...When Mary Shelley’s mother dies of “puerperal fever on September 10, 1797, she left her newborn daughter with a double burden: a powerful and ever-to-be-frustrated need to be mothered, together with a name, Mary Wollstonecraft Godwin, that proclaimed this small child as the fruit of the most famous literary marriage of eighteenth-century England” (Mellor 1). Mary‘s childhood is filled with a desperate need for love and affection as her father, William Godwin “found it easy to express his obvious affection when his daughters were small, but as they grew older together he became remote and awkward, more dutiful than sensitive, unable to show what he really felt for them. They, too, had to fitted into the methodical timetable, with periods allotted when they might interrupt his writing or listen to his latest story” (Locke 217). Although Godwin admires Mary, he does not seem to feel any special affection for her and finds it difficult to express his fatherly love for her. Anne K. Mellor adds, as Mary Shelley grows into the author of one of the most famous novels ever written, Frankenstein, or The Modern Prometheus, “we can never forget how much her desperate desire for a loving and supportive parent defined her character, shaped her fantasies, and produced her fictional idealizations of the bourgeois family-idealizations whose very fictiveness, as we shall see, is transparent” (1). Just as Mary Wollstonecraft Godwin Shelley’s childhood is filled with solitude and a desperate...
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...agonizing longing more extreme; it is their immortality and dissatisfaction which solidifies their love. This causes the reader to recount a feeling of fear for a loss of love, as demonstrated in the poem and countless other works. This is seen when the love that the monster felt for Victor in Frankenstein and the creature’s longing to be accepted by others worsens in response to loss; “The human senses are insurmountable barriers to our union. Yet mine shall not be the submission of abject slavery. I will revenge my injuries; if I cannot inspire love, I will cause fear, and chiefly towards you my arch-enemy, because my creator, do I swear inextinguishable hatred ” (Shelley 139). Frankenstein’s monster recognizes the insurmountable hatred towards him, and decides to take revenge through murder to attain justice. The monster's desire for love fueled his revenge, and if he was originally as heartless and unaffectionate as he is perceived, his actions would have been a lot less extreme; he wouldn't have felt the loss of never experiencing love and thus never the desire to act out his revenge. Murder and revenge are the only things that the monster feels he can control, as he hardly had anything else left to lose, but everything to take away from others; to make them experience the same pain of loss that he was...
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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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...English Mock; Improved Paragraphs: One incident in the novel that I do not think is an act of justice is Justine’s trial for the murder of William Frankenstein. Justine was condemned to death after being charged for the murder of William. However, as a reader we know that Justine did not kill William and that it was an act of wrongdoing by the creature. This therefore leaves Justine innocent. In addition to Justine’s innocence, Elizabeth also spoke out and gave a statement telling the court what Justine was really like and that she is not a murderer. However, the courts are not moved by this and do not show compassion for Justine. Elizabeth then goes on to say that “men appear to me as monsters, thirsting for each other’s blood”. A “monster” is a supernatural being, a fictional creature who is seen to be evil and does not think about the goodness for anyone else but themselves. In this incident, the judge and the jury in the court, charging Justine could be seen as monsters. This is because they do not take into account the statement from Elizabeth or the fact that Justine may be innocent. It is if that Justine being innocent is just absurd and fiction instead of fact. The phrase “thirsting for each other’s blood” suggests the competition and rivalry between men. As human beings, when we are “thirsty” we need to drink in order to survive. It is an act of human nature. However here, this phrase could be a metaphor for the judges. It could be interpreted that men need to show...
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...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 his narrative, Victor uses words such as “fate” and...
