...Victor Frankenstein and his “Monster;” an inspiration to Dr. Jekyll and Mr. Hyde When reading Mary Shelley’s Frankenstein, if one pays attention to the gaps and inconsistencies of Victor Frankenstein’s narration of the events, one may begin to question the existence of Frankenstein’s monster, and come to realize Victor Frankenstein is really the monster. This isn’t how most would interpret the events that transpired in the book, but the possibility of Victor Frankenstein being the monster he fears, is entirely plausible. This Dr. Jekyll and Mr. Hyde comparison is not as farfetched as one would initially think; there is enough evidence, contradiction of events, gaps, and inconsistencies in Victor Frankenstein’s narrative for an astute reader to connect the dots to reach such a conclusion. Victor Frankenstein, who is relating his tale to Captain Walton after being rescued in the Arctic, is sure that the creature he created actually existed. However, it is plausible to conclude that Victor never actually brought life to his creature, but had gone mad whilst attempting it. How did Victor become the monster he feared? Perhaps the exposure to hallucinatory chemicals he used while attempting to bring life to his creation, or because of overbearing stress, or his failure to succeed in his experiments. These elements, likely combined with Victor’s own awkward social failings, led Victor to experience a mental breakdown, go mad, or develop a split personality. In this scenario...
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...Frankenstein Assignment Samantha Perez July 9, 2013 If an infant is brought into a dysfunctional home or grows up hated by its parents, friends or family; this child will experience hatred; will know hatred. The child is raised with a dark perception of the world, and is not as susceptible to feelings of love and happiness. These attributes do indeed fits the profile of serial killers that we have been discussing in class. In this way, the creation in Mary Shelly’s Frankenstein is also raised with a dark view of the earth, and is not born, but indeed becomes a monster. Mary Shelley’s timeless novel Frankenstein (1831) explores this concept of responsibility for creation. In the case of Frankenstein’s creation, there is no doubt that the monster was not inherently evil. In fact, as quoted in Frankenstein, “His jaws opened, and he muttered some inarticulate sounds, while a grin wrinkled his cheeks”(59). He was not born of malice, but happiness. Frankenstein was so disgusted with the looks of his creation he left him alone and went for a walk. In the 1994 movie, Frankenstein engaged his creation with threat and violence. His first choice, to push away his creation instead of embracing it is, in itself, monstrous, and evil just leads to more evil. This choice ended in the death of his brother William. Frankenstein chose to leave the monster alone when it came to being. He did not want to learn if it was intelligent, or how strong it was. He did not care. It was in fact...
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...Introduction Frankenstein was Mary Shelley's (1797-1851) first published novel, written when she was only eighteen years old in 1818. In her preface to the 1831 edition, Mary Shelley tells the reader that she was asked by her publisher: "How I, then a young girl, came to think of, and to dilate upon, so very hideous an idea?" Explaining where and why the idea for Frankenstein came to Mary Shelley could answer it Mary Wollstonecraft Godwin (living with but unmarried to the poet Percy Bysshe Shelley); Shelley; George Gordon, Lord Byron; and Dr. John Polidori spent the summer of 1816 in Switzerland. According to a 1 June 1916 letter by Mary Shelley, "almost perpetual rain confines us principally to the house." Lord Byron (a friend of Shelley's) and his physician John Polidori, resided nearby at the Villa Deodati. Persistent heavy rains kept them indoors, the four finally resorted to telling familiar and recently published horror and ghost stories. For days they told tales which included gothic elements: graveyard and convent, burial vaults, mysterious trap doors and passages, wild locations, secluded spots, and pursuits by moonlight. Finally, one evening at Byron's villa, they made a pact to see who could write the most frightening ghost story. Both Percy Bysshe Shelley and George Gordon, Lord Byron, had earned widespread fame; even Mary had first published a book at the age of eleven (Mounseer Mongtongpaw). Each undertook the task eagerly. It is said that Mary had a nightmare...
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...charming exterior, as well as having a malicious nature, monsters have forever played upon the curiosity and fear of humans. As ‘creatures’ who have appeared as the antagonists in our books, movies, histories, and cultural imaginations in more general terms what truly defines a monster? Is it the abhorrent appearance or the inhumane characteristics that has caused them to be the object of nightmares and interest? If so, are they truly what should be feared? One of the most iconic monster novels of the early modern period, published at a time when technological innovation was becoming immensely prominent is Frankenstein. Contrary to popular belief, the titular character, Frankenstein, is the name of Victor Frankenstein, the doctor who...
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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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...Introduction Many literary critics consider Mary Shelley's Frankenstein as one of the most impressive and imaginative Gothic horror novels of all times. In the novel, Shelley managed to create one of the most phenomenal creatures in literary history: Frankenstein monster. The epistolary style that the author employs allows the reader to view the circumstances from varied viewpoints and draw conclusions from the plot and the characters. The book The plot has a variety of story-lines rolled into one. The main however is about a Doctor Victor Frankenstein who though born to a well-to-do and loving family, is over- ambitious and thirsts to prove himself. After achieving excelling academically, he designs a technique of creating life from a fusion of inanimate objects, dead bodies an animal parts. The doctor is not satisfied with achieving conventional feats but is determined to create a living being. It is this ambition that leads to the creation after years of painstaking work. It is this creation that leads to Victor's downfall. The creation is 8 feat tall and due to the use of human parts that do not march his massive size, is hideous. He is described as having watery yellow eyes, a withered, yellowish, translucent skin which barely conceals his muscular system and blood vessels. The only good aspects of his appearance are his perfect, white teeth, long black hair and his black lips. The doctor, who had hoped to create a beautiful being is shocked by his creation...
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...Sympathy in Relation to Frankenstein In Mary Shelley’s novel Frankenstein, the monster becomes easy to sympathize with, as he becomes a symbol of abandonment and has a lack of knowledge of the world. Although Frankenstein was born a “monster”, he was still new to the world just like any other newborn baby. He had a lack of understanding of what it meant to speak, how to use his legs, what body language was, and how to understand people. Most babies are taught from the very beginning how to learn all of those concepts, although it may take some time, they are still supported and encouraged every day. Frankenstein never received this love and attention. He was neglected from the start, which led him to a life of anger, criminality, and loneliness. “The list of problems that stem from neglect reads like the index of the DSM: poor impulse control, social withdrawal, problems with coping and regulating emotions, low self-esteem, pathological behaviors such as tics, tantrums, stealing and self-punishment, poor intellectual functioning and low academic achievement.” (APA, Kirsten Weir) Neglect at birth leads to copious amounts of problems as stated above. Frankenstein was taught time after time that he was repulsive and unlovable, teaching him the feeling anger. The article written by Kirsten Weir proceeds to explain the damaging effects of being left alone at birth. In the article a few doctors are quoted. The doctor’s had first hand experience and visited children in an orphanage...
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...Mary Shelley's Frankenstein was the result of a challenge from Shelley's husband and Lord Byron to write the best horror story. In so doing, Shelley created a novel that was a horror story on many levels, not because of the sole monster that Victor Frankenstein creates, but because of the monster that Victor had become. It introduces many societal questions about the obvious and not-so-obvious monsters who live amongst us. This is best illustrated in Chapter 10 of the novel, where Victor and the monster finally meet again. Victor Frankenstein is sitting at the top of a glacier in a place of bliss just before he encounters the monster he has created. He speaks of the sun reflecting off the ice and the brilliant snow-covered peaks. His sadness...
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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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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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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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...SECOND DRAFT Contents Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced...
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