Frankenstein

Alexis Montgomery Professor Jonathan Luftig English 102 Women of Frankenstein: Impact Based on Influence The novel Frankenstein touches on many controversial themes such as, solitude, the division of “good” evil, rejection, debate about Nature vs. Nurture, manipulation and etc. Among the many controversial themes, the one that is constantly mentioned is the rather passive, “supporting” female roles in the novel. Despite her mother’s feminist and independent legacy, Mary Shelley seemed to have written from a more societal perspective in the roles of her characters as opposed to a rebellious, un-relatable perspective.

Examples of this can be found in the relationships between the characters, as well as backgrounds of each. In Mary Shelley’s novel, her female characters seem to reflect women of her time, including herself, in supporting their male counterparts even when socially invisible. As the author, Mary Shelley used her personal experiences and bias’s of her time to write her novel. Mary Shelley’s mother died giving birth to her, leaving her to be raised by her father who was a member of a group of radical thinkers. When growing up without a mother, it is imaginable that your influences are not necessarily limited, but shifted.

Mary did not have her mother, so she may have looked to the women of her time as examples of what life was supposed to be like. Mary Wollstonecraft wrote in her “Vindication of the Rights of Women”, Women are told from their infancy, and taught by the example of their mothers, that a little knowledge of human weakness, justly termed cunning, softness of temper, outward obedience, and a scrupulous attention to a puerile kind of propriety, will obtain for them the protection of man; (Wollstonecraft Chpt II) Women in the early 19th century era were viewed as inferior to men.

The place of women was considered to be in their home, privately. Her novel can be considered a way for her to deal with questions of her own autobiography, through fiction. In being raised by just her father, in the radical atmosphere, she was exposed to advanced ideas at an early age. She then became known in the literary circle with people such as Lord Byron, the friend and neighbor of her family. In being surrounded by writers and poets, like Lord Byron and Percy Bysshe Shelley, she was able to shape and mold her ideas.

The company of such men, can be described as a “writer’s dream”, a place of such intellect and creativity, sparking ideas for such novels like Frankenstein. As Mary Shelley progressed in her personal life, she ended up in an intimate relationship with Percy Bysshe Shelley, causing her to conceive. She conceived children with him over the years, only to find she was unable to support life, losing three of her four children she had given birth to. All but one child, lived a short term after they were born. Losing these children is so significant because it helped her express her feelings on birth through writing.

In Ellen Moer’s, “The Female Gothic: The Monster’s Mother”, she relates Mary’s lose of her children to the creation of the monster. She states, Frankenstein seems to be distinctly a woman’s mythmaking on the subject of birth precisely because its emphasis is not upon what precedes birth, not upon birth itself, but upon what follows birth: the trauma of the afterbirth. (Shelley 321) This supports that Mary Shelley’s feelings of guilt and sadness surrounding birth and the consequences it produces. The loss of her children can be analyzed as expression of personal fears and pains through her writing.

Her experiences have made her views of childbirth, into something grotesque and wretched, this causing the creation of the creature. After being unable to reproduce and losing a quality woman of that era were expected to have, Mary not only didn’t have a mother, but also was unable to become one herself. While propping the men up, enabling them to function, the women of the novel were also portrayed as weak. The ideas of the women in her novel being portrayed as weak can be viewed as a self-reflection of herself.

Being without guidance or female influence, and unable to provide to offspring, she viewed herself as weak. Her personal-reflection of herself is reflected in women of the novel such as Justine, Elizabeth, and even the idea of the female creature. Victor is supported by Justine in everything he does and the creature uses the thought of a female creature as a companion to “support” him. Men represent all women of Frankenstein, all three narrators are male and they “narrate” what the women have said because the whole story is told by men.

An example of this is when the creature says, My companion will be of the same nature of myself, and will be content with the same fare. We shall make our bed of dried leaves; the sun will shine on us as on man, and will ripen our food. (Shelley 103) The female creature would serve as “support” for the male creature because her purpose only served to be his companion. For his happiness, he would risk creating a creature as grotesque, with fearful looks. His actions and statement prove the selfishness and dominance of men in the novel.

Though men are perceived as the dominant role in the novel, it is ironic that the story is centered on letters between Margaret and Robert. If Margaret hadn’t been Robert’s listener and exchanged letters with him, Robert would have no one to tell Victor’s story to, meaning there would be no novel. Margaret being a woman, can be viewed as the reason the novel exists. Being the main character in the novel, Victor and his relationship with Elizabeth play a large part in the examples of how men are the dominant characters, but only sustain their roles because the women are self-sacrificing.

Elizabeth’s character traits influence her behaviors in her relationship with Victor by making her easy to manipulate. When Victor’s mother Caroline died, Elizabeth assumed her role in household duties and plays the mother figure. Though she assumes such a role, she has little substance, still passive, with not much contribution to social matters or decisions. In a sense, because she was not heard, she was not seen in a public aspect. Victor was bold, controlling, and selfish, not only in his disregard for female needs and roles in the novel, but also in other instances.

