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| figurative language in frankenstein: Frankenstein (Annotated and Illustrated) Volume Mary Shelley, 2020-02-27 Mary Shelley began writing Frankenstein when she was only eighteen. At once a Gothic thriller, a passionate romance, and a cautionary tale about the dangers of science, Frankenstein tells the story of committed science student Victor Frankenstein. Obsessed with discovering the cause of generation and life and bestowing animation upon lifeless matter, Frankenstein assembles a human being from stolen body parts but; upon bringing it to life, he recoils in horror at the creature's hideousness. Tormented by isolation and loneliness, the once-innocent creature turns to evil and unleashes a campaign of murderous revenge against his creator, Frankenstein.Frankenstein, an instant bestseller and an important ancestor of both the horror and science fiction genres, not only tells a terrifying story, but also raises profound, disturbing questions about the very nature of life and the place of humankind within the cosmos: What does it mean to be human? What responsibilities do we have to each other? How far can we go in tampering with Nature? In our age, filled with news of organ donation genetic engineering, and bio-terrorism, these questions are more relevant than ever. |
| figurative language in frankenstein: In Frankenstein's Shadow Chris Baldick, 1990 This book surveys the early history of one of our most important modern myths: the story of Frankenstein and the monster he created from dismembered corpses, as it appeared in fictional and other writings before its translation to the cinema screen. It examines the range of meanings whichMary Shelley's Frankenstein offers in the light of the political images of `monstrosity' generated by the French Revolution. Later chapters trace the myth's analogues and protean transformations in subsequent writings, from the tales of Hoffmann and Hawthorne to the novels of Dickens, Melville,Conrad, and Lawrence, taking in the historical and political writings of Carlyle and Marx as well as the science fiction of Stevenson and Wells. The author shows that while the myth did come to be applied metaphorically to technological development, its most powerful associations have centred onrelationships between people, in the family, in work, and in politics. |
| figurative language in frankenstein: Stargirl Jerry Spinelli, 2004-05-11 ONE OF TIME MAGAZINE’S 100 BEST YA BOOKS OF ALL TIME • NEW YORK TIMES BESTSELLER A modern-day classic from Newbery Medalist Jerry Spinelli, this beloved celebration of individuality is now an original movie on Disney+! And don't miss the author's highly anticipated new novel, Dead Wednesday! Stargirl. From the day she arrives at quiet Mica High in a burst of color and sound, the hallways hum with the murmur of “Stargirl, Stargirl.” She captures Leo Borlock’ s heart with just one smile. She sparks a school-spirit revolution with just one cheer. The students of Mica High are enchanted. At first. Then they turn on her. Stargirl is suddenly shunned for everything that makes her different, and Leo, panicked and desperate with love, urges her to become the very thing that can destroy her: normal. In this celebration of nonconformity, Newbery Medalist Jerry Spinelli weaves a tense, emotional tale about the perils of popularity and the thrill and inspiration of first love. Don’t miss the sequel, Love, Stargirl, as well as The Warden’s Daughter, a novel about another girl who can't help but stand out. “Spinelli is a poet of the prepubescent. . . . No writer guides his young characters, and his readers, past these pitfalls and challenges and toward their futures with more compassion.” —The New York Times |
| figurative language in frankenstein: The Most Dangerous Game Richard Connell, 2023-02-23 Sanger Rainsford is a big-game hunter, who finds himself washed up on an island owned by the eccentric General Zaroff. Zaroff, a big-game hunter himself, has heard of Rainsford’s abilities with a gun and organises a hunt. However, they’re not after animals – they’re after people. When he protests, Rainsford the hunter becomes Rainsford the hunted. Sharing similarities with The Hunger Games, starring Jennifer Lawrence, this is the story that created the template for pitting man against man. Born in New York, Richard Connell (1893 – 1949) went on to become an acclaimed author, screenwriter, and journalist. He is best remembered for the gripping novel The Most Dangerous Game and for receiving an Oscar nomination for the screenplay Meet John Doe. |
| figurative language in frankenstein: Touching Spirit Bear Ben Mikaelsen, 2010-04-20 In his Nautilus Award-winning classic Touching Spirit Bear, author Ben Mikaelson delivers a powerful coming-of-age story of a boy who must overcome the effects that violence has had on his life. After severely injuring Peter Driscal in an empty parking lot, mischief-maker Cole Matthews is in major trouble. But instead of jail time, Cole is given another option: attend Circle Justice, an alternative program that sends juvenile offenders to a remote Alaskan Island to focus on changing their ways. Desperate to avoid prison, Cole fakes humility and agrees to go. While there, Cole is mauled by a mysterious white bear and left for dead. Thoughts of his abusive parents, helpless Peter, and his own anger cause him to examine his actions and seek redemption—from the spirit bear that attacked him, from his victims, and, most importantly, from himself. Ben Mikaelsen paints a vivid picture of a juvenile offender, examining the roots of his anger without absolving him of responsibility for his actions, and questioning a society in which angry people make victims of their peers and communities. Touching Spirit Bear is a poignant testimonial to the power of a pain that can destroy, or lead to healing. A strong choice for independent reading, sharing in the classroom, homeschooling, and book groups. |
