years...100 Laughs". American Film Institute. Retrieved 21 November 2010.
51.Jump up ^ "Young Frankenstein: Award Wins and Nominations". IMDb. Retrieved 21 November 2010.
52.Jump up ^ A Nightmare On Lime Street – Royal Court Theatre, Liverpool
References[edit]
•Adams, Carol J. "Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory." Tenth Anniversary Edition. New York: The Continuum International Publishing Group, 2006.
•Aldiss, Brian W. "On the Origin of Species: Mary Shelley". Speculations on Speculation: Theories of Science Fiction. Eds. James Gunn and Matthew Candelaria. Lanham, Maryland: Scarecrow, 2005.
•Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford University Press, 1987.
•Bann, Stephen, ed. "Frankenstein": Creation and Monstrosity. London: Reaktion, 1994.
•Behrendt, Stephen C., ed. Approaches to Teaching Shelley's "Frankenstein". New York: MLA, 1990.
•Bennett, Betty T. and Stuart Curran, eds. Mary Shelley in Her Times. Baltimore: Johns Hopkins University Press, 2000.
•Bennett, Betty T. Mary Wollstonecraft Shelley: An Introduction. Baltimore: Johns Hopkins University Press, 1998. ISBN 0-8018-5976-X.
•Bohls, Elizabeth A. "Standards of Taste, Discourses of 'Race', and the Aesthetic Education of a Monster: Critique of Empire in Frankenstein". Eighteenth-Century Life 18.3 (1994): 23–36.
•Botting, Fred. Making Monstrous: "Frankenstein", Criticism, Theory. New York: St. Martin's, 1991.
•Chapman, D. That Not Impossible She: A study of gender construction and Individualism in Mary Shelley's Frankenstein, UK: Concept, 2011. ISBN 978-1480047617
•Clery, E. J. Women's Gothic: From Clara Reeve to Mary Shelley. Plymouth: Northcote House, 2000.
•Conger, Syndy M., Frederick S. Frank, and Gregory O'Dea, eds. Iconoclastic Departures: Mary Shelley after "Frankenstein": Essays in Honor of the Bicentenary of Mary Shelley's Birth. Madison, New Jersey: Fairleigh Dickinson University Press, 1997.
•Donawerth, Jane. Frankenstein's Daughters: Women Writing Science Fiction. Syracuse: Syracuse University Press, 1997.
•Douthwaite, Julia V. "The Frankenstein of the French Revolution," chapter two of The Frankenstein of 1790 and other Lost Chapters from Revolutionary France. Chicago: University of Chicago Press, 2012.
•Dunn, Richard J. "Narrative Distance in Frankenstein". Studies in the Novel 6 (1974): 408–17.
•Eberle-Sinatra, Michael, ed. Mary Shelley's Fictions: From "Frankenstein" to "Falkner". New York: St. Martin's Press, 2000.
•Ellis, Kate Ferguson. The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology. Urbana: University of Illinois Press, 1989.
•Forry, Steven Earl. Hideous Progenies: Dramatizations of "Frankenstein" from Mary Shelley to the Present. Philadelphia: University of Pennsylvania Press, 1990.
•Freedman, Carl. "Hail Mary: On the Author of Frankenstein and the Origins of Science Fiction". Science Fiction Studies 29.2 (2002): 253–64.
•Gigante, Denise. "Facing the Ugly: The Case of Frankenstein". ELH 67.2 (2000): 565–87.
•Gilbert, Sandra and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale University Press, 1979.
•Hay, Daisy "Young Romantics" (2010): 103.
•Heffernan, James A. W. "Looking at the Monster: Frankenstein and Film". Critical Inquiry 24.1 (1997): 133–58.