His selfishness was portrayed in his desire to create life, in leaving his family and not contacting them, and once he created life, he disowned his creature, shirking all responsibility. Victor was so self-absorbed that he overestimates his importance. This was the reason behind why he was unable to figure out the creature was coming for Elizabeth and recognizes that she now symbolizes vengeance. Her role was so consistent and insignificant to him that he was unable to fathom the importance of her death as well as its affect on himself.

This is shown after the death of his wife, an example is when he states, Nothing is so painful to the human mind as a great and sudden change. The sun might shine, or the clouds might lour; but nothing could appear to me as it had done the day before. A fiend had snatched from me every hope of future happiness. (Shelley 142) In Anne Mellor’s, “The Female In Frankenstein”, she explores the idea of the destruction of female roles due to the difficulty switching from the public sphere, which was more masculine, to the private sphere, which was more feminine.

In the preface Percy writes, his concern the novel was the, “the exhibition of the amiableness of domestic affection, and the excellence of universal virtue. ” (Shelley 7) He exhibits this in Elizabeth. Though Elizabeth exists in the private sphere, to the family she is a symbol of domestic harmony and can be considered a character based on sacrifice and true virtue. In all the things she does for Victor as well as his family, she is Victor’s hope for future joy. After all the bad things he has done and all the mistakes he has made, Elizabeth represents domestic peace.

Her representation of domestic peace can subconsciously be the reason Victor’s family wants him to marry her so badly. The death of Justine as well as Elizabeth was centered on the selfishness of men they loved. Justine was put to death, after trial because Victor refused to admit the creature he created was the cause of his brother William’s death. Elizabeth’s death was caused because Victor’s selfish ways made him refuse to create the creature a female companion to have in his life. Both of these women can be looked at as self-sacrificing.

Victor Frankenstein dealt with his extreme guilt of withholding information and secrets from his family regarding his creation, putting people’s lives, such as Justine’s in jeopardy. His secrecy can easily be the reason for the death of Justine, William, and Elizabeth. This extreme guilt is key in discussing how he one of the dominant characters in the novel, because despite how much guilt he feels he never disclosed to anyone his secret creature until he met Robert. In the novel, Victor Frankenstein as a Creator of the creature can be compared to a Mother, giving birth to a child, something that the author, Mary Shelley was unable to do.

Again, she uses her personal experiences to express herself in her writing. Victor stripped women of their main purpose during that era, to reproduce. He established that the role played by women isn’t limited to female characters, but can be shown in men as well because Victor can be considered a bad mother. Also in Anne Mellor’s, “The Female In Frankenstein”, she states, In place of normal heterosexual attachment to Elizabeth, Victor Frankenstein has a substituted a homosexual obsession with his creature, an obsession that in his case is energized by a profound desire to reunite with his dead mother, by becoming himself a mother. Shelley 363) The loss of his mother’s influences cause him to want to create life on his own, so that he can influence or rather control it, leading to the creation of the Creature. Shelley’s personal struggle is evident because though he was able to create life, he wasn’t proud of it, and wasn’t anything like he thought it would be. He then abandoned the creature, sort of like his mother had done when she died, and like Mary Shelley’s mother had done when she died as well. Another example of the role’s women play to the male characters was shown the Creature’s need for a female companion.

The Creature’s solitude never allowed him to know what love was, until he began watching the De Lacy’s and seeing the love they shared as a family and how happy Safie made Felix when returning to his life. Felix seemed ravished with delight when he saw her, every trait of sorrow vanished his face, and it instantly expressed a degree of ecstatic joy, of which I could hardly have believed it capable; his eyes sparkled, as his cheek flushed with pleasure; and at that moment I thought him more beautiful than the stranger. (Shelley 81)

This moment of joy is something he wanted to feel for himself, or better yet something he wanted someone else to feel for him. He longed for someone to accept him and risk everything, just as Felix had done for Safie. When learning their backgrounds and seeing how Felix risked his family, reputation, and wealth, all to save Safie’s father, the Turk and to marry her, the Creature yearned for that kind of love. He also admired, the extents companions seemed to go for each other. The Creature seems to want a counterpart, not only because she is a female nd he wants to be loved, but because he wants to share his burden of ugliness and non-acceptance from humans who have shunned him. After viewing their relationship he reflects on his loneliness and goes on to blame Victor for his pain. Cursed Creator! Why did you form a monster so hideous that even you turned from me in disgust? God in pity made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid from its very resemblance. (Shelley 91) In his inhuman heart, he doesn’t long for material things or wealth, he longs to experience life as he’s viewed it as a bystander.

Watching the De Lacey’s function in society and as a family, is the example he leads by, therefore he doesn’t understand why he is unable to have that as well. This fact is what makes the creature most human, maybe even more human than Victor because of his need for communication and love, while Victor never needed any of that. Never once in the novel did Victor long for real companionship, his joys came in being isolated from others, which caused him to predetermine the creature’s life of isolation as well.

In never needing a companion to share life with, Victor saw no problem in destroying the female creature he had created for the male creature. Because Victor excluded women in every way, and he clearly doesn’t understand the significance of his own female counter part in the novel, he definitely doesn’t understand the creatures. Not knowing the significance of a feminine role in his life, nor the creatures is what made the destruction of the female creature an easy decision for him.

