...studies, though it was inspired by grounded theory and semiotics. In the 1970s, Bruno Latour (a French anthropologist and social scientist) and Steve Woolgar (a British sociologist) undertook ethnographic field work at the Salk Institute in California. This research was inspired by grounded theory and Latour and Woolgar approached their study of work in the endocrinology laboratory as if they were anthropologists observing a hitherto unknown and strange set of practices. In other words, they did not fit their observations into any preconceived notions of scientific method, or how science 'should' be done. The resulting, highly influential book Laboratory Life: The Social Construction of Scientific Facts(1979, re-released in 1986 with additional commentary) gave a detailed account of the everyday activities of scientists. Latour and Woolgar highlighted the importance of material objects in the construction of scientific facts - rats, mice, machines, chemicals, traces of paper coming out of machines (raw data) and documents and drawings that were eventually transformed into journal articles. The latter...
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...seen as a victim of Frankenstein’s thirst for knowledge a he is created against his own will and then rejected by his creator. However, he can also be seen as a victim of society and nature. On the other hand, it can be argued that the creature is rather a villain than a victim as he is physically powerful and is able to use his power. Furthermore, he is able to use his circumstances to benefit himself by leaning the common language and adapting to Nature. The creature can indeed be considered a victim of Frankenstein’s thirst for knowledge. The creature can be considered a “victim” since it implies isolation, oppression and loneliness, all of which the creature is affected by. Thus, the creature is a victim of Victor’s over-ambitious nature. His creation is brought about as a result of Frankenstein’s immense desire to create and “father a monster race”. The monster is a victim of circumstance and questions Victor, “did I request thee… to mold me Man?” Here, it is clear he is a victim since he has not asked for his creation and further rejection. Frankenstein refers to him as a “miserable wretch”, damning him from the start of his creation, calling him “hideous” and “deformed”. The monster has no control over his own life and how he is treated and is therefore a victim of Frankenstein’s thirst for knowledge. It can be argued that Frankenstein’s parents were significant in felicitating his ambitions. Frankenstein insinuates that his thirst for knowledge is due to his father’s...
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...texts, their paradigmatic undercurrents emerge, with timeless scientific and ontological concerns transcending contextual discrepancies. Shelley’s 1818 gothic novel, Frankenstein, written in response to the Industrial Revolution, and its prospering advancements, values the moderation of scientific endeavour connected to the enlightenment. Similarly Scott’s neo-noire film, Blade Runner is in response to the impact of his 20th century, consumer driven society on mans ethical framework, condemning progression of technology through his depiction of a dystopian future. Ultimately Frankenstein and Blade Runner are cautionary tales when explored individually, however when examined comparatively, values presented in each become more comprehensive for both contexts and enduring audiences. Shelley’s retrospective depiction of a milieu exploited by scientific egotism embodied by Frankenstein highlights the disruption of nature, and criticizes the 18th century enlightenment in relation to Frankenstein’s galvanistic approach to knowledge. The Declaration in the text “I will pioneer a new way, to explore unknown powers,” underscores victor’s ambition for knowledge, his egotistical desire to control nature and his unwavering conviction regardless of consequence. Furthermore the myriad of classical allusions, to paradise lost, concerned with “mans first disobedience.” Frankenstein, a man driven by insatiable desire for knowledge, in this sense, has become a metaphorical Prometheus, attempting...
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...readers about the possible dangers of science, and she shows what might happen to a person, family, or society if science were to be taken lightly and not properly reasoned. She describes how, if science were to be taken too far, it could have disastrous consequences. The famous example she makes in this book is the creation of Frankenstein’s creature, because the creature’s creation leads to several unfortunate events, which Shelley uses to symbolize the actual negative effects of science in the real world. Not only does she show that experimentation and theory may prove catastrophic, but in some cases learning as well. Her main character, Victor Frankenstein, gives a powerful statement about how dangerous scientific study can be. He says, “Learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge,” (35). He says this mostly because with knowledge comes power, and with power there is a substantial risk of the negative effects it could cause....
