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Adapting Mary Shelley’s monster in superhero comic books
Joe Darowski

World War II, but following the war, crime and horror comic books eclipsed superheroes in popularity. Many publishers naturally pursued what was selling, abandoning the superhero genre for tales of terror and crime. As Lance Eaton puts it, ‘An entire generation of readers had grown up with superheroes and light-hearted fare, but the brutalities of war meant that the more gentle comic books of the late 1930s and 1940s would not engage an audience’ (19). However, while the content of comic books was maturing, if you will, the reputation of the industry for producing

in Adapting Frankenstein
The Nazi perpetrator’s hallucinations and nightmares in Jonathan Littell’s The Kindly Ones
Helena Duffy

: 807). Apart from the by now familiar purity–defilement opposition, the dream contains two phallic symbols – the faeces and the spear – which, if interpreted through a Freudian lens, indicate Aue’s simultaneous erotic desire for his father and fear of him. 19 However, to be understood more fully, this dream must read it in the light of the earlier revelations regarding the commission of war crimes by Aue’s father and of the

in Dreams and atrocity
Mary Shelley’s motivic novel as adjacent adaptation
Kyle William Bishop

. Figure 6.4 Matt Smith as the Doctor and Karen Gillian as Amy Pond in the seventh series of Doctor Who . ‘A Town Called Mercy’ is thus an ideal case study for the adjacent adaptation, as it interweaves three primary textual threads: the overreacher plot of Frankenstein , the long-arc storyline of Doctor Who , and the generic traditions of the Hollywood Western. 12 The Doctor, enraged by Jex’s war crimes, drags the scientist out of town and allows the Gunslinger to threaten Jex with death. At the last

in Adapting Frankenstein
Queering the queer Gothic in Will Self ’s Dorian
Andrew Smith

to orbit the moon’ (53). The end of one era – Adolf Eichmann’s trial for Nazi war crimes – becomes confused with the emergence of another – the space race – and this is in keeping with the novel’s presentation of an explicitly Baudrillardian discourse of history when, at a dinner party, Dorian states ‘Of course, the Gulf War never really happened’ (143), which glosses an earlier claim made in the

in Queering the Gothic
Adapting the metaphor of psychopathology to look back at the mad, monstrous 80s
Ruth Goldberg

governmental deceit, betrayal, war crimes, apathy and denial. And, as any analyst will tell you, a dream only recurs when the dreamer repeatedly fails to understand the message that the dream is trying to bring to light. Conversely, as long as the dreamer fails to understand the meaning encoded in the dreamwork, the dream will continue to recur. In his recent acceptance speech upon receiving the Nobel

in Monstrous adaptations