...“IT’S ALLIIIIIVE!!!” Everyone knows the famous line from pop culture’s Frankenstein where, surrounded by fantastical science equipment, Dr. Frankenstein, aided by his hunched assistant, Igor, zaps life into a grotesque monster within medieval castle under the cover of a dark and stormy night. At the epicenter, a creature awakens while the mad scientist cackles maniacally. It would be equally shocking for most, however, to find that Mary Shelley’s Frankenstein, the original, poses a quite different, almost anti-climatic, scene–void of any shouting, Igors, and with no clear depiction of the creature’s endowment of life-giving forces. In fact, Mary Shelley’s Frankenstein contrasts heavily to the pop culture Frankenstein in many aspects, namely,...
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...Frankenstein Frankenstein is the creator of a monster. His monster became his child. He was the parent, and he was responsible for the monster. The theme of the parent and child relationship is shown throughout the movie Young Frankenstein and the book Frankenstein. The theme of parent and child relationship is shown in different ways throughout the book Frankenstein and the movie Young Frankenstein. In the book the monster had no one to take care of him. So, he had to learn on his own. The creature has a lot in common with a child. He had to learn as any child would have to. A good example of him learning like a child is when he put his hand in the fire. He stated, “One day, when I was oppressed by cold, I found a fire which had been left by some wandering beggars, and was overcome with delight at the warmth I experienced from it. In my joy I thrust my hand into the live embers, but quickly drew it out again with a cry of pain” (Shelley 72). The creature learned not to put his hands too close to the fire or he would get burned. Just like a child would learn this by putting his hands on a stove. The creature did not have a parent to warn him to not get too close to the fire. The creature is just like a child with no parents. Since he had no one to teach him things, he had to learn on his own. He had to learn how to speak and read on his own. The creature discovered, “that these people possessed a method of communicating their experience and feelings to one...
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...Wollstonecraft Shelley’s Frankenstein, tensions between the natural and unnatural were the ultimate driving forces as the story unfolded. The overarching theme most apparently found throughout the novel is Nature and its relationship with man. Shelley juxtaposes the revitalizing power of Mother Nature with the dreadful portrayal of the man-made creation of the monster. This harsh juxtaposition drives the reader to consider the effects of crossing boundaries of the natural world. Romantic writers, like Mary Shelley, often depicted Nature as the most unadulterated and pronounced force in our world. Mary Shelley uses a great deal of natural imagery in Frankenstein, which is apparent even at the very beginning of the story. Early on, she establishes that Nature and all of its grandeur will play a major role throughout the entirety of the novel, “the pole is the seat of frost and desolation; it ever presents itself to my imagination as the region of beauty and delight. There, Margaret, the sun is forever visible; its broad disk just skirting the horizon, and diffusing a perpetual splendour” (Shelley, 5). While Shelley attempts to convey the profound power of Nature, she also contrasts this central theme with the characterization of Victor. Nature and its relationship with man is the leading cause, and resolution, for almost every conflict found in this novel. In regards to Romanticism’s notion that Nature is the epitome of perfection, Mary Shelley creates conflict through the implication...
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...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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...Frankenstein and Lord of the Flies both have characters with comparable personalities living in similar environments. Both Golding and Shelly use them to present their ideas on human nature, and monster and ‘monstrous’. Comparison: The effect of environment on a person's character is an idea which is examined in both novels. In Lord of the Flies the boys’ inherent evil emerges when society and rules and regulations are withdrawn, whereas in Frankenstein the lack of human society and its nurturing and love is responsible for the evil that the creature does. Golding's idea of humanity is that it is integrally flawed by evil. That every human has evil within them. Golding used the names Ralph and Jack deliberately as they are characters from...