| figurative language in frankenstein: Crispin Avi, 2004-01-15 Asta's son has no name. And, after the death of his mother, no family to protect him when he is accused of a crime he didn't commit. Declared a 'wolf's head' - meaning that anyone who catches him can kill him - he has no choice but to leave his village. All he can take with him on the journey is his newly revealed name - Crispin - and his mother's cross of lead. Travelling without purpose, through a countryside still ravaged by the effects of the plague, Crispin stumbles upon a juggler, giant of a man known as Bear. Crispin becomes Bear's servant but the juggler is a stange master offering both protection and encouraging Crispin to think for himself. But Crispin is not safe and it becomes clear he is being relentlessly pursued. Why are his enemies so determined to kill him? Will the lessons Bear has taught him be enough to safeguard all that he now holds so dear... Avi brings the full force of his storytelling powers to the world of medieval England. |
| figurative language in frankenstein: The First Betrayal Patricia Bray, 2006-05-30 Sometimes the magic inside us isn't meant to be discovered. . . . Orphan, exile, priest, Josan has been posted to a lighthouse on the farthest edge of the kingdom. As a member of the collegium, he once dreamed of making a real contribution to the Learned Brethren, but those dreams died after a mysterious fever shattered him, body and mind. At least that’s the story he’s been told to explain a past he can’t remember. But that past has returned . . . with a vengeance. When Lady Ysobel Flordelis is shipwrecked on Josan’s island, this sets in motion an explosive destiny. The Seddonian trade liaison is traveling to Ikaria on official business, but her secret purpose is to revive the revolution brutally crushed years before. Neither Ysobel nor Josan can foresee the significance of their brief meeting. But as Ysobel navigates the elaborate court intrigues in Ikaria, Josan will be forced to leave his island exile and embark on a treacherous journey to unlock the secrets that bind his past—an act that could lead him to glory . . . or doom. |
| figurative language in frankenstein: Michael Vey 3 Richard Paul Evans, 2014-05-06 To stop Hatch from using the Elgen fleet to gain world power, Michael and the rest of the Electroclan must destroy the lead ship, but divisions within the Electroclan threaten the success of their operation. |
| figurative language in frankenstein: The Rime of the Ancient Mariner Samuel Taylor Coleridge, 1900 |
| figurative language in frankenstein: The House on Mango Street Sandra Cisneros, 2013-04-30 NATIONAL BESTSELLER • A coming-of-age classic about a young girl growing up in Chicago • Acclaimed by critics, beloved by readers of all ages, taught in schools and universities alike, and translated around the world—from the winner of the 2019 PEN/Nabokov Award for Achievement in International Literature. “Cisneros draws on her rich [Latino] heritage...and seduces with precise, spare prose, creat[ing] unforgettable characters we want to lift off the page. She is not only a gifted writer, but an absolutely essential one.” —The New York Times Book Review The House on Mango Street is one of the most cherished novels of the last fifty years. Readers from all walks of life have fallen for the voice of Esperanza Cordero, growing up in Chicago and inventing for herself who and what she will become. “In English my name means hope,” she says. “In Spanish it means too many letters. It means sadness, it means waiting. Told in a series of vignettes—sometimes heartbreaking, sometimes joyous—Cisneros’s masterpiece is a classic story of childhood and self-discovery and one of the greatest neighborhood novels of all time. Like Sinclair Lewis’s Main Street or Toni Morrison’s Sula, it makes a world through people and their voices, and it does so in language that is poetic and direct. This gorgeous coming-of-age novel is a celebration of the power of telling one’s story and of being proud of where you're from. |
| figurative language in frankenstein: Frankenstein Rick Walton, 2012-07-17 This is a laugh-out-loud funny and devilish send-up of Ludwig Bemelmans's Madeline for little monsters everywhere. Frankenstein is the scariest of all the monsters in Miss Devel's castle. He can frighten anything—animals, parents, even rocks. Until one night, Miss Devel wakes up and runs downstairs to find that Frankenstein has lost his head! Frankenstein by Rick Walton and illustrated by Nathan Hale is a delightful twist on a classic story that parents and kids can both enjoy together. This is the perfect funny picture book read for Halloween or the fall season. Praise for Frankenstein: “Walton twists the classic rhymes of the original with glee ('In two crooked lines, they bonked their heads / pulled out their teeth / and wet their beds') while Hale reenacts each scene with devilish mayhem.” -Booklist “The illustrations have traded sunny yellow for pumpkin orange backgrounds and make comically sly allusions to the original title.” -Kirkus Reviews |