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...He has been shown love, so he holds no excuse for not bestowing it upon the monster; Frankenstein understands the kind of affection parents feel for their children. I am thy creature, and I will be even mild and docile to my natural lord and king if thou wilt also perform thy part, the which thou owes me. Oh, Frankenstein, be not equitable to every other and trample upon me alone, to whom thy justice, and even thy clemency and affection, is most due (114). The monster reminds Frankenstein of his obligation towards him and says he will love him and be obedient if only his maker would treat him with the same kindness and affection due towards him. Victor treats his family and friends well, but ignores his creation, the one he should show the most love to. After his creator’s death, the monster confesses his frustration with his abandonment and mistreatment. He compares himself to an aborted baby left discarded. In an attempt to make Walton, the captain of the ship he is on, understand why he murdered so many of Victor’s family members and close friends, he must make him feel some sympathy for his...
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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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...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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...Barbara Jeanne Fields Slavery, Race and Ideology in the United States of America Two years ago, a sports announcer in the United States lost his job because he enlarged indiscreetly—that is, before a television audience—upon his views about ‘racial’ differences. Asked why there are so few black coaches in basketball, Jimmy ‘the Greek’ Snyder remarked that black athletes already hold an advantage as basketball players because they have longer thighs than white athletes, their ancestors having been deliberately bred that way during slavery. ‘This goes all the way to the Civil War,’ Jimmy the Greek explained, ‘when during the slave trading . . . the owner, the slave owner would breed his big black to his big woman so he could have a big black kid, you see.’ Astonishing though it may seem, Snyder intended his remark as a compliment to black athletes. If black men became coaches, he said, there would be nothing left for white men to do in basketball at all. Embarrassed by such rank and open expression of racism in the most ignorant form, the network fired Jimmy the Greek from his job. Any fool, the network must have decided, should know that such things may be spoken in the privacy of the 95 locker-room in an all-white club, but not into a microphone and before a camera. Of course, Jimmy the Greek lays no claim to being educated or well informed. Before he was hired to keep audiences entertained during the slack moments of televised sports events, he was...
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...NTRODUCTION: AN INVITATION TO BOMBAY The envelope was hand-delivered to our house in Golf Links, Tan enclave in New Delhi whose name captured the clubbable lifestyle of its leisured and propertied Indian residents, soon after we had arrived in the middle of a north Indian winter to begin a long assignment. It contained a large card, with a picture embossed in red and gold of the elephant-headed deity Ganesh, improbably carried on the back of a much smaller mouse. Dhirubhai and Kokilaben Ambani invited us to the wedding of their son Anil to Tina Munim in Bombay. In January 1991, just prior to the explosion in car ownership that in later winters kept the midday warmth trapped in a throat-tearing haze overnight, it was bitterly cold most of the time in Delhi. Our furniture had still not arrived-a day of negotiations about the duty payable lay ahead at the Delhi customs office where the container was broken open and inspected-and we camped on office chairs and fold-up beds, wrapped in blankets. The Indian story was also in a state of suspension, waiting for something to happen. The Gulf War, which we watched at a big hotel on this new thing called satellite television, was under- cutting many of the assumptions on which the Congress Party’s family dynasty, the Nehrus and Gandhis, had built up the Indian state. The Americans were unleashing a new generation of weap- ons on a Third World regime to which New Delhi had been close; its Soviet friends were standing by, even agreeing with...
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...NTRODUCTION: AN INVITATION TO BOMBAY The envelope was hand-delivered to our house in Golf Links, Tan enclave in New Delhi whose name captured the clubbable lifestyle of its leisured and propertied Indian residents, soon after we had arrived in the middle of a north Indian winter to begin a long assignment. It contained a large card, with a picture embossed in red and gold of the elephant-headed deity Ganesh, improbably carried on the back of a much smaller mouse. Dhirubhai and Kokilaben Ambani invited us to the wedding of their son Anil to Tina Munim in Bombay. In January 1991, just prior to the explosion in car ownership that in later winters kept the midday warmth trapped in a throat-tearing haze overnight, it was bitterly cold most of the time in Delhi. Our furniture had still not arrived-a day of negotiations about the duty payable lay ahead at the Delhi customs office where the container was broken open and inspected-and we camped on office chairs and fold-up beds, wrapped in blankets. The Indian story was also in a state of suspension, waiting for something to happen. The Gulf War, which we watched at a big hotel on this new thing called satellite television, was under- cutting many of the assumptions on which the Congress Party’s family dynasty, the Nehrus and Gandhis, had built up the Indian state. The Americans were unleashing a new generation of weap- ons on a Third World regime to which New Delhi had been close; its Soviet friends were standing by, even agreeing with...