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...A man and his 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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...during the Romantic period, tells the story of Victor Frankenstein, whose hunger for knowledge of the scientific universe drives him to create a human monster. Throughout the novel, Frankenstein describes his experiences with the monster to Robert Walton as horrifying and frightening. Shelley successfully demonstrates the Romantic concept of focusing on the self through the nature of the monster and Frankenstein, as well as through nature itself. Though both the monster and Frankenstein elicit forms of isolation, Frankenstein’s memories and experiences with his family and decision in toying with science and nature proves him more alienated than the monster he creates. Frankenstein’s memories and experiences with his family prove him more alienated than the monster. When Frankenstein receives a letter from his cousin, Elizabeth, she writes: “My dearest Cousin, you have been ill, very ill, and even the constant letters of dear Kind Henry are not sufficient to reassure me on your account” (Shelley 48). Elizabeth expresses concern for Frankenstein’s health, giving him a sense of love and care. Because Frankenstein holds a special connection to Elizabeth, someone he loves dearly, the thought of losing her terrifies him. Frankenstein’s bond to Elizabeth makes the monster’s murdering of her overwhelming and horrifying, contributing to Frankenstein’s isolation. Henry Clerval also expresses concern when he says to Frankenstein, “It...
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...Shelley’s Frankenstein being written in the early 19th century Romantic era, while Blade Runner was created in the period of late 20th century America influenced by Reaganomics, both texts delve into the concerns of the overpowering need for glory, the dichotomy between humanity and monstrosity, and the lack of parental responsibility. Through Frankenstein and Blade Runner, the desire for ultimate success is represented through the pursuit of knowledge and the application of science and technology. The underlying intention behind the project is of utmost importance as there will be dire consequences if the purpose of the creation is of a superficial motive. Through Victor, Shelley has portrayed humans as deeply ambitious yet also deeply flawed. Victor dreams of transforming society and bringing glory to his name through his scientific achievements yet his desire also makes him fallible. In writing Frankenstein, Shelley had challenged the Enlightenment ideal of knowledge, invention and discovery being the enabler of social progress. Frankenstein’s initial motive of producing the creation is of an arrogant nature as he only wishes to bring great glory to his name. In a sense, the formation of the monster is a punishment inflicted upon...
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...The novel’s title, Frankenstein, references the protagonist’s name, Victor Frankenstein. In modern adaptations, Frankenstein’s monster is commonly referred to as “Frankenstein”, even though Mary Shelley never names the monster. The common misconception is likely rooted in the novel’s title. As a result, the monster is unofficially named “Frankenstein” by readers, and Shelley may have done this intentionally to convey how after the murders, the monster is the last evidence of Victor Frankenstein’s “family”. In addition, it may also allude to the idea that as the creator of the monster, Victor assumes the role of a father; therefore, as the “child” and Victor’s product, the monster also assumes his father’s last name. The novel is also subtitled...
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...Scientific Morality in Frankenstein Mary Shelley’s Frankenstein is a late nineteenth century novel about a scientist named Victor Frankenstein who creates a living person from dead body parts and gives it life through the power of magic and alchemy. It serves as a cautionary tale that sheds light on the ethical boundaries of scientific experimentation and the potential consequences of ignoring those boundaries for the sake of knowledge alone. Although science is not inherently good or evil, it can be used as a tool for both in the hands of imperfect humans. Victor Frankenstein betrays the scientific code of ethics when he creates a man that society can never accept. Victor, as a scientist, follows the very same path which elementary school children follow today when learning the scientific method; observation, hypothesis, experimentation, and conclusion. Victor Frankenstein observes the power of nature through the destructive force of lightning. He sees the potential of such energies and develops a hypothesis based on his studies of Agrippa and Magnus (German scholars and philosophers), who he looks to as mentors. His hypothesis is that through the power of nature, he can reanimate organic tissue with the use of alchemy which his chosen mentors have claimed to achieve. Victor Frankenstein’s experimentation requires a form, which leads him to the charnel houses to claim tissue from the deceased. His hypothesis proves true, and a monster is born. Throughout the process...
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...(Topic) Both of their downfalls come from their infatuation of wanting to come to a resolution to their problems through an extensive knowledge, which leads their view of themselves to be distorted. (Point) This is because “Frankenstein and the monster 一 are obsessed with problem solving” and to accomplish this they “appear to be trying to understand their presence in a fallen world, and trying at the same time to define the nature of the lost paradise that must of existed before the fall” (Gilbert and Gubar 332-333). (Evidence) Both Frankenstein and his creation want to gain all this knowledge because they want to have a better understanding of the natural world, but they became so obsessed that they learned so much that they couldn't stop their obsession until a tragedy happened for both of them. Frankenstein's tragedy was him creating the monster and the creations was realizing his loneliness and letting it consume his thoughts. (Explanation 1) Their ultimate problem is that they both have an obsession with learning and it does detrimental things to how they view themself. (Explanation 2) Frankenstein and his creation are “ influenced by external circumstances that arouse and then direct their desire for knowledge, and both ardent quests lead only to the terrible realization of essential grotesqueness” (Poovey 337)....
