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[null,"1.","Record Nr.",null,"UNINA9910648571103321"]
[null,null,"Autore",null,"Danebrock Friederike"]
[null,null,"Titolo",null,"On Making Fiction : Frankenstein and the Life of Stories / / Friederike Danebrock"]
[null,null,"Pubbl/distr/stampa",null,"Bielefeld, : transcript Verlag, 2023"]
[{"$nulls":4},"Bielefeld : , : transcript Verlag, , [2023]"]
[{"$nulls":4},"©2023"]
[null,null,"ISBN",null,"9783839465509"]
[{"$nulls":4},"3839465508"]
[null,null,"Descrizione fisica",null,"1 online resource (292 p.)"]
[null,null,"Collana",null,"Literaturtheorie : TRSLITT ; ; 5"]
[null,null,"Disciplina",null,"741.5973"]
[null,null,"Soggetti",null,"LITERARY CRITICISM / Semiotics & Theory"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Nota di bibliografia","Includes bibliographical references."]
[null,null,"Nota di contenuto",null,"Frontmatter -- Contents -- Acknowledgments -- Introduction -- Part One: Figures -- Introduction -- Narrative Interest and the Body -- Physicality and Perspective -- Part One: Coda -- Part Two: Repetition -- Introduction -- Sequels: Going Forward, Looking Back -- Repeating Repetition: Series and Singularity -- Part Two: Coda -- Part Three: Company -- Introduction -- Imperfection and Collaboration -- Strange Intimacies: Vulnerability and Liberation -- Part Three: Coda -- To Conclude -- \"Love Your Monsters\" -- Works Cited"]
[null,null,null,"Sommario/riassunto","Fiction, we are told, is a fascinating, yet somehow deficient affair, merely derivative of reality. What if we could, instead, come up with an affirmative approach that takes stories seriously in their capacity to bring forth a ›substance‹ of their own? Iconic texts such as Mary Shelley's Frankenstein and its numerous adaptations stubbornly resist our attempts to classify them as mere representations of reality. Friederike Danebrock shows how these texts insist that we take them seriously as agents and interlocutors in our world- and culture-making activities. Drawing on this analysis, she develops a theory of narrative fiction as a generative practice."]