2026-09-16T00:56:40Zhttps://gredos.usal.es/oai/request

oai:gredos.usal.es:10366/1683252025-12-17T01:00:33Zcom_10366_4414com_10366_4395com_10366_3946com_10366_3823col_10366_4415

00925njm 22002777a 4500 dc Sebastián Martín, Miguel author 2018-12-12 This essay presents a literary analysis of the TV series Westworld (2016‒), created by Jonathan Nolan and Lisa Joy, who take Michael Crichton’s Westworld (1973) as its hypotext. In so doing, the paper will firstly trace the literary and film sources of the series, particularly Mary Shelley’s Frankenstein, which is the myth informing the overall diegetic universe of the series as an architext. Secondly, it will comment on the reflexive elements present in the series, looking at certain key sequences that exemplify its metafictional dimension. The main contention will be that the series success lies in the combination of these two dimensions, the Frankensteinian and the metafictional, since both contribute to emphasise the postmodern philosophical questions posed by Nolan and Joy. Sebastián-Martín, Miguel. “All the Park’s a Stage: Westworld as the Metafictional Frankenstein.” ES Review: Spanish Journal of English Studies, no. 39, Dec. 2018, pp. 51–67. 2531-1654 http://hdl.handle.net/10366/168325 10.24197/ersjes.39.2018.51-67 Frankenstein Westworld Metafiction Transtextuality Metafictional allegory All the Park’s a Stage: Westworld as the Metafictional Frankenstein