•Hodges, Devon. "Frankenstein and the Feminine Subversion of the Novel". Tulsa Studies in Women's Literature 2.2 (1983): 155–64.
•Hoeveler, Diane Long. Gothic Feminism: The Professionalization of Gender from Charlotte Smith to the Brontës. University Park: Pennsylvania State University Press, 1998.
•Holmes, Richard. Shelley: The Pursuit. 1974. London: Harper Perennial, 2003. ISBN 0-00-720458-2.
•Knoepflmacher, U. C. and George Levine, eds. The Endurance of "Frankenstein": Essays on Mary Shelley's Novel. Berkeley: University of California Press, 1979.
•Lew, Joseph W. "The Deceptive Other: Mary Shelley's Critique of Orientalism in Frankenstein". Studies in Romanticism 30.2 (1991): 255–83.
•Lauritsen, John. "The Man Who Wrote Frankenstein". Pagan Press, 2007.
•London, Bette. "Mary Shelley, Frankenstein, and the Spectacle of Masculinity". PMLA 108.2 (1993): 256–67.
•Mellor, Anne K. Mary Shelley: Her Life, Her Fiction, Her Monsters. New York: Methuen, 1988.
•Miles, Robert. Gothic Writing 1750–1820: A Genealogy. London: Routledge, 1993.
•Milner, Andrew. Literature, Culture and Society. London: Routledge, 2005, ch.5.
•O'Flinn, Paul. "Production and Reproduction: The Case of Frankenstein". Literature and History 9.2 (1983): 194–213.
•Poovey, Mary. The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen. Chicago: University of Chicago Press, 1984.
•Rauch, Alan. "The Monstrous Body of Knowledge in Mary Shelley's Frankenstein". Studies in Romanticism 34.2 (1995): 227–53.
•Selbanev, Xtopher. "Natural Philosophy of the Soul", Western Press, 1999.
•Schor, Esther, ed. The Cambridge Companion to Mary Shelley. Cambridge: Cambridge University Press, 2003.
•Scott, Grant F. "Victor's Secret: Queer Gothic in Lynd Ward's Illustrations to Frankenstein (1934)." Word & Image 28 (April–June 2012): 206–232. http://www.tandfonline.com/doi/abs/10.1080/02666286.2012.687545
•Smith, Johanna M., ed. Frankenstein. Case Studies in Contemporary Criticism. Boston: Bedford/St. Martin's, 1992.
•Spark, Muriel. Mary Shelley. London: Cardinal, 1987. ISBN 0-7474-0318-X.
•Stableford, Brian. "Frankenstein and the Origins of Science Fiction". Anticipations: Essays on Early Science Fiction and Its Precursors. Ed. David Seed. Syracuse: Syracuse University Press, 1995.
•Sunstein, Emily W. Mary Shelley: Romance and Reality. 1989. Baltimore: Johns Hopkins University Press, 1991. ISBN 0-8018-4218-2.
•Tropp, Martin. Mary Shelley's Monster. Boston: Houghton Mifflin, 1976.
•Veeder, William. Mary Shelley & Frankenstein: The Fate of Androgyny. Chicago: University of Chicago Press, 1986.
•Williams, Anne. The Art of Darkness: A Poetics of Gothic. Chicago: University of Chicago Press, 1995.
External links[edit]
Wikimedia Commons has media related to Frankenstein.
Wikiquote has a collection of quotations related to: Frankenstein
Wikisource has original text related to this article:
Frankenstein
•Frankenstein at Project Gutenberg
•Frankenstein 1818 edition at Project Gutenberg
•Mary Wollstonecraft Shelley Chronology & Resource Site
•"On Frankenstein", review by Percy Bysshe Shelley
•"13 Ways of Looking at Frankenstein", slideshow by Life
•"My Hideous Progeny: Mary Shelley's Frankenstein"
•Inside look at the "Frankenstein Phenomenon"