| figurative language in frankenstein: Frankenstein Shelley, Mary, 2023-01-11 Frankenstein is a novel by Mary Shelley. It was first published in 1818. Ever since its publication, the story of Frankenstein has remained brightly in the imagination of the readers and literary circles across the countries. In the novel, an English explorer in the Arctic, who assists Victor Frankenstein on the final leg of his chase, tells the story. As a talented young medical student, Frankenstein strikes upon the secret of endowing life to the dead. He becomes obsessed with the idea that he might make a man. The Outcome is a miserable and an outcast who seeks murderous revenge for his condition. Frankenstein pursues him when the creature flees. It is at this juncture t that Frankenstein meets the explorer and recounts his story, dying soon after. Although it has been adapted into films numerous times, they failed to effectively convey the stark horror and philosophical vision of the novel. Shelley's novel is a combination of Gothic horror story and science fiction. |
| figurative language in frankenstein: Mary's Monster Lita Judge, 2018-01-30 A free verse biography of Mary Shelley, the author of Frankenstein, featuring over 300 pages of black-and-white watercolor illustrations. |
| figurative language in frankenstein: The Damned Thing Ambrose Bierce, 2024-06-13 »The Damned Thing« is a short story by Ambrose Bierce, originally published in 1893. AMBROSE BIERCE [1842-1914] was an American author, journalist, and war veteran. He was one of the most influential journalists in the United States in the late 19th century and alongside his success as a horror writer he was hailed as a pioneer of realism. Among his most famous works are The Devil's Dictionary and the short story »An Occurrence at Owl Creek Bridge.« |
| figurative language in frankenstein: Trouble Gary D. Schmidt, 2010-04-12 “Henry Smith’s father told him that if you build your house far enough away from Trouble, then Trouble will never find you.” But Trouble comes careening down the road one night in the form of a pickup truck that strikes Henry’s older brother, Franklin. In the truck is Chay Chouan, a young Cambodian from Franklin’s preparatory school, and the accident sparks racial tensions in the school—and in the well-established town where Henry’s family has lived for generations. Caught between anger and grief, Henry sets out to do the only thing he can think of: climb Mt. Katahdin, the highest mountain in Maine, which he and Franklin were going to climb together. Along with Black Dog, whom Henry has rescued from drowning, and a friend, Henry leaves without his parents’ knowledge. The journey, both exhilarating and dangerous, turns into an odyssey of discovery about himself, his older sister, Louisa, his ancestry, and why one can never escape from Trouble. |
| figurative language in frankenstein: Raymond's Run Toni Cade Bambara, 2014 A story about Squeaky, the fastest thing on two feet, and her brother Raymond. |
| figurative language in frankenstein: Interlopers Saki, 2002-10 Saki. Years of rivalry and feuding between the von Gradwitzes and the Znaeyms seemingly come to an end when the two heads of the families find themselves in a life-or-death situation. Unfortunately, their reconcilliation comes too late. 40 pages. Tale Bla |
| figurative language in frankenstein: Gathering Blue Lois Lowry, 2000-09-25 The second book in Lois Lowry's Giver Quartet, which began with the bestselling and Newbery Medal-winning The Giver. Left orphaned and physically flawed in a civilization that shuns and discards the weak, Kira faces a frighteningly uncertain future. Her neighbors are hostile, and no one but a small boy offers to help. When she is summoned to judgment by The Council of Guardians, Kira prepares to fight for her life. But the Council, to her surprise, has plans for her. Blessed with an almost magical talent that keeps her alive, the young girl faces new responsibilities and a set of mysteries deep within the only world she has ever known. On her quest for truth, Kira discovers things that will change her life and world forever. A compelling examination of a future society, Gathering Blue challenges readers to think about community, creativity, and the values that they have learned to accept. Once again Lois Lowry brings readers on a provocative journey that inspires contemplation long after the last page is turned. “This extraordinary novel is remarkable for its fully realized characters, gripping plot, and Lowry’s singular vision of a future.” —VOYA The Giver has become one of the most influential novels of our time. Don't miss the powerful companion novels in Lois Lowry's Giver Quartet: Gathering Blue, Messenger, and Son. |
| figurative language in frankenstein: The Endurance of Frankenstein George Levine, U. C. Knoepflmacher, 1982-05-19 MARY SHELLEY's Frankenstein; or, The Modern Prometheus grew out of a parlor game and a nightmare vision. The story of the book's origin is a famous one, first told in the introduction Mary Shelley wrote for the 1831 edition of the novel. The two Shelleys, Byron, Mary's stepsister Claire Clairmont, and John William Polidori (Byron's physician) spent a wet, ungenial summer in the Swiss Alps. Byron suggested that each write a ghost story. If one is to trust Mary Shelley's account (and James Rieger has shown the untrustworthiness of its chronology and particulars), only she and poor Polidori took the contest seriously. The two illustrious poets, according to her, annoyed by the platitude of prose, speedily relinquished their uncongenial task. Polidori, too, is made to seem careless, unable to handle his story of a skull-headed lady. Though Mary Shelley is just as deprecating when she speaks of her own