One of the biggest reasons he struggled to understand the significance was because he was clouded by his fear. In Anne Mellor’s, “The Female In Frankenstein”, she argues that “ he is afraid of an independent female will, afraid that his female creature will have desires and opinions that cannot be controlled by his male creature. ” (Shelley 360) Victor’s true fear was that by creating a female creature, he’d be defying everything that he believed in. The belief that women are to be more of the private sphere than the public might change and it would cause imbalance of society in his eyes.

What if, a women or female could walk the earth as men and think their own thoughts and live life as she pleased. The belief that women are to be controlled, rather than loved and treated equally is what causes each female not to exist anymore. The novel uses its female characters to display that of women in Mary Shelley’s time, displaying failed attempts at changing societal roles. The men of Frankenstein control life, death, and the all possibility of any women functioning as an equal. Mellor, Anne K. Possessing Nature: The Female in Frankenstein. ” Norton Critical Edition (1996): 274-86. Print. Moers, Ellen. “Female Gothic: The Monster’s Mother. ” New York Review of Books (1974). Rpt. in Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: Norton, 1996. 214-24. Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996 Wollstonecraft, Mary. A Vindication of the Rights of Woman. A Wollstonecraft Anthology. Ed. Janet M. Todd. Bloomington: Indiana University Press, 1977

When we become envious of our friend’s belongings, vengeful toward those who hate, or selfish when we have plenty. Monsters strike fear within our hearts because they are giant, monstrous, ugly and uncontrollable beings. Humans strike fear in their peers because of their vengeance, race or politics.

In Beowulf, readers are exposed to these monsters who are uncontrollable through the ways that they fight each other. By analyzing Beowulf, the concept of monstrosity is parallel to some flaws of humanity. Although Beowulf is seen a deviant God-sent savior by the people of Heorot and Hrothgar, he is not exempt from the equivalence of humanistic flaws in the natural world.

Through the use of many parallels between the characters of Beowulf representing monsters and the natural world humans, the reader is left questioning what it is to be a hero and what it is to be a monster. The story uses symbolism such as supernaturalism as the model to create specific roles for the characters in Beowulf that parallel humans. In this paper, I will discuss the ways in which Grendel, Grendel’s Mother and Beowulf are parallel to humans in the natural world by looking at the ways in which monsters and humans are similar.

The epic poem, Beowulf, describes each of the monsters to be supernatural except Grendel and his mother who are understood to not be supernatural. He is one of three monsters in the story that is ornamented with monstrous traits such as “heathen talons, terrible spikes” (Beowulf 987).

Although he is described with these monstrous features, it is humanistic and emotional instinct that propel his actions. For example, in the beginning of the story, Grendel is angered by the joyous celebration of the men of Heorot (Danes), crawls out of his underground swamp and creates a deathly disturbance. This ambiguous monstrosity gives mixed views of the role of humans and monsters, allowing for overlapping representations.

He lives underground with his mother that is recognized by readers as the unnatural world-living in swamps and darkness. The grumpy Grendel attacks the Hall because it “harrowed him to hear the joyful din loud in the hall” (87-105). He is envious of Hrothgar and his people because they live in civilization-unlike Grendel-who lives in isolation. Words like “harrowing,” “misery” (105), “unholy creature,” and “ravenous” (120-121) are all used in the beginning of the story which alludes readers that Grendel is monstrous and envious of the Danes.

The human characteristic Grendel is portraying in the story is envy. He wants to fit in with the Danes but since he is a Cain (who kills kin) he is unable to. His physical form confuses readers in terms of categorizing him as man or beast. He has many animal attributes, a grotesque and monstrous appearance such as “beast” (425), “heathen talons” and “terrible spikes” (985), but his actions and emotions prove otherwise. When Grendel is gravely injured from the battle with Beowulf at the Hall, he is doomed to die in his underground home.

When Beowulf describes the win over Grendel, he states, “death is not an easy thing to escape-try it who will-but compelled necessity all must come to that place set aside for soul-bearers, children of men, dwellers on earth…” (1012). This further blurs the line between natural world humans and monsters because of the vernacular Beowulf chooses, “earth dwellers”, “children of men”. These words with specific intent towards Grendel, can overlap with descriptions of death towards humans in the natural world that death is hard to escape.

Grendel’s mother in the story is relatable to every mother in the natural world. Her intent to avenge her son’s death (Grendel) to kill Beowulf is a very similar instinct mothers have in the natural world humans feel remorse for the loss of their loved ones. She symbolizes the natural quality of revenge.

Grendel’s mother comes into play and described as, “a woman’s warfare, is less than an armed man’s when a bloodstained blade, its edges strong, hammer-forged sword, slices through the boar-image on a helmet opposite” (1283). The line, “a woman’s warfare, is than an armed man” to describe Grendel’s mother as weak is a direct parallel to mothers in the natural world. In today’s world, people assume that women are weak and less harmful than a man.

In the story, the men in the hall are not afraid of her because she is a woman. Even though she is a mother, a female, to a “weak”, “emotional” monster (Grendel), she can still be violent and dangerous to others. This parallels mothers