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Characters
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Films

Universal series
Frankenstein (1931)
Bride of Frankenstein (1935)
Son of Frankenstein (1939)
The Ghost of Frankenstein (1942)
Frankenstein Meets the Wolf Man (1943)
House of Frankenstein (1944)
House of Dracula (1945)
Abbott and Costello Meet Frankenstein (1948)

Hammer series
The Curse of Frankenstein (1957)
The Revenge of Frankenstein (1958)
The Evil of Frankenstein (1964)
Frankenstein Created Woman (1967)
Frankenstein Must Be Destroyed (1969)
The Horror of Frankenstein (1970)
Frankenstein and the Monster from Hell (1974)

Toho series
Godzilla vs. Frankenstein (unmade)
Frankenstein Conquers the World (1965)
The War of the Gargantuas (1966)

Parodies
Mad Monster Party? (1967)
Mad Mad Mad Monsters (1972)
Young Frankenstein (1974)
Frankenweenie (1984)
Transylvania 6-5000 (1985)
The Monster Squad (1987)
Frankenhooker (1990)
Monster Mash (1995)
Alvin and the Chipmunks Meet Frankenstein (1999)
Frankenthumb (2002)
Hotel Transylvania (2012)
Frankenweenie (2012)

Others
Frankenstein (1910)
Life Without Soul (1915)
I Was a Teenage Frankenstein (1957)
Frankenstein 1970 (1958)
Frankenstein's Daughter (1958)
Frankenstein Meets the Space Monster (1965)
Jesse James Meets Frankenstein's Daughter (1966)
Los Monstruos del Terror (1970)
Lady Frankenstein (1971)
Dracula vs. Frankenstein (1971)
Dracula: Prisoner of Frankenstein (1972)
Frankenstein 80 (1972)
Andy Warhol's Frankenstein (1973)
Blackenstein (1973)
Frankenstein's Castle of Freaks (1974)
Kyofu Densetsu: Kaiki! Furankenshutain (1981)
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Frankenstein Unbound (1990)
Frankenstein (1992)
Frankenstein (1994)
Van Helsing (2004)
Frankenstein vs. the Creature from Blood Cove (2005)
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Frankenstein: Day of the Beast (2011)
The Frankenstein Theory (2013)
I, Frankenstein (2013)

Television
Frankenstein, Jr. and The Impossibles (1966)
Groovie Goolies (1970)
Frankenstein: The True Story (1973)
Struck by Lightning (1979)
House of Frankenstein 1997 (1997)
Frankenstein (2004, TV film)
Frankenstein (2004, miniseries)
Frankenstein (2007)
Mary Shelley's Frankenhole (2010)
Once Upon a Time "The Doctor" (2012)
"In the Name of the Brother" (2013)
Penny Dreadful (2014)

Stage
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Novels
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Lost Souls (2010)

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Video games
Frankenstein (1987)
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Dr. Franken (1992)
Mary Shelley's Frankenstein (1994)
Frankenstein: Through the Eyes of the Monster (1995)
Dr. Franken II (1997)
Van Helsing (2004)

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Frankenstein in popular culture
Castle Frankenstein
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Frankenstrat (guitar)
"Frankenstein" (1973 single)
Frankenstein (Death Race)

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Sunday, September 29, 2013

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Friday, September 27, 2013

Religion and Bounty Hunter show

The television show " Bounty Hunters" had Dog telling a man to 'resist lust'. Dog admitted to repressing his lustful urges. Well, I don't think Dog has any right to tell that man to repress his lustful feelings. This man has the right to act on his lustful feelings provided he doesn't cheat on his spouse or lover as long as it is with another consenting adult who cares? Dog shouldn't repress his lustful thoughts either. Dog also has the right to feel lustful feelings for other women provided that he doesn't cheat on his wife whom he cares about. Do anti-sexual people realize how damaging their fearful and self-hating attitudes towards one our most natural impulses are? Well, Dog asks Yahweh to protect him and his family from harm at the beginning of each show. I don't believe Yahweh exists and I do not believe that Yahweh is going to protect him and his family from harm. Where is Yahweh when little children are being raped and murdered by sick and deviant psychopaths? Perhaps Yahweh allows the children to be raped and murdered as a punishment for some evil action but finite they committed? If this is so than Yahweh could never be loved or worshipped by me. He certainly didn't spare the pagan children that he commanded the ancient Jews to wipe out because they belonged to a culture the Jews thought was 'evil'. Dog and his family retrieved a stolen Buddha statue and thought it was horrible that someone would destroy someone else's religious symbol. It is nice that he shows tolerance but anyways I don't believe Yahweh or Jesus are going to protect Dog and his family anymore than Superman is. I don't believe Yahweh exists. Jesus is not divine but a simple Jewish man that had ideals that deviated from his proscribed religion which got him killed who might not have existed at all. Dog quotes the Jewish bible passage ' By their fruits you shall know them'. I don't believe you shall know people by their fruits and the Jewish and Christian bible is not a very good moral guide for Dog, his family or anyone else living in our modern day world nor does it promote entirely good values and I think Dog/Duane Chapman should know that. I think its horrible for Dog to hold positive feelings towards an ancient religious text that promotes slavery, genocide , bigotry, hate, violence against those who are different and child-sacrifice in the death of Rabbi Yeshua

