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Duncan Wilson

-bomb’ in a cartoon that portrayed a scientist cultivating a baby in a test-tube, before it emerged, grew into a monster and imprisoned him.15 Similar concerns appeared in the Daily Mail, which printed a cartoon that showed a ‘Doctor Frankenstein’ horrified to find that he had accidentally cloned the Prime Minister, Harold Wilson. The Times, meanwhile, highlighted the eugenic implications of IVF when it warned that politicians in totalitarian states might use it to ‘concentrate on breeding a race of intellectual giants’.16 Although IVF did not feature in Doomwatch, Kit

in The making of British bioethics
Open Access (free)
Charles V. Reed

’. However, the meanings that colonial subjects attached to the tours and imperial culture itself, made in the empire, could not be dictated to or controlled by Whitehall, Windsor, or Government Houses in Cape Town or Bombay. Like Victor Frankenstein’s monster, they had a life of their own and produced unintended consequences. This work is about these complex processes of reception and appropriation

in Royal tourists, colonial subjects and the making of a British world, 1860–1911
Characters and stereotypes in late Stuart and Georgian theatre
Bridget Orr

as a romantic comedy. Page persuasively suggests that Kean’s performance of Shylock not only drew on a new cultural veneration for ambiguity and empathy but points to a potential parallel with Mary Shelley’s creation of Frankenstein’s monster, in which the creator of monstrosity recognises that being characterised as malign by a scornful world actually generates disfigurement. Accounts of Kean’s transformational recreation of Shylock place a good deal of stress on his presumed identification with

in Stereotypes and stereotyping in early modern England
Open Access (free)
Catherine Hall

decayed and idolatrous civilisation. But if Negroes left much to be desired then the British bore responsibility for this: ‘we brought him here, and we have no right to complain of our own work. If, like Frankenstein, we have tried to make a man, and made him badly; we must, like Frankenstein, pay the penalty’. Like Trollope, Kingsley saw hope in coloured people, who claimed to be, and indeed were, ‘our

in West Indian intellectuals in Britain
‘Postcolonial’ as periodizer
Andrew Sartori

proposed. It was ‘the postcolonial reader’ who found ‘satisfying’ the ways in which Mary Shelley’s Frankenstein subtly exceeded imperialist frames; 9 and it was the ‘situation of the post-colonial critic of imperialism’ that rendered visible the limitations of Dominick LaCapra’s approach to historical reading. 10 It is nonetheless striking that, in her 1988 introduction to Selected Subaltern Studies (a text that would ultimately play no small part in consolidating the relationship between the subaltern and

in Post-everything
Yolande Jansen
Jasmijn Leeuwenkamp
, and
Leire Urricelqui

‘human desire and all its external representations’. 35 However, it was also through art and the imagination that critical posthumanism became futuristic itself. As a way of reflecting on the limits or ends of man as a progressive being and the gloomy scenarios of where science could take us, art has historically imagined many ‘posthumans’ in the guise of figures like Doctor Faustus, Frankenstein and Superman, and in stories such as Brave New World and 2001 – A Space Odyssey . 36 This type of

in Post-everything
Mathew Thomson

their different ways had feminist critique, anti-psychiatry, and research on ongoing inequalities of health. More generally, this was an era that saw people becoming less deferential, more concerned about their individual rights, and more interested in choice. 39 Within this context, there was a moment of opportunity for radical rethinking of healthcare on the left, not just the right. Britannia Hospital awkwardly filled that space with its Frankenstein-vision of a medicine gone mad in its enthusiasm for genetics and the

in Posters, protests, and prescriptions
Mary Warnock, embryos and moral expertise
Duncan Wilson

abnormal.’ See Johnson et al., ‘Why the MRC Refused Robert Edwards and Patrick Steptoe Support’, p. 2166. See also Michael Mulkay, The Embryo Research Debate: Science and Mary Warnock, embryos and moral expertise 179 the Politics of Reproduction (Cambridge: Cambridge University Press) pp. 11–12. 87 Culliton and Waterfall, ‘Flowering of American Bioethics’, p. 1270. 88 Anthony Tucker, ‘Brave New World of Test Tube Babies’, Guardian, 27 July 1978, p. 11. 89 For more on British and American responses to the birth of Louise Brown, see Turney, Frankenstein’s

in The making of British bioethics
Open Access (free)
John Marriott

simianization occurred during the 1880s following the Phoenix Park assassination, renewed land wars and the rise of Parnellite nationalism. Similarities between Tenniel’s famous 1882 cartoon of the Irish Frankenstein and his 1888 portrayal of the spectral Ripper were striking. Thus although simianization was evident in depictions of other subjects, the most virulent forms were retained for the Irish

in The other empire