...1818, by an “anonymous” author, Frankenstein, or, The Modern Prometheus has inspired numerous adaptations, remakes and parodies across different literary genres. Reprinted again in 1831, this time with an introduction written by Mary Shelley acknowledging her authorship, Frankenstein through its discrediting of science and the omnipotence of nature, confirms ands challenges our own habitual understandings of the world around us. The habitual understanding I will be focusing on is western hegemonic rationalism and the dominance of science as the ruler and explainer of my universe in comparison to the earlier more romantic ideology of Shelley’s time. Frankenstein also carries a warning about ambition. In a society that believes ambition to be a good thing, Shelley attempts to revel catastrophic consequences for humans over come with the quest for glory and science’s obsessive and overly ambitious nature. Western hegemonic ideal is the cultural identity that has conditioned me, becoming habitual, normal and routine. However, Shelley was privileged as she was writing at the beginning of the scientific enlightenment era, and could therefore identify what would be lost if science and technology were to usurp the position of God, nature and fate. Art, emotions, passion, suffering, humility etc were to be restricted into liminal spaces, creating a world not unlike Aldous Huxley’s A Brave New World. Romantic philosophies have been endorsed in Frankenstein through the downfall of Victor...
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...In Chapter 24 of Frankenstein by Mary Shelley, Victor Frankenstein decides to leave Geneva and its painful memories after his entire family is destroyed. After searching for the monster for months, Victor eventually runs into Robert Walton and tells him his story. At this point of the novel, Walton regains control of the narrative and continues to send letters to his sister, Margaret. He begins to tell his sister that he asked Frankenstein how to create a monster and bring it to life. To that, Victor replied “are you mad, my friend . . . or whither does your senseless curiosity lead you? Would you also create for yourself and the world a demoniacal enemy? Peace, peace! Learn my miseries, and do not seek to increase your own.” Victor’s outburst raises the question of whether or not knowledge is dangerous. Knowledge is in fact dangerous when it is either broad, or far beyond our need in life. “Such words, you may imagine, strongly excited my curiosity; but...
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...What do I want? Consider the role that the narrative/performance have in the questioning the true nature and real origin of the monstrous within the National Theatre’s 2011 production of Frankenstein. How? Dear’s narrative approach will be explored in relation to the problematizing and redefining of the monstrous; the shifting of the perspective to the created creature rather than that of the creator and the subsequent effects this has on an audience’s perception. The impact of the performance approach taken will also be considered: how the actors shared body of Frankenstein and his creature, the result of their alternating both roles, raises further questions creating various and yet carbon copies of the monstrous. The focus of this analysis...
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...Reading Between the Lines: An analysis of Mary Shelley’s Frankenstein, or, the Modern Prometheus, using Horace Walpole’s The Castle of Otranto as an example of male discourse about women Louise Othello Knudsen English Almen, 10th semester Master’s Thesis 31-07-2012 Tabel of Contents Abstract ................................................................................................................................................ 3 Introduction .......................................................................................................................................... 5 Historical Context .............................................................................................................................. 10 The View on Women and Their Expected Roles in the late 18th and 19th Century ....................... 11 - Mary Shelley disowns herself .................................................................................................. 11 - Mary Shelley’s Background .................................................................................................... 12 Women’s Role in Frankenstein ..................................................................................................... 13 Men’s Role in Frankenstein ........................................................................................................... 13 - Women in Society and Women as Writers .........................................................