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Rudy Garcia

Just saw the gallery. Amazing! Can't wait to see Iron Man, Lucifer, and War Pigs in the maze!
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Rudy Garcia

Just saw the gallery. Amazing! Can't wait to see Iron Man and War Pigs in the maze!!
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Thursday, September 26, 2013

Judge Mathis woman prejudiced towards feminine gay man

A woman on the " Judge Mathis Show" wanted to sue her gay 'friend' after giving him a loan which she considered to be a 'gift'. This gay black man views an older homosexual man as his 'gay mother'. This woman said that the old man isn't his 'mother' but a man dressing up as a woman. Well, I don't think there is nothing wrong with that old man wanting to dress up as a woman. He has the right to dress up as a woman. Even if he thought he were a woman that would be okay too. If he sometimes likes to think of himself as a woman he can. We all have the right to express ourselves however we choose. If that young gay man wants to view that old man as him 'mother' he can. He has every right to. His real mother is probably a homophobic bigot anyways. Why try loving someone who treats you like shit? It's a waste of time. That old gay man is probably more of a mother to the younger man and the younger man finds the sense of love and nurturing that he needs. If that gay man wants to think of this older guy as his 'mother' than that is okay. If that old man wants to dress up in woman's clothing and think of himself as a woman that's fine too. He has every right to dress up as a woman and think of himself as a female if he wants to because we have freedom of expression as long as we don't hurt others. I disagree with this black woman on cross dressing or gender roles. I don't believe in gender roles and don't think there is anything wrong with cross dressing, though most cross dressers self-identify as heterosexual. I think this woman is quite ignorant and really needs to learn more about gender variants and cross dressing and perhaps that gay man should find someone else to hang out with. Someone who will accept him and his cross dressing gay male 'mother' as they are. I think that older gay man is more of a mother type figure to this younger man, one whom he can trust and rely on who gives him unconditional love which is something everyone needs. Apparently this woman doesn't show much of it and too bad cause it sounds like she could use a hug and maybe a little bit of therapy and education about reducing her 'crossdresserophobia' and 'femininegaymaleophobia'.

Wild Thornberrys episode Time Flies

DignityUSA's Queer Catholic Faith Webinar for 2014

QCF contact info: Jim Smith
email: programmgr@dignityusa.org
cell: 612-306-9012
Wearing your rainbow colors, your smile and carrying your
banner that reads “Faithful Catholics committed to full equality
of LGBT persons”, you walk into a crowd of Catholics you
presume to be generally unsupportive of LGBT rights and
dignity. What happens next? Six young adults did just that for
an entire week during World Youth Day celebrations. What
they encountered may greatly surprise you. DignityUSA is
thrilled to host three of these pilgrims on it’s premier webshow
of the third season of Queer Catholic Faith. Join us for a taste
of Catholicism among young people empowered with
compassion and justice. Attendance is free.
Upcoming QCF Webshows, 9PM EST
➡ November 26: Dr. Richard Gaillardetz,
President of the Catholic Theological Society
of America, Professor of Catholic Systematic
Theology at Boston College and father of a
gay son.
➡ December 17: Dignity Alive! A look at a
thriving chapter community in San Diego,
CA., with three SD guests: Brian, Roxanne
and Al.
➡ January 21: Joe Gentilini,
Dignity/Columbus member and author of the
new memoir, Hounded By God: A Gay Man's
Journey to Self-Acceptance, Love, and
Relationship.
➡ February 18: Thelathia ‘Nikki’ Young,
A star attraction at our 2013 Convention,
Nikki will show how our own stories can bring
others to deeper understanding and
acceptance.
➡ March 18: Mateo Williamson, This young
trans man from Arizona will engage you with
his curious mind and joyful Catholic faith.
➡ April 22: Dignity Prays! Discover the
diversity and richness of Dignity worship in
this interview with three persons from
communities across the nation.
➡ May & June QCF shows: TBD
DignityUSA’s Queer Catholic Faith webshow
What is QCF? Live one-hour web-interviews with featured guests and real-time questions and conversation
from attendees, all from the comfort of our own screens. QCF explores guests’ spirituality, faith and prophetic
witness in a web-intimate setting.
Join us LIVE!
World Youth Day Pilgrims
tuesday, october 22, 9:00 pm eastern
2013-2014