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...Elvis Dizdarevic Interpretation of Lit 11/17/2011 Frankenstein: The Pursuit of Dangerous Knowledge By: Elvis Dizdarevic Aristotle once said, “All men by nature desire knowledge” and I tend to agree with him. Every human being strives to be more knowledgeable. It is something we all want. In society, it puts people above one another and gives a certain power to the ones who are intelligent. It is revered to be only a good thing to have and to seek but in some situations pursuing more knowledge is, in fact, dangerous. In Mary Shelley’s novel Frankenstein, two main characters have this obsessive pursuit of knowledge; Robert Walton and Victor Frankenstein. Walton, an Englishman, is on a quest to be the first to reach the North Pole. His story is the frame for Frankenstein and the monster’s stories. He is a determined man who wants to possess a knowledge that no one else has. Walton desires to explore uncharted lands and to discover new particulars unbeknownst to the average man. Victor Frankenstein parallels Walton in his obsessive pursuit of knowledge. Most would say Frankenstein is even more obsessive. Frankenstein is a man who is purely driven to learn more. While attending the University of Ingolstadt, Frankenstein learns all that his professors have to teach him. After mastering the sciences he becomes fascinated with life and its creation. So much that he neglects his family and stays in his apartment for months at a time to research. He believes that there is...
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...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 his narrative, Victor uses words such as “fate” and “omen” to hint at the tragedy that has befallen him; additionally, he occasionally pauses in his recounting to collect himself in the face of frightening memories. tone · Gothic, Romantic, emotional, tragic, fatalistic themes · Dangerous knowledge; sublime nature; texts; secrecy; monstrosity motifs · Passive women; abortion ...
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...time by considering the consequences to individuals who use technology to create life. These texts both emphasise the negative effect of progress on humanity and the natural environment through the use of language and visual forms and features. In Shelley’s novel, the exciting potential of technology that was becoming apparent in the nineteenth century had fascinated the young scientist Frankenstein. Desiring to challenge morality, he uses his new-found knowledge to fashion a creature out of human body parts who has great strength, but whose appearance is so monstrous that Frankenstein flees his laboratory in terror. The persona of Victor depicts humanities further obsession and greed for knowledge and power as he isolates himself from society. He marvels ‘It was the secrets of heaven and earth that I desire to learn’ uses of the juxtaposition of heaven and earth shows Victor’s understanding of the implication of his actions. Shelley uses the character of Frankenstein to highlight how the quest for knowledge and scientific progress results in the loss of moralistic values Victor then suffers the consequences for taking the power of God and wielding it as his own- challenging the absolute authority of God. In this sense; he has become a metaphorical Prometheus- a titan in Greek mythology that attempted to steal fire from Mount...
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...social contexts, both texts question similarly ethically driven issues. The question over man’s right to push the boundaries of science in the creation of life has transcended time, growing increasingly relevant with recent advancements in technology. The contentious issue was predominant throughout the Enlightenment period, an era characterised by significant change where reason was valued over religious faith. This contextual significance is mirrored in Shelly’s condemnation of Frankenstein’s experiment through the loathing tone of “now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.” She furthers her argument through the monster’s description of Frankenstein as an “unfeeling, heartless creator!”, reflective of the Romantic Period as middle-class workers began to demand equality from their oppressive masters. Shelley creates a juxtaposition of Frankenstein’s arrogance against the character of Walton, similar in their pursuit for knowledge, and yet Walton’s compassion is evident in his rhetorical question “How can I see so noble a creature destroyed by misery, without feeling the moist...
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...not only for being spooky, but also for its commentary on the themes of dangers of knowledge and hubris, and monstrosity via playing God and losing innocence. “‘I imagine you may deduce an apt moral from my tale...nor can I doubt but that my tale conveys in its series internal evidence of the truth of the events of which it is composed’” (19). Through Frankenstein’s voice Shelley describes the greatest moral she has to offer from the suffering depicted in her story: the dangers of discovery and knowledge, which is that sometimes, however well-meant and innocent the intent may be, the expected result of scientific pursuits can turn out completely different than expected. Shelley’s prime example of this is the Creature and all the destruction he brings in his wake. So much has been done, exclaimed the soul of Frankenstein -- more, far more, will I achieve; treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation (33). This is the epiphany that leads to the creation of the Creature, undoubtedly a somewhat naive and enthusiastic motivation, with no ill intent and no thought for the possible consequences of such ambitions. Yet, while the dangers of knowledge is one of Shelley’s themes, danger often being associated with darkness, a motif Shelley uses for knowledge is light. This is to show how, while knowledge appears to be indiscriminately brilliant and good: “What may not be expected in a...
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