tiresome unlucky ghost story, she also suggests that its sources went deeper. Her truant muse became active as soon as she fastened on the idea of making only a transcript of the grim terrors of my waking dream: 'I have found it! What terrified me will terrify others.' The twelve essays in this collection attest to the endurance of Mary Shelley's waking dream. Appropriately, though less romantically, this book also grew out of a playful conversation at a party. When several of the contributors to this book discovered that they were all closet aficionados of Mary Shelley's novel, they decided that a book might be written in which each contributor-contestant might try to account for the persistent hold that Frankenstein continues to exercise on the popular imagination. Within a few months, two films--Warhol's Frankenstein and Mel Brooks's Young Frankenstein--and the Hall-Landau and Isherwood-Bachardy television versions of the novel appeared to remind us of our blunted purpose. These manifestations were an auspicious sign and resulted in the book Endurance of Frankenstein. |
| figurative language in frankenstein: Inkling Kenneth Oppel, 2018-11-06 Astonishing—The New York Times Book Review A brilliantly funny, highly illustrated story about how a little ink splot changes a family forever. Perfect for those who love Hoot, Holes, or Frindle! The Rylance family is stuck. Dad's got writer's block. Ethan promised to illustrate a group project at school--even though he can't draw. Sarah's still pining for a puppy. And they all miss Mom. Enter Inkling. Inkling begins life in Mr. Rylance's sketchbook. But one night the ink of his drawings runs together--and then leaps off the page! This small burst of creativity is about to change everything. Ethan finds him first. Inkling has absorbed a couple chapters of his math book--not good--and the story he's supposed to be illustrating for school--also not good. But Inkling's also started drawing the pictures to go with the story--which is amazing! It's just the help Ethan was looking for! Inkling helps the rest of the family too--for Sarah he's a puppy. And for Dad he's a spark of ideas for a new graphic novel. It's exactly what they all want. It's not until Inkling goes missing that this family has to face the larger questions of what they--and Inkling--truly need. • A New York Times Notable Book • A New York Public Library Best Book of the Year -- top ten selection • A true-to-life family, some can't-put-it-down excitement, a few deep questions, and more than a little bit of magic. This book is everything, and I loved every page. —Rebecca Stead, Newbery Medalist for When You Reach Me |
| figurative language in frankenstein: Odyssey Homer, 2019 Since their composition almost 3,000 years ago the Homeric epics have lost none of their power to grip audiences and fire the imagination: with their stories of life and death, love and loss, war and peace they continue to speak to us at the deepest level about who we are across the span of generations. That being said, the world of Homer is in many ways distant from that in which we live today, with fundamental differences not only in language, social order, and religion, but in basic assumptions about the world and human nature. This volume offers a detailed yet accessible introduction to ancient Greek culture through the lens of Book One of the Odyssey, covering all of these aspects and more in a comprehensive Introduction designed to orient students in their studies of Greek literature and history. The full Greek text is included alongside a facing English translation which aims to reproduce as far as feasible the word order and sound play of the Greek original and is supplemented by a Glossary of Technical Terms and a full vocabulary keyed to the specific ways that words are used in Odyssey I. At the heart of the volume is a full-length line-by-line commentary, the first in English since the 1980s and updated to bring the latest scholarship to bear on the text: focusing on philological and linguistic issues, its close engagement with the original Greek yields insights that will be of use to scholars and advanced students as well as to those coming to the text for the first time. |
| figurative language in frankenstein: Gris Grimly's Frankenstein Mary Shelley, 2013-08-27 Retells, in graphic novel format, Mary Shelley's classic tale of a monster, assembled by a scientist from parts of dead bodies, who develops a mind of his own as he learns to loathe himself and hate his creator. |
| figurative language in frankenstein: A Mystery of Heroism Stephen Crane, 2009-04-28 Though best known for The Red Badge of Courage, his classic novel of men at war, in his tragically brief life and career Stephen Crane produced a wealth of stories—among them The Monster, The Upturned Face, The Open Boat, and the title story—that stand among the most acclaimed and enduring in the history of American fiction. This superb volume collects stories of unique power and variety in which impressionistic, hallucinatory, and realistic situations alike are brilliantly conveyed through the cold, sometimes brutal irony of Crane's narrative voice. |
| figurative language in frankenstein: The Scarlet Ibis James Hurst, 1988 Ashamed of his younger brother's physical handicaps, an older brother teaches him how to walk and pushes him to attempt more strenuous activities. |