Godzilla Encounter comments from visitors

Brandon Kleyla@BrandonKleyla
Godzilla Encounter was AMAZING!!!! Hands down BEST thing at #SDCC. @godzillamovie

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Diana Moon@dianamoon
The #godzillaencounter was epic! Great job everyone! #sdcc http://t.co/NJrcxA0qb6

Tuesday, September 24, 2013

Criticism of a homophobic individual mentioned one of Bionic Dance's YouTube video

One homophobic man ( I cannot remember his name) was referring to homosexual sex as 'unnatural' basically because he found it discomforting. Homosexual sex is engaged in by thousands of animal species. Humans are animals. Homosexual sex is very natural. This man should know that 'unnatural' is not equivalent to being wrong or harmful. There is a huge difference between something being unnatural or harmful. He refers to gay sex as 'disgusting'. I am a heterosexual woman and I don't find gay sex disgusting. It's something gay people do and are supposed to do since they are also sexual beings like heterosexuals are. He has no business sticking his nose into the sexually-active relationships of same-gender loving individuals in the first place. He also referred to 'sodomitish' behavior as 'depraved'. I don't believe in the concept of 'sodomitish' behavior which to me is a fictional concept. I believe in same-gendered sexual behavior which I do not think is 'depraved' when it is done between consenting adults. I disagree with him that homosexual sexual behavior is 'depraved'. Homosexual sex is not 'depraved'. As Bionic Dance who is an atheistic lesbian stated this guy is a douche-nugget. I don't believe in the concept of 'sodomites' either. I don't believe the story of Sodom and Gomorrah or the destruction of those other cities really happened or had to do with gay sex which is an act between consenting adults that harms no one. There would be no real moral reason for a god to destroy a bunch of cities because of people having gay sex and such a god who would do so is not moral and certainly not worthy of worship in my eyes. Just because homosexual sex makes this guy uncomfortable doesn't mean that he has to have gay sex or have sex with a gay person and it doesn't mean that gays will live sexually repressed lives because of his homophobic remarks or anti-sexual bigotry. His 'gaysexophobia' as it were. His irrational fear of gay sex is what I find to be depraved and unnatural. Gay people with still have sexual relationships with other people of the same-gender as they have the right to do and that is not going to change. This man needs to learn to overcome is discomfort and to quit being such a homophobic ass wipe and learn to mind his own business. Maybe he is jealous because gay couples have a more satisfying sex life than him? Well, if he spent more time having sex than he wouldn't need to stick his nose into the sexually-active lives of gay people now would he? The only thing I 'learned' from his video as displayed by Bionic Dance is that this guy needs to get a life and stop meddling in the sex lives of same-sex couples and to quit being such a homophobic bigot and anti-sexual jackass and would recommend he see a psychologist to help him deal with his paranoid and irrational feel of gay sex.

There are things that make me uncomfortable but I don't call them 'depraved', 'unnatural' or insist that people 'stop doing them' if they don't harm me and just learn to deal with it without being a bigot or irrational and I think that is a much more well-informed choice then that homophobic douche-nugget.