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...Frankenstein by Mary Shelley Key facts full title · Frankenstein: or, The Modern Prometheus author · Mary Wollstonecraft Shelley type of work · Novel genre · Gothic science fiction language · English time and place written · Switzerland, 1816, and London, 1816–1817 date of first publication · January 1, 1818 publisher · Lackington, Hughes, Harding, Mavor, & Jones narrator · The primary narrator is Robert Walton, who, in his letters, quotes Victor Frankenstein’s first-person narrative at length; Victor, in turn, quotes the monster’s first-person narrative; in addition, the lesser characters Elizabeth Lavenza and Alphonse Frankenstein narrate parts of the story through their letters to Victor. climax · The murder of Elizabeth Lavenza on the night of her wedding to Victor Frankenstein in Chapter 23 protagonist · Victor Frankenstein antagonist · Frankenstein’s monster setting (time) · Eighteenth century setting (place) · Geneva; the Swiss Alps; Ingolstadt; England and Scotland; the northern ice point of view · The point of view shifts with the narration, from Robert Walton to Victor Frankenstein to Frankenstein’s monster, then back to Walton, with a few digressions in the form of letters from Elizabeth Lavenza and Alphonse Frankenstein. falling action · After the murder of Elizabeth Lavenza, when Victor Frankenstein chases the monster to the northern ice, is rescued by Robert Walton, narrates his story, and dies tense · Past foreshadowing · Ubiquitous—throughout...
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...In Mary Shelley’s, Frankenstein, responsibility is a big part of the story. Victors teachers are responsible for him and he is responsible for his creation. Shelley indicates that much of the blame goes to his teachers. Victor’s teachers ignore his interest in alchemy knowledge without explaining why this knowledge is dangerous. At the university, M. Krempe, believe alchemists as “nonsense”(26) while M. Waldman says that alchemy “promised impossibilities and performed nothing"(27). When Victor started to work with modern science he dreams about the “promised impossibilities” of alchemy. Victor seeks dangerous knowledge, the creation of life, with new, practical methods of science. His teachers don’t realize how dedicated Victor is to figuring out alchemy and how to use it. Combining his knowledge of physiology and anatomy with enthusiasm he does create life-but it is, to him, a monstrous creation. One of the main themes is that a creator is obligated to their creation. Frankenstein is obligated to his creation and is responsible...
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...In her 1818 preface to Frankenstein, Mary Shelley wrote that Percy Bysshe Shelley and Lord Byron sojourned into Nature leaving her behind at Villa Diodati near lake Geneva. After weeks of rain, the weather suddenly clears and she writes “my two friends left me on a journey among the Alps, lost, in the magnificent scenes…” (8) This would be the first of many excursions from which she would be left out. Though exceptionally educated and progressive, Shelley was a woman trapped by the mores of the nineteenth century. She was no stranger to the social constraints placed upon her sex. Her experiences as a woman of her time are mirrored in her portrayal of men and women and their relationship to nature in the novel. While creation, pregnancy and birth, were intrinsically the provenance of women, the quest for a rational, scientific method for understanding and conquering Nature was the objective of men. This...
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...John Milton’s epic 17th century poem, Paradise Lost and Mary Shelley’s early 19th century novel Frankenstein both demonstrate an overlapping theme of curiosity. This is expressed in the texts through mankind’s curiosity for knowledge of the human race, which aids in construction of identity. While each of the texts support the mutual theme of curiosity, the authors exemplify the theme in not only similar, but also different ways. Both texts use the nature of the timeframe in history to provoke Eve and Victor’s wrongdoings through their curiosity for knowledge. In addition to this, Eve and Victor’s curiosity for knowledge is similarly attained through outside sources, such as Satan and the Tree of Knowledge, and the Monster. Their wrongdoings...
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...In this exquisite piece of literature named “Frankenstein”, Mary Shelley depicts Victor Frankenstein, born into a wealthy Genevan family and audacious scientist with a desire for discovery, creating a freak of nature we come to know as Frankenstein’s Monster all through the story-telling framing structure of letters by a man named Captain Robert Walton. Obsessed with old theory books of recreating natural wonders, Frankenstein studied endlessly for decades until he went off to college in Germany. During college, he excelled at his science classes while on the side partaking in several hidden studies to hide the grief of losing his mother shortly after leaving her to go to college. These experiments consisted of delving into the practice of transferring living matter to non-living objects. After concluding with plausible data, Victor Frankenstein took it to the next level; he attempted to create a humanoid figure. In order to fit the entirety of the necessary elements for this being to live as a proper functioning human being, Frankenstein resorted to making him freakishly large and proportionally gigantic. Nevertheless, he had succeeded. The being was alive! Since, the question of technology going overboard as...
