...When thinking about the Creature that Frankenstein creates, the term “heartbreaker” probably isn't the first descriptive word that comes to mind. However, Kenneth Branaugh’s 1994 adaptation of the film brings on a whole nother meaning of the word “heartbreaker.” The film is likable in all the unconventional qualities it has. There are many factors that dial into the beautiful horror of Branagh's adaptation. Mary Shellys Frankenstein is one of the most faithful adaptations of the book in the same vein of it being the most different. The storyline is incredibly in sync with the book. Saying it is in sync with the original story by means of the broad overall story the film creates. The film follows along with the essence of how in the book Victor gets into the mindset of creating and stabilizing life into an immortal being. Within the film there are great parallels of how film Victor and book Victor handle their power and what they do with it. The film was surprisingly very faithful to the book in the way it carried out the mood of the story. While reading the book there are themes of obsession with carrying out the experiment correctly, trying to pursue a romantic relationship, and with his work/studys vs familia duties....
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...Creator vs. Creation Victor Frankenstein creates one of the most horrible creatures known to man; it was also the most human. Sometimes a creation can be more “real” than the creator. In Mary Shelley’s Frankenstein, the main character, Victor, creates a beast that is argued to be more human than the creator. Human characteristics show that Victor’s creature is more human than the creator himself because he thinks of others and feels betrayed. Victor Frankenstein has a mighty ego while his creature feels for himself and others. The creature soon talks to Victor and tells him of his feelings and thoughts. The creature describes himself as “alone and miserable” and is heartbroken because “man will not associate” with him (213). Victor’s monster is ashamed of his loneliness and is sad that no one cares for him. Victor soon understands the pain the monster feels but he does not do anything. Because he is ugly, the monster is alienated and alone. The monster claims that “no mortal could support the horror” of his features and “personality”(43). He feels and knows that he is ugly and that no one will go near him. He feels alone and abandoned because of his looks, but he never gives up hope in man. Victor remembers when he first saw his creation. He claims that “the beauty of the dream vanished” and that “breathless horror and disgust filled [his] heart”(42) Victor only cares for himself while the monster sees that caring for others is the key to happiness. Victor cares for himself...
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...shattered self-esteem, crippling dependency, and uncontrollable rage” (Berman 58). Narcissus and Frankenstein are both disoriented by ostensible renditions of their own internal conflicts. The creature’s acts of violence are external representations of Victor Frankenstein’s internal rage. It is ironic that his own self-replication in the form of the creature brings him to his eventual demise. Another element that correlates with the Narcissus story pertains to the escapes and pursuits that are present in the novel. “Since Mary Shelley’s novel employs the element of flight (Walton to the pole, Victor from the Creature, the Creature in pursuit of Victor), Frankenstein embodies an additional element of the Narcissus complex” (Kestner 69-70). The grandiosity of his creation and pursuits end in a chase to eliminate any evidence of his mistakes. Jeffrey Berman summarizes all of these examples in comparison of narcissistic personality disorder: Victor exhibits, in fact, all the characteristics of the narcissistic personality disorder as defined in DSM-III: a grandi- sense of self-importance; preoccupation with fantasies of unlimited success; exhibitionism; cool indifference or feelings of...
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...General 1. Title: Frankenstein 2. Author: Mary Shelley 3. Date of publication: Jan 1, 1818 4. Novel type: horror, Gothic, science fiction and tragedy Structure 1. Point of view: Throughout most of the novel it is a first person narrative. The main narrator s victor Frankenstein however there are 2other narrators too; Walton and the monster. Walton’s narration is through letters. 2. Relationship to meaning: The first person narration helps the reader see things from the character point of view and also helps create doubt over what really happened or why something really happened. 3. Plot structure: A. exposition: Walton narrates how he has encountered a man named Victor Frankenstein while on his voyage through ice caps. The reader also sees the creature for the first time here. B. inciting incident: The stories conflict starts of here, Walton explains to Victor how his search for knowledge is worth any amount lives and this is where victor realizes Walton will lead the same path as he did in life and he decides to tell Walton his life story. C. events contributing to rising action: Victor begins to start his research to create a monster and then is finally successful in creating his monster. The monster runs away and begins to live in a forest right by the De ‘Lacey family and he learns to read and speak. The monster begins to feel lonely because most of society and his creator have shunned him. D. climax: The monster goes into the De...
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...Throughout Mary Shelley's Frankenstein, Shelley uses the characters Walton, Victor, and the creature all to emphasize the common war of passion vs responsibility. Each characters plights and struggles show how human nature can distract one from carrying out what they need to accomplish. Victor lets his passion for the creation of life consume him and it drives him away from a normal life. Walton blindly follows his dream in search of the fame related to its key discovery. Finally the Creature is blinded in his plot for revenge against Victor for his wrong doings against him. Shelley traces the story of all three men to show that it is in human nature to fight one's responsibility to pursue passion. “Who shall conceive the horrors of my secret...
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...OLD ENGLISH LITERATURE • Palaeolithic nomads from mainland Europe; • New inhabitants came from western and possibly north-western Europe (New Stone Age); • in the 2nd millennium BC new inhabitants came from the Low Countries and the middle Rhine (Stonehenge); • Between 800 and 200 BC Celtic peoples moved into Britain from mainland Europe (Iron Age) • first experience of a literate civilisation in 55 B.C. • remoter areas in Scotland retained independence • Ireland, never conquered by Rome, Celtic tradition • The language of the pre-Roman settlers - British (Welsh, Breton); Cornish; Irish and Scottish Gaelic (Celtic dialect) • The Romans up to the fifth century • Britain - a province of the Roman Empire 400 years • the first half of the 5th century the Angles, Saxons, and Jutes (N Germany, Jutland) • The initial wave of migration - 449 A. D. • the Venerable Bede (c. 673-735) • the Britain of his time comprised four nations English, British (Welsh), Picts, and Scots. • invaders resembling those of the Germans as described by Tacitus in his Germania. • a warrior race • the chieftain, the companions or comitatus. • the Celtic languages were supplanted (e.g. ass, bannock, crag). * Christianity spread from two different directions: * In the 5th century St Patrick converted Ireland, in the 7th century the north of England was converted by Irish monks; * in the south at the end of the 6th century Aethelberht of Kent allowed the monk Augustine...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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