Note

Any articles I post from Wikipedia are from Wikipedia and do not belong to me in any way but are for informational purposes. Most of my posts are from articles that sometimes include comments from other websites that portray something that I find interesting. I only post my own thoughts when I feel there is something I need to get off my chest.

Monday, September 23, 2013

Carlton Pearson video on T.D Jakes

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48th Live Stream with Carlton Pearson - T. D. Jakes and Tyler Perry
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Published on Sep 20, 2013

I saw the video which has gone viral, for reasons that seem curious to me. It actually wasn't the video of Tyler donating a million dollars, nor him summarily being caught up in the moment laying hands on the bishop. What concerns me most is the vitriolic comments bloggers who seem to have little else to do with their time than armchair refereeing of matters ecclesiastical, spouting out their misinterpreted scriptures to spew their unmerited vindictiveness against two men, clergy or layman, bishop or deacon, straight, gay, bi or tri (trying to have sex but can't), who as far as we can tell have either raised or spent millions of dollars to help possibly millions of people live better lives, or at least shift their consciousness towards resolving the lives they live more peacefully.
What's even more disturbing is that most of the negative and judgmental comments are from people who love to quote scripture to defend or support their critical positions. So-called atheists and agnostics rarely even bother to address such matters; just "believers," bible-toting and bible quoting "believers."
Some of these same people love Tyler's work and adore Madea, laugh at her jokes, the cussin' she gets by with, the lying, conniving, the making fun or sport of our religiosity, and the list goes on. Then he makes a large gift to another highly regarded African American bishop and people start protesting. If Tyler had done his "alms" in secret, he'd be accused of never helping his people. He does it openly and he's accused of bragging. Jesus did his miracles openly, from changing water to wine, to multiplying fish and loaves to feeding thousands of people. He noticed the widow's mite and made mention of it. Both he and the Apostle Paul were supported by wealthy women, Jesus having allowed a woman some perceive to be a prostitute to use perfume worth a year's wages, which she presumably earned through her trade, to anoint his feet from her Alabaster Box. All this is recorded in the same bible from which these people quote and shoot their bible bullets from their pious, religious AK-47s. I like to call them Bible Bazookas.
Again, it is this same group that decried Bishop Jakes for having Oprah -- who some call the largest New Age Guru on the planet -- at Megafest, which by the way was a very inclusive event, both this one and the one in ATL.
I am equally as intrigued to note that on OWN last Sunday, sometime after Super Soul Sunday, there was a program with a hypnotist who specialized in regression into past life experiences, while on either corner of the screen Tyler's new weekly series was being advertised, as well as T. D. Jakes appearing on Oprah's Life Class that very night. I both see and sense a shift in consciousness, attitudes and approaches to ways of relating faith to culture and remaining spiritually relevant in a changing world.
Both Tyler and T. D. are what is called Holy Ghost-filled Christians, who some would consider unequally yoked with "unbelievers," or at least those who believe differently from them. Joel Osteen, touted as the nation's pastor, and certainly one of its favorite ones, who has also appeared with Oprah a few times, would have to be placed in that category as well, at least by those who hold to such literal translations of scripture. I do not.
Carlton Pearson
In 1977, Pearson founded Higher Dimensions Ministries (now New Dimensions ), in Tulsa, which grew to over 5,000.
More recently, he has felt a passion to proclaim the "Gospel Of Inclusion" and has written a widely acclaimed book by that name, published by Simon and Schuster. It confronts the Christian church's exclusivism as being inconsistent, in spirit with the teachings of Jesus.
Bishop Pearson recently served as the Interim Senior Minister at Christ Universal Temple in Chicago. He and Gina now host New Dimensions of Chicago, building a local multi-cultural and radically Inclusive spiritual community that emphasizes expanded consciousness and Self Actualization. His newest book, God Is Not A Christian, Nor A Jew, Muslim, Hindu...God Dwells With Us, In Us, Around Us, As Us was published by Simon and Schuster and released in the spring of 2010.
Visit our Youtube Channel for more video!
Youtube Channel: http://www.youtube.com/bishoppearson
Website: http://www.bishoppearson.com
Join Email List: http://visitor.r20.constantcontact.co...

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