| figurative language in frankenstein: Bunny Mona Awad, 2019-06-11 NATIONAL BESTSELLER Soon to be a major motion picture Jon Swift + Witches of Eastwick + Kelly 'Get In Trouble' Link + Mean Girls + Creative Writing Degree Hell! No punches pulled, no hilarities dodged, no meme unmangled! O Bunny you are sooo genius! —Margaret Atwood, via Twitter A wild, audacious and ultimately unforgettable novel. —Michael Schaub, Los Angeles Times Awad is a stone-cold genius. —Ann Bauer, The Washington Post The Vegetarian meets Heathers in this darkly funny, seductively strange novel from the acclaimed author of 13 Ways of Looking at a Fat Girl and Rouge We were just these innocent girls in the night trying to make something beautiful. We nearly died. We very nearly did, didn't we? Samantha Heather Mackey couldn't be more of an outsider in her small, highly selective MFA program at New England's Warren University. A scholarship student who prefers the company of her dark imagination to that of most people, she is utterly repelled by the rest of her fiction writing cohort--a clique of unbearably twee rich girls who call each other Bunny, and seem to move and speak as one. But everything changes when Samantha receives an invitation to the Bunnies' fabled Smut Salon, and finds herself inexplicably drawn to their front door--ditching her only friend, Ava, in the process. As Samantha plunges deeper and deeper into the Bunnies' sinister yet saccharine world, beginning to take part in the ritualistic off-campus Workshop where they conjure their monstrous creations, the edges of reality begin to blur. Soon, her friendships with Ava and the Bunnies will be brought into deadly collision. The spellbinding new novel from one of our most fearless chroniclers of the female experience, Bunny is a down-the-rabbit-hole tale of loneliness and belonging, friendship and desire, and the fantastic and terrible power of the imagination. Named a Best Book of 2019 by TIME, Vogue, Electric Literature, and The New York Public Library |
| figurative language in frankenstein: The Surprising Effects of Sympathy David Marshall, 1988 Through readings of works by Marivaux, Diderot, Rousseau, and Mary Shelley, David Marshall provides a new interpretation of the eighteenth-century preoccupation with theatricality and sympathy. Sympathy is seen not as an instance of sensibility or natural benevolence but rather as an aesthetic and epistemological problem that must be understood in relation to the problem of theatricality. Placing novels in the context of eighteenth-century writing about theater, fiction, and painting, Marshall argues that an unusual variety of authors and texts were concerned with the possibility of entering into someone else's thoughts and feelings. He shows how key eighteenth-century works reflect on the problem of how to move, touch, and secure the sympathy of readers and beholders in the realm of both art and life. Marshall discusses the demands placed upon novels to achieve certain effects, the ambivalence of writers and readers about those effects, and the ways in which these texts can be read as philosophical meditations on the differences and analogies between the experiences of reading a novel, watching a play, beholding a painting, and witnessing the spectacle of someone suffering. The Surprising Effects of Sympathy traces the interaction of sympathy and theater and the artistic and philosophical problems that these terms represent in dialogues about aesthetics, moral philosophy, epistemology, psychology, autobiography, the novel, and society. |
| figurative language in frankenstein: Frank Einstein and the Antimatter Motor (Frank Einstein series #1) Jon Scieszka, 2014-08-19 New York Times Bestseller I never thought science could be funny . . . until I read Frank Einstein. It will have kids laughing. —Jeff Kinney, Diary of a Wimpy Kid Huge laughs and great science—the kind of smart, funny stuff that makes Jon Scieszka a legend. —Mac Barnett, author of Battle Bunny and The Terrible Two Clever science experiments, funny jokes, and robot hijinks await readers in the first of six books in the New York Times bestselling Frank Einstein chapter book series from the mad scientist team of Jon Scieszka and Brian Biggs. The perfect combination to engage and entertain readers, the series features real science facts with adventure and humor, making these books ideal for STEM education. This first installment examines the science of “matter.” Kid-genius and inventor Frank Einstein loves figuring out how the world works by creating household contraptions that are part science, part imagination, and definitely unusual. In the series opener, an uneventful experiment in his garage-lab, a lightning storm, and a flash of electricity bring Frank’s inventions—the robots Klink and Klank—to life! Not exactly the ideal lab partners, the wisecracking Klink and the overly expressive Klank nonetheless help Frank attempt to perfect his inventions.. . . until Frank’s archnemesis, T. Edison, steals Klink and Klank for his evil doomsday plan! Integrating real science facts with wacky humor, a silly cast of characters, and science fiction, this uniquely engaging series is an irresistible chemical reaction for middle-grade readers. With easy-to-read language and graphic illustrations on almost every page, this chapter book series is a must for reluctant readers. The Frank Einstein series encourages middle-grade readers to question the way things work and to discover how they, too, can experiment with science. In a starred review, Kirkus Reviews raves, “This buoyant, tongue-in-cheek celebration of the impulse to ‘keep asking questions and finding your own answers’ fires on all cylinders,” while Publishers Weekly says that the series “proves that science can be as fun as it is important and useful.” Read all the books