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...Mary Shelly’s “Frankenstein” Essay Introduction: Mary Shelly’s “Frankenstein” has is more than just an ordinary novel. It is a book that carries a profound philosophical message. The novel touched me to my very soul. It turned out to be a book not about a struggle against a monster but a tragedy of a scientist, who reached the goal of his work and life and realized that breathless horror and disgust filled his heart but all of these is on the surface. The deepest philosophical thought is covered and hidden, but is very deep. The author tries to say that life is a gift. After this gift is given no one can take it away and it becomes the responsibility of the creator. The novel makes the reader concerned with the question: “Is a human being able to take responsibility to give life?”. “Frankenstein’s” philosophy is a conflict between the value of human life and the value of a scientific discovery. This story is not only the tragedy of Victor Frankenstein but also of his creation. It is the tragedy of loneliness and fighting alone with the world.The tragedy of Viktor Frankenstein was a tragedy of him being a toy in the hand of his own parents for the believed that he “was in their hands to direct to happiness or misery”[p.34]. The next quote shows exactly how he grew up: “they were not the tyrants to rule our lot according to their caprice, but the agents and creators of all the many delights which we enjoyed…”[p.37]. This subconsciously led him to the desire to have somebody...
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...In Doctor Jekyll and Mr. Hyde, Frankenstein, and The Hunchback of Notre Dame, McCormick believes that the real villains, or monsters, are Dr. Frankenstein, Dr. Jekyll, and Claude Frollo. These characters are usually not considered monsters, but are in fact, the creators of monsters. McCormick explains that these characters do not “abide their own humanity” or “show any compassion for those whose disfigured humanity has made them outcasts.” Since these characters do not see their individual faults and are incapable of mercy, responsibility, and pity towards their creations, they are the real monsters of their...
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...Romanticism Unshackled: a Study of the Modern Prometheus The most remarkable aspect about Mary Shelley’s Frankenstein is the ability to label the novel in so many different ways amongst many genres, ranging from science fiction, to fantasy, to horror, and have all of them be correct. At such a young age, Mary Shelley constructed a narrative so revolutionary, intricate, and involved that it is still pertinent to be written about in college essays almost 200 years after it was written. As the author, Shelley is often attributed with vast creative intellect, and rightly so, as is evidenced while reading through her novel. It is imperative to recognize, however, just how much influence her colleagues—the Romantic poets—had on the ideas that became manifested in her writing. Frankenstein should bear the title of Romantic literature because the novel embodies trademark Romantic ideas, situations, and characteristics throughout the text. In an attempt to categorize any novel as Romantic, however, one must first attempt to identify what, exactly, makes a work Romantic. A group of poets, including the likes of William Blake, Samuel Coleridge, William Wordsworth, John Keats, Lord Byron and—Mary’s husband—Percy Shelley, who are commonly credited as being the ground-breaking authors of the Romantic movement (Ferguson). A prime example of this method of poetry was introduced in the 1798 collection, Lyrical Ballads. This work, written by Wordsworth and Coleridge, is a compilation...
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...Biological Determinism 1. According to the author of the article "All in the Genes?", there is no intrinsic causality between genetics and intelligence. The author analyses different aspects of biological determinism, and supplies many examples, which illustrate aspects of this problem that are being discussed since the time when these ideas became popular. He does not agree with biological determinist that the intellectual performance of a person depends on genes inherited from his parents. There are a lot of different theories about intellectual capabilities. All these theories reflect different points of views, depending on the period of time the authors of these theories lived. The author argues for the theory that in the nineteenth century , artificial barriers in social hierarchy prevented people from achieving higher intellectual performance. In the end of XX century, in most places these barriers were removed by the democratic processes, and nothing artificial can stand between the natural sorting process and social status of the people. These changes can not be considered as historical because the age of democracy is just two hundred years , and the time when inequality between classes and between people was a natural situation is almost as long as the history of the world . The author insists that there is no connection between environmental differences and genetics. In support of his idea the author state that any Canadian student can...
