Dorian Gieseler Greenbaum

Peggy Webling

Bruce Graver

The 1931 Universal Pictures film adaptation of Frankenstein directed by James Whale and starring Boris Karloff as the now iconic Monster claims in its credits to be 'Adapted from the play by Peggy Webling'. Webling's play sought to humanize the creature, was the first stage adaptation to position Frankenstein and his creation as doppelgängers, and offered a feminist perspective on scientific efforts to create life without women, ideas that suffuse today's perceptions of Frankenstein's monster. The original play script exists in several different versions, only two of which have ever been consulted by scholars; no version has ever been published. Nor have scholars had access to Webling's private papers and correspondence, preserved in a family archive, so that the evolution of Frankenstein from book to stage to screen has never been fully charted. In Peggy Webling and the Story behind Frankenstein, Dorian Gieseler Greenbaum (Webling's great grandniece) and Bruce Graver present the full texts of Webling's unpublished play for the first time. A vital critical edition, this book includes: - the 1927 British Library Frankenstein script used for the first production of the play in Preston, Lancashire - the 1928 Frankenstein script in the Library of Congress, used for productions in UK provincial theatres from autumn 1928 till 1930 - the 1930 Frankenstein Prompt Script for the London production and later provincial performances, held by the Westminster Archive, London - Webling's private correspondence including negotiations with theatre managers and Universal Pictures, family letters about the writing and production process, and selected contracts - Text of the chapter 'Frankenstein' from Webling's unpublished literary memoir, The Story of a Pen for additional context - Biography of Webling that bears directly on the sensibilities and skills she brought to the writing of her play - History of how the play came to be written and produced - The relationship of Webling's play to earlier stage and film adaptations - An exploration of playwright and screenwriter John L. Balderston's changes to Webling's play and Whale's borrowings from it in the 1931 film Offering a new perspective on the genesis of the Frankenstein movie, this critical exploration makes available a unique and necessary 'missing link' in the novel's otherwise well-documented transmedia cultural history.

The Making of a Hollywood Monster

Peggy Webling and the Story behind Frankenstein

Professor Charles Burnett

Astrology has recently become a subject of interest to scholars of the highest calibre. However, the tendency has been to look at the social context of astrology, the attacks on astrologers and their craft, and on astrological iconography and symbolism; i.e., largely looking on astrology from the outside. The intention of this book is to do is to look at the subject from the inside: the ideas and techniques of astrologers themselves. In both Western and Eastern cultures astrology was regarded as a pure science by most scholars, mathematicians, physicians, philosophers and theologians, and was taught in schools and universities. The greatest astronomers of the period under consideration, al-Kindi, Thabit ibn Qurra, Abraham Ibn Ezra, Galileo and Kepler, also wrote about and practised astrology. What did astrologers write about astrology and how did they teach their subject and practise their craft? What changes occurred in astrological theory and practice over time and from one culture to another? What cosmological and philosophical frameworks did astrologers use to describe their practice? What role did diagrams, tables and illustrations play in astrological text-books? What was astrology's place in universities and academies? This book contains surveys of astrologers and their craft in Islamic, Jewish and Christian culture, and includes hitherto unpublished and unstudied astrological texts.

Theory and Practice in Medieval and Renaissance Astrology

From Masha' Allah to Kepler

Nicholas Campion

Astrology is the practice of relating the heavenly bodies to lives and events on earth, and the tradition that has thus been generated. Many cultures worldwide have practised it in some form. In some it is rudimentary, in others complex. Culture and scholarship have categorised it as both belief and science, as a form of magic, divination or religious practice – but in many ways it defies easy categorisation. The chapters in this volume make a significant contribution to our understanding of astrology across a range of periods of cultures. Based on papers presented at the annual conference of the Sophia Centre held in 2012, the contributions range from China and Japan, through India, the ancient Near East, the classical world and early modern Europe, to Madagascar and Mesoamerica. The different topics include ritual and religion, magic and science, calendars and time, and questions of textual transmission and methodology. Astrology in Time and Place is essential reading for all interested in the history of humanity’s relationship with the cosmos.

Cross-Cultural Questions in the History of Astrology

Astrology in Time and Place

In her wide-ranging study The Daimon in Hellenistic Astrology, Dorian Greenbaum explores the daimon and astrology’s connections to fate, mythology, philosophy; Greek, Egyptian, Mesopotamian, Gnostic and Mithraic religion; the doctrine of lots and allotment; concepts of fortune, love and necessity.

Dorian Gieseler Greenbaum

Books

Your next favorite book is out there