in the New York Times bestselling Frank Einstein series: Frank Einstein and the Antimatter Motor (Book 1), Frank Einstein and the Electro-Finger (Book 2), Frank Einstein and the BrainTurbo (Book 3), and Frank Einstein and the EvoBlaster Belt (Book 4). Visit frankeinsteinbooks.com for more information. STARRED REVIEW In the final analysis, this buoyant, tongue-in-cheek celebration of the impulse to ‘keep asking questions and finding your own answers’ fires on all cylinders. --Booklist, starred review Scieszka mixes science and silliness again to great effect. —Kirkus Reviews In refusing to take itself too seriously, it proves that science can be as fun as it is important and useful. —Publishers Weekly With humor, straightforward writing, tons of illustrations, and a touch of action at the end, this book is accessible and easy to read, making it an appealing choice for reluctant readers. A solid start to the series. --School Library Journal Kids will love Frank Einstein because even though he is a new character he will be instantly recognizable to the readers...Jon Scieszka is one of the best writers around, and I can't wait to see what he does with these fun and exciting characters. —Eoin Colfer, Artemis Fowl Jon Scieszka's new series has the winning ingredients that link his clever brilliance in story telling with his knowledge of real science, while at the same time the content combination of fiction and non fiction appeals to the full range of the market. —Jack Gantos, Dead End in Norvelt |
| figurative language in frankenstein: The Necessity of Atheism Percy Bysshe Shelley, 2017-02-15 The Necessity of Atheism is a treatise on atheism by the English poet Percy Bysshe Shelley, printed in 1811 by C. and W. Phillips in Worthing while Shelley was a student at University College, Oxford. A copy of the first version was sent as a short tract signed enigmatically to all heads of Oxford colleges at the University. At that time the content was so shocking to the authorities that he was rusticated (expelled from the University) for refusing to deny authorship, together with his friend and fellow student, Thomas Jefferson Hogg. A revised and expanded version was printed in 1813. Shelley's early profession of atheism in this tract not only led to his expulsion from Oxford but also branded him as a radical agitator and thinker, setting an early pattern of marginalisation and ostracism from the intellectual and political circles of his time. Though Shelley's poetry and prose output remained steady throughout his life, most publishers and journals declined to publish his work for fear of being arrested themselves for blasphemy or sedition. Shelley did not live to see success and influence in his time, although these reach down to the present day not only in literature, but in major movements in social and political thought. |
| figurative language in frankenstein: Unhallowed Arts Laetitia Wilson, Oron Catts, Eugenio Viola, 2018 Published to accompany the exhibition held at the Perth Institute of Contemporary Arts, October 19-December 23, 2018. |
| figurative language in frankenstein: The Joy Luck Club Amy Tan, 2006-09-21 “The Joy Luck Club is one of my favorite books. From the moment I first started reading it, I knew it was going to be incredible. For me, it was one of those once-in-a-lifetime reading experiences that you cherish forever. It inspired me as a writer and still remains hugely inspirational.” —Kevin Kwan, author of Crazy Rich Asians Amy Tan’s beloved, New York Times bestselling tale of mothers and daughters, now the focus of a new documentary Amy Tan: Unintended Memoir on Netflix Four mothers, four daughters, four families whose histories shift with the four winds depending on who's saying the stories. In 1949 four Chinese women, recent immigrants to San Francisco, begin meeting to eat dim sum, play mahjong, and talk. United in shared unspeakable loss and hope, they call themselves the Joy Luck Club. Rather than sink into tragedy, they choose to gather to raise their spirits and money. To despair was to wish back for something already lost. Or to prolong what was already unbearable. Forty years later the stories and history continue. With wit and sensitivity, Amy Tan examines the sometimes painful, often tender, and always deep connection between mothers and daughters. As each woman reveals her secrets, trying to unravel the truth about her life, the strings become more tangled, more entwined. Mothers boast or despair over daughters, and daughters roll their eyes even as they feel the inextricable tightening of their matriarchal ties. Tan is an astute storyteller, enticing readers to immerse themselves into these lives of complexity and mystery. |
| figurative language in frankenstein: Mister Creecher Chris Priestley, 2012-03-01 A gripping gothic novel by master storyteller Chris Priestley |
| figurative language in frankenstein: Black Frankenstein Elizabeth Young, 2008-08-10 For all the scholarship devoted to Mary Shelley's English novel Frankenstein, there has been surprisingly little attention paid to its role in American culture, and virtually none to its racial resonances in the United States. In Black Frankenstein, Elizabeth Young identifies and interprets the figure of a black American Frankenstein monster as it appears with surprising frequency throughout nineteenth- and twentieth-century U.S. culture, in fiction, film, essays, oratory, painting, and other media, and in works by both whites and African Americans. Black Frankenstein stories, Young argues, effect four kinds of racial critique: they humanize the slave; they explain, if not justify, black violence; they condemn the slaveowner; and they expose the instability of white power. The black Frankenstein's monster has served as a powerful metaphor for reinforcing racial hierarchy—and as an even more powerful metaphor for shaping anti-racist critique. Illuminating the power of parody and reappropriation, Black Frankenstein tells the story of a metaphor that continues to matter to literature, culture, aesthetics, and politics. |