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...There are many times, in Mary Shelley's Frankenstein, where internal conflict is illustrated. Internal conflict is the conflict which is found within a person. Many times, the conflict arises from what a person wants to do and what the person should do (essentially, the conflict between right and wrong). (On a side note, I have an electronic copy of the text. Page numbers do not exist. I will provide you with chapter number.) How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? One of the most profound examples of internal conflict is found in chapter five. When the creature first comes to life, Victor is beside himself. He cannot understand why the being he toiled over is so horrible. A thousand times rather would I have confessed myself guilty of the crime ascribed to Justine...a declaration would have been considered as the ravings of a madman, and would not have exculpated her who suffered through me. The above quote comes from chapter eight. Here, Victor is struggling with his own confession regarding Wiliam's death. He knows that his confession would not matter and only make him look insane. “I did confess; but I confessed a lie. I confessed, that I might obtain absolution but now that falsehood lies heavier at my heart than all my other sins." In the same chapter, Justine shows internal conflict when she confessed to William's murder (although she did was not guilty)...
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...Short Essays 1) Describe the three basic types of music heard in original scores during the silent film era and cites specific examples from The Birth of a Nation. (10 points) There are three basic types of music heard in The Birth of a Nation. Each type serves it’s own purpose in the film. The first is adaptations of classical works. These adaptations are extended versions of the original classical piece of work. These adaptations are used for extensive action scenes. For example, Wagner’s Ride of the Valkyrie is the leitmotif for the Klu Klux Klan in the movie. The second type is arrangements of well-known melodies. These well-known melodies are used for emotional appeal. For example, “Dixie”, a very popular song of the South, is used to express Southern patriotism. Also, these well-known melodies were used to set a racist mood. A scene shows slaves dancing to “Turkey in the Straw”. Lastly, the third type is original music. The original music is used to reinforce the characters of the movie. For example, Elsie has a sweet, playful leitmotif. This theme implies her innocence. The original music in The Birth of a Nation is the strongest of the three types, composed by Joseph Carl Briel. 2) What is the role of source music in Casablanca? (10 points) The role of source music in Casablanca is in the development of the character Rick. The source music used is mostly American popular music. All the popular songs used are barrowed. The only exception is “Knock on Wood,” which...
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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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...Student’s name: Professor’s name: Course title: Date: Symbolism in Nathaniel Hawthorne’s Birthmark Literature is more than a description of a single life story; its aim is to work universally. In this sense, symbolism of any text is a link that unites the factual and metaphoric plans. So, Hawthorne’s symbolism in Birthmark is his way to tell the readers more than he actually says by writing a science fiction story. The character trying to remove his wife’s birthmark is an example of human obsession with perfection, which makes the modern world sick. Yet, imperfection is the sign of being alive, so it is impossible to reach perfection without dying. Besides, the characters of Aylmer and Georgiana are symbols, too, and embody science and nature, respectively. Finally, the symbolism of the story reveals the issue of repressed and sick femininity. Speaking of symbolism, it is quite natural that it is Georgiana’s birthmark that is the core symbol. Aylmer is a successful scientist whose discoveries border on the supernatural. He seems to be quite happy with his beautiful wife, yet it suddenly strikes him that her birthmark is a spot that tars her beauty. As a researcher and alchemist, he is obsessed with achieving the maximum result, and it is true that artificially created objects can be flawless unlike living people. However, he is so deepened into the realm of science and technology, that he sees his whole life through that lens, and is unable to appreciate nature as it is...
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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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...Effective communication is the most important ingredient in any type of interpersonal relationship. Whether the relationship succeeds or fails depends largely on the ability of the individuals involved to create a positive communication environment. Is a positive communication environment only the result of fate bringing two soul mates together? Are certain types of personalities just not meant to interact with other certain types? I believe, for the sake of any of my future relationships, that a positive communication environment is not left up to chance, but is created by applying certain principles and strategies. A communication environment is not defined by the activities that individuals participate in while spending time together, but by the emotional tone that is set during that time. According to Adler and Rodman (2012), “A climate doesn’t involve specific activities as much as the way people feel about each other as they carry out those activities” (p. 237). It is important to realize that the emotions expressed in a relationship are a precursor for either a negative or positive outcome. Showing positive emotions, such as; love, compassion, and understanding will only produce a healthy communication environment. Whereas, acting judgmental and showing disdain or contempt will most likely speed the decline of a healthy relationship. Whether I like it or not, a communication environment will begin to develop the moment I start communicating with another person either...
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