An engaging classroom playscript. Frankenstein is the famous story of a young man who thinks he can change the world by making better human beings. Instead he creates a living monster with a mind of its own. New, innovative activities specifically tailored to support the KS3 Framework for Teaching English and help students to fulfil the Framework objectives. Activities include work on Speaking and Listening, close text analysis, and the structure of playscripts, and act as a springboard for personal writing.
Author: Philip Pullman
Release Date: 1990
Genre: English drama
Part of a series of dramatizations of well-known novels, selected for Key Stage 3 students, this play examines the monster's situation in a sympathetic light, and shows how the experiment to create an artificial human being went horribly wrong.
Author: Anne Powling
Publisher: Barron's Educational Series
Release Date: 1995-09-21
Genre: Juvenile Nonfiction
Designed to cover the requirements of the National Curriculum, this book's features include a flexible resource for teaching the National curriculum, an integrated approach to language study at all stages, a range of authors, poets, and playwrights from different centuries and cultures. Activities help develop individual and group study skills.
Author: Mary Shelley
Publisher: Oxford University Press
Release Date: 2014-09-22
Genre: Foreign Language Study
A level 3 Oxford Bookworms Library graded reader. This version includes an audio book: listen to the story as you read. Retold for Learners of English by Patrick Nobes. Victor Frankenstein thinks he has found the secret of life. He takes parts from dead people and builds a new ‘man’. But this monster is so big and frightening that everyone runs away from him – even Frankenstein himself! The monster is like an enormous baby who needs love. But nobody gives him love, and soon he learns to hate. And, because he is so strong, the next thing he learns is how to kill . . .
The latest teaching standards demand that all teachers 'take responsibility for promoting high standards of literacy and correct use of standard English, whatever the teacher's specialism'. That's no bad thing, but it leaves some of us feeling under-trained and over-exposed. Enter the Literacy Across the Curriculum Pocketbook. The book is based on four principles: literacy is important for all learning; we owe it to our pupils to help them develop their literacy; developing strategies for LAC enhances teaching and learning across the school; teachers do not have to be literacy experts to promote LAC. In a series of punchy chapters, (Speaking for Success, Write Better! Vamp up your Vocabulary, Splendid Spelling, Raring to Read) Caroline Bentley-Davies presents practical ideas and simple strategies for incorporating literacy skills into your own lessons. All this plus some really helpful advice on note-making and a self-audit LAC checklist."Literacy Across the Curriculum Pocketbook is a necessity for all teachers wanting to find manageable, effective and exciting ways of promoting literacy in their lessons. A great resource!" Justin Wakefield, Literacy & Numeracy Co-ordinator, Humberston Academy, Grimsby "Innovating tips, strategies and ideas to revitalise literacy in your lessons instantly. Every page offers simple and realistic approaches to promoting literacy across all subjects. Vamp up your vocab; make tricky spelling stick; weave literacy seamlessly into your lessons. I love it!" Lesley Ann McDermott, History Teacher, St Patrick's Catholic College, Thornaby-on-Tees "Contains everything you should know about Literacy and more. Written in a clear and concise manner, even as an experienced English teacher it still taught me a trick or two!" Sarah Martin, CPD Leader, Academies Enterprise Trust
Author: Mary Wollstonecraft Shelley
Publisher: Castrovilli Giuseppe
Release Date: 1976
Frankenstein; or, The Modern Prometheus is a novel written by Mary Shelley about a creature produced by 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. 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. 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." [Reception] 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 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 practice of using electricity to animate the dead, and the concerns of religion and the general public in regard to 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 Promthe 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. 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. Major critics such as M. A. Goldberg and Harold Bloom have praised the "aesthetic and moral" relevance of the novel 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. 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?" 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.
Σε μια πόλη φτάνει ένας θίασος που ανεβάζει στη σκηνή τον Φρανκενστάιν, βασισμένο στο ομότιτλο μυθιστόρημα της Μαίρης Σέλλεϋ. Μια νεαρή δημοσιογράφος που ερευνά το μύθο, πιστεύει πως δεν πρόκειται για ένα παραμύθι, αλλά για την αληθινή ιστορία μιας παρέας αλχημιστών, με ιδρυτή τον νεαρό γιατρό Βίκτορ Φρανκενστάιν, που το 1817 κατάφεραν να νικήσουν το θάνατο και να επανέλθουν στη ζωή από τον κόσμο των νεκρών. Παίρνοντας συνεντεύξεις από το θίασο, έρχεται αντιμέτωπη με τους σκοτεινούς ήρωες του μυθιστορήματος, που εμφανίζονται στην πόλη πιο ζωντανοί από ποτέ. Η έρευνα την οδηγεί σε έναν κόσμο τεράτων και τελικά στην αποκάλυψη του μυστικού μιας αιώνιας αγάπης, που κατάφερε να μείνει ζωντανή ακόμα και μετά το θάνατο. Αλλά τι είναι αληθινό και τι υπάρχει μόνο στην φαντασία της; Ποιοι είναι αυτοί οι «ηθοποιοί»; Και γιατί ήρθαν στην πόλη της; Και ποια είναι επιτέλους η νεαρή δημοσιογράφος; «Η Μαίρη Σέλλεϋ και ο Βίκτορ Φρανκενστάιν σε μια ηλεκτρισμένη συνωμοσία. Αυτό το βιβλίο δίνει μια νέα διάσταση στο περίφημο τέρας και στη δημιουργό του. Ένα εκπληκτικό μυθιστόρημα για τον διάσημο μύθο, μια ευπρόσδεκτη έκπληξη». –ComicBookMovie «Ο Φρανκενστάιν, σε σκηνοθεσία του εξαιρετικού Έλληνα σκηνοθέτη Κώστα Ζάπα, θα ανανεώσει τον κλασικό μύθο της Μαίρης Σέλλεϋ». –The Hollywood Reporter «Ένα επικό μυθιστόρημα τρόμου που συνδυάζει την φιλοσοφία, μια ιστορία αγάπης, τρομακτικά ανθρώπινα τέρατα και τον μύθο του Φρανκενστάιν». –Horror Cabin