Against the background of the current scholarly debate on the Neo-Gothic fascination with the body manipulation and dissection, this paper examines some recent transmutations of the archetype of the hybrid monster of Mary Shelley’s Frankenstein. More specifically, the paper focuses on Shelley Jackson’s production, from the hypertexts Patchwork Girl, or A Modern Monster (1995) and My Body. A Wunderkammer (1997) to The Melancholy of Anatomy (2002), up to her most recent project Skin (2010). Although she cannot be strictly considered part of the Neo-Gothic stream, her works exemplify significant ways in which posthuman thought intersects with Gothic textuality. By reimagining Frankenstein’s archetype of the assembled creature, Jackson explores emerging postmodern paradigms of disturbingly porous and disjointed identities in the context of digital culture, where the parallel evolution of fragmented and hybrid textual spaces allows innovative forms of cross-genre and cross-media performances of the self.
"Hybridizing Textual Bodies and Neogothic Identities: Frankenstein's Afterlife in Shelley Jackson's Fiction"
Squeo Alessandra
2018-01-01
Abstract
Against the background of the current scholarly debate on the Neo-Gothic fascination with the body manipulation and dissection, this paper examines some recent transmutations of the archetype of the hybrid monster of Mary Shelley’s Frankenstein. More specifically, the paper focuses on Shelley Jackson’s production, from the hypertexts Patchwork Girl, or A Modern Monster (1995) and My Body. A Wunderkammer (1997) to The Melancholy of Anatomy (2002), up to her most recent project Skin (2010). Although she cannot be strictly considered part of the Neo-Gothic stream, her works exemplify significant ways in which posthuman thought intersects with Gothic textuality. By reimagining Frankenstein’s archetype of the assembled creature, Jackson explores emerging postmodern paradigms of disturbingly porous and disjointed identities in the context of digital culture, where the parallel evolution of fragmented and hybrid textual spaces allows innovative forms of cross-genre and cross-media performances of the self.File | Dimensione | Formato | |
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32. SQUEO CaieteEchinox35-2018-pp.159-174.pdf
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