| figurative language in frankenstein: Stasiland Anna Funder, 2011-11-22 In 1989, the Berlin Wall fell; shortly afterwards the two Germanies reunited, and East Germany ceased to exist. In a country where the headquarters of the secret police can become a museum literally overnight and in which one in fifty East Germans were informing on their fellow citizens, there are thousands of captivating stories. Anna Funder tells extraordinary tales from the underbelly of the former East Germany. She meets Miriam, who as a sixteen-year-old might have started World War III; she visits the man who painted the line that became the Berlin Wall; and she gets drunk with the legendary “Mik Jegger” of the East, once declared by the authorities to his face to “no longer exist.” Each enthralling story depicts what it’s like to live in Berlin as the city knits itself back together—or fails to. This is a history full of emotion, attitude and complexity. |
| figurative language in frankenstein: Dangerous Bodies MARIE. MULVEY-ROBERTS, Marie Mulvey-Roberts, 2018-06 Through an investigation of the body and its oppression by the church, the medical profession and the state, Dangerous bodies reveals the actual horrors lying beneath fictional horror in settings as diverse as the monastic community, slave plantation, operating theatre, Jewish ghetto and battlefield trench. It provides original readings of canonical Gothic literary and film texts including The Castle of Otranto, The Monk, Frankenstein, Dracula and Nosferatu. This collection of dangerous bodies is traced back to the effects of the English Reformation, Spanish Inquisition, French Revolution, Caribbean slavery, Victorian medical malpractice, European anti-Semitism and finally warfare. The endangered or dangerous body lies at the centre of the clash between victim and persecutor and has generated tales of terror and narratives of horror, which function to either salve, purge or dangerously perpetuate such oppositions. |
| figurative language in frankenstein: Everwild Neal Shusterman, 2010-02-18 Nick the chocolate ogre wants to help the children of Everlost to reach the light at the end of the tunnel, and is slowly handing each child a coin which will release them from Everlost. But Mary Hightower wants to trap the children forever, and joins forces with Pugsy Capone, a death boss, who gains allies in a terrible way… Meanwhile, Allie has gone in search for her parents and joins up with a group of skinjackers. But, as her search takes her further away from Nick and the children of Everlost, Allie uncovers a shocking secret… it seems that skinjackers are not actually dead... In this riveting sequel to the imaginative, supernatural thriller, Everlost, there is new dark force to be reckoned with. |
| figurative language in frankenstein: The Letters Of Percy Bysshe Shelley Percy Bysshe Shelley, 2022-10-27 This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. |
| figurative language in frankenstein: Figurative Language Dmitrij Dobrovol'skij, Dmitriĭ Olegovich Dobrovolʹskiĭ, Elisabeth Piirainen, 2005 The aim of this study is to discover basic principles underlying linguistic figurativeness and to develop a theory that is capable of capturing conventional figurative language (referred to as CFLT - Conventional Figurative Language Theory). This study analyses idioms, proverbs, lexicalised metaphors, and figurative compounds, drawn from ten standard languages. |
| figurative language in frankenstein: The Bronze Bow Elizabeth George Speare, 1961 A young Jewish rebel is filled with hatred for the Romans and a desire to avenge his parents' deaths until Jesus of Nazareth teaches him love and understanding of others. A Newbery Medal book. |
| figurative language in frankenstein: Grammardog Guide to Frankenstein Mary Jane McKinney, 2003-08 Grammardog Teacher's Guide contains 16 quizzes for this Gothic novel. All sentences are from the novel. Elements of Romanticism include descriptions of the power of nature to revive the human spirit, the nobility of the common man, the joy of country life, and the conflict between science and the supernatural realm. Religious and literary allusions include Adam, Eve, Satan, Homer, Shakespeare, The Rime of the Ancient Mariner, Paradise Lost, King Arthur and Dante. |
| figurative language in frankenstein: Dracula, Frankenstein Mary Shelley, Bram Stoker, 2019-01-11 The ultimate collection of classic horror. Dracula by Bram Stoker - Read the story of Dracula's attempt to move from Transylvania to England so that he may find new blood, spreading the horrors of the undead curse, and follow the battle between Dracula and a small group of men and a woman led by Professor Abraham Van Helsing.Frankenstein by Mary Shelley - Follow the harrowing tale of Victor Frankenstein, a young scientist who creates a hideous, sapient creature in an unorthodox scientific experiment. He finds, however, that there are terrible consequences for playing God... |
FIGURATIVE Definition & Meaning - Merriam-Webster
The meaning of FIGURATIVE is representing by a figure or resemblance : emblematic. How to use figurative in a sentence. Did you know?
FIGURATIVE | English meaning - Cambridge Dictionary
FIGURATIVE definition: 1. (of words and phrases) used not with their basic meaning but with a more imaginative meaning, in…. Learn more.
Figurative Language - Definition and Examples - LitCharts
Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they often do so in a slightly narrower way.
20 Types of Figurative Language (Examples + Anchor Charts)
Figurative language is a powerful tool for writers and speakers. In this ultimate guide, we’ll explore what figurative language is, break down its essential elements, and examine 20 specific types …
Figurative Language - Examples and Definition - Literary Devices
Figurative language uses figures of speech to be more effective, persuasive, and impactful. Figures of speech such as metaphors, similes, and allusions go beyond the literal meanings of …
Figurative - definition of figurative by The Free Dictionary
1. of the nature of or involving a figure of speech, esp. a metaphor; metaphorical; not literal. 2. characterized by or abounding in figures of speech. 3. representing by means of a figure or …
FIGURATIVE definition and meaning | Collins English Dictionary
If you use a word or expression in a figurative sense, you use it with a more abstract or imaginative meaning than its ordinary literal one.
FIGURATIVE Definition & Meaning - Dictionary.com
Figurative definition: of the nature of or involving a figure of speech, especially a metaphor; metaphorical and not literal.. See examples of FIGURATIVE used in a sentence.
Figurative - Definition, Meaning & Synonyms - Vocabulary.com
Any figure of speech — a statement or phrase not intended to be understood literally — is figurative. You say your hands are frozen, or you are so hungry you could eat a horse. That's …
Figurative Language – Definition and Examples - Proofed
Apr 13, 2023 · Figurative language is language that uses words or expressions with a meaning that is different from the literal interpretation. It is often used to create imagery, evoke emotion, …
FIGURATIVE Definition & Meaning - Merriam-Webster
The meaning of FIGURATIVE is representing by a figure or resemblance : emblematic. How to use figurative in a sentence. Did you know?
FIGURATIVE | English meaning - Cambridge Dictionary
FIGURATIVE definition: 1. (of words and phrases) used not with their basic meaning but with a more imaginative meaning, in…. Learn more.
Figurative Language - Definition and Examples - LitCharts
Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they often do so in a slightly narrower way.
20 Types of Figurative Language (Examples + Anchor Charts)
Figurative language is a powerful tool for writers and speakers. In this ultimate guide, we’ll explore what figurative language is, break down its essential elements, and examine 20 specific types …
Figurative Language - Examples and Definition - Literary Devices
Figurative language uses figures of speech to be more effective, persuasive, and impactful. Figures of speech such as metaphors, similes, and allusions go beyond the literal meanings of …
Figurative - definition of figurative by The Free Dictionary
1. of the nature of or involving a figure of speech, esp. a metaphor; metaphorical; not literal. 2. characterized by or abounding in figures of speech. 3. representing by means of a figure or …
FIGURATIVE definition and meaning | Collins English Dictionary
If you use a word or expression in a figurative sense, you use it with a more abstract or imaginative meaning than its ordinary literal one.
FIGURATIVE Definition & Meaning - Dictionary.com
Figurative definition: of the nature of or involving a figure of speech, especially a metaphor; metaphorical and not literal.. See examples of FIGURATIVE used in a sentence.
Figurative - Definition, Meaning & Synonyms - Vocabulary.com
Any figure of speech — a statement or phrase not intended to be understood literally — is figurative. You say your hands are frozen, or you are so hungry you could eat a horse. That's …
Figurative Language – Definition and Examples - Proofed
Apr 13, 2023 · Figurative language is language that uses words or expressions with a meaning that is different from the literal interpretation. It is often used to create imagery, evoke emotion, …