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...According to dictionary.com, the term ‘responsibility’ is defined as the state or the fact of being answerable, or accountable for something within one’s power, control, or management. In the novel Frankenstein by Mary Shelley, one certain character attempts to avoid his responsibility caused by his genuine desire and determinism for knowledge and fame, which eventually brings a catastrophic tragedy for the novel as a whole. Mary Shelley incorporates themes such as nature of man, curiosity, dangers of knowledge, expectations versus reality, the pursuit of fame and popularity to achieve and depict the character’s actions and reactions. In Shelley’s novel, Victor Frankenstein is depicted as a character that creates the creature and is the primary...
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...monster. How different are they? In Mary Shelley’s Frankenstein, the creation is quite similar to his creator, Frankenstein. Throughout the novel, Frankenstein’s and his creation’s appearances and motives are distorted; they are exaggerated and twisted. Instantly, the creation is seen not as the result of a successful scientific breakthrough, but as a monster, a horrifying wretch. However, what really fueled the creation of such a grotesque being were the efforts of a man. The results of Frankenstein’s search for such forbidden knowledge of reanimation allow Shelley to portray the corruption of knowledge not intended for mortals. While Frankenstein works on his biological research in Ingolstadt, his motives become distorted...
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...4: Frankenstein by Mary Shelley Forbidden knowledge From the beginning of humanity, a thirst for knowledge was born within the human soul. This thirst made it essential for the human mind to seek knowledge constantly and discover new things. We want to know everything. And it has been a great journey for mankind in the field of technology and science; the achievements that humanity has managed to accomplish in the different fields of knowledge are outstanding. Over the past few centuries, the intellectuals of society have made countless advances in science and the development of technology, which, to different degrees, have all benefited mankind. Our thirst for knowledge is what has kept and still keeps us moving forward, and it is what separates us from our ancestors and makes the present life different than the ancient one; without it we wouldn’t have the full-of-technology, modern life we have today. Every scientific discovery is the result of man’s hunger for and dedication to acquiring knowledge, information, and power. However, the innate curiosity and desire for understanding in an individual can grow so immense that his or her moral and ethical boundaries erode, which might result in tragic and disastrous results for all who are involved. Despite that there is a huge number of fields in which humans can seek knowledge, forbidden knowledge have always been attractive for some. The secrets of life and death stand as the most tempting, and in Frankenstein we see...
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...“Unrequited love culminates in 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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...Mary Shelley’s novel portrays human nature in many ways by using the monster’s feelings and writing about his thoughts when he came to life. Human nature by definition is the way humans act and feel and is shared by all humans. The monster is not human but he starts to possess the characteristics of humans by observing others and learning from books. Throughout the story, the monster starts to develop natural characteristics that attribute to human nature such as curiosity, love, and jealousy. At the start of the story, curiosity is what drives Victor to learn about life and the creation of the monster. The monster develops this basic instinct of human nature as well by wanting to know more about his surroundings. He sees the world but wants to understand it because he is driven by his unknowing of what lies ahead. The monster’s curiosity led him to learn how to speak and realize what he truly was. He describes it as “I cannot describe to you the agony that these reflections inflicted upon me: I tried to dispel them, but only sorrow increased with knowledge” (Shelley 85). By wanting gain knowledge he realizes that once he’s attained it, it’s not what it seems and sometimes it’s better to be left clueless. He still stays and watches the Delacey’s because he is interested in the way they live and sees their love for eachother. Which he starts to wonder about as well. The monster sees how the family shows their love for eachother and realizes he is alone and unwanted because...
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