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...Introduction HOW SHOULD YOU INTERPRET YOUR SCORES? In the Answer key at the end of the each set of Listening and Reading answers you will find a chart which will help you assess if, on the basis of your practice test results, you are ready to take the IELTS exam. In interpreting your score, there are a number of points you should bear in mind. Your performance in the real IELTS test will be reported in two ways: there will be a Band Score from 1 to 9 for each of the modules and an Overall Band Score from 1 to 9, which is the average of your scores in the four modules. However, institutions considering your application are advised to look at both the Overall Band and the Bands for each module. They do this in order to see if you have the language skills needed for a particular course of study. For example, if your course has a lot of reading and writing, but no lectures, listening comprehension might be less important and a score of 5 in Listening might be acceptable if the Overall Band Score was 7. However, for a course where there are lots of lectures and spoken instructions, a score of 5 in Listening might be unacceptable even though the Overall Band Score was 7. Once you have marked your papers you should have some idea of whether your Listening and Reading skills are good enough for you to try the real IELTS test. If you did well enough in one module but not in others, you will have to decide for yourself whether you are ready to take the proper test yet...
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...Also by J.K. Rowling Harry Potter and the Philosopher’s Stone Harry Potter and the Chamber of Secrets Harry Potter and the Prisoner of Azkaban Harry Potter and the Goblet of Fire Harry Potter and the Order of the Phoenix Harry Potter and the Half-Blood Prince Harry Potter and the Deathly Hallows (in Latin) Harry Potter and the Philosopher’s Stone Harry Potter and the Chamber of Secrets (in Welsh, Ancient Greek and Irish) Harry Potter and the Philosopher’s Stone Fantastic Beasts and Where to Find Them Quidditch Through the Ages The Tales of Beedle the Bard Copyright First published in Great Britain in 2012 by Little, Brown and Hachette Digital Copyright © J.K. Rowling 2012 The moral right of the author has been asserted. All characters and events in this publication, other than those clearly in the public domain, are fictitious and any resemblance to real persons, living or dead, is purely coincidental. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form of binding or cover than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ‘Umbrella’: Written by Terius Nash, Christopher ‘Tricky’ Stewart, Shawn Carter and Thaddis Harrell © 2007 by 2082 Music Publishing (ASCAP)/Songs of Peer, Ltd. (ASCAP)/March Ninth Music...
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...Also by J.K. Rowling Harry Potter and the Philosopher’s Stone Harry Potter and the Chamber of Secrets Harry Potter and the Prisoner of Azkaban Harry Potter and the Goblet of Fire Harry Potter and the Order of the Phoenix Harry Potter and the Half-Blood Prince Harry Potter and the Deathly Hallows (in Latin) Harry Potter and the Philosopher’s Stone Harry Potter and the Chamber of Secrets (in Welsh, Ancient Greek and Irish) Harry Potter and the Philosopher’s Stone Fantastic Beasts and Where to Find Them Quidditch Through the Ages The Tales of Beedle the Bard Copyright First published in Great Britain in 2012 by Little, Brown and Hachette Digital Copyright © J.K. Rowling 2012 The moral right of the author has been asserted. All characters and events in this publication, other than those clearly in the public domain, are fictitious and any resemblance to real persons, living or dead, is purely coincidental. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher, nor be otherwise circulated in any form of binding or cover than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ‘Umbrella’: Written by Terius Nash, Christopher ‘Tricky’ Stewart, Shawn Carter and Thaddis Harrell © 2007 by 2082 Music Publishing (ASCAP)/Songs of Peer, Ltd. (ASCAP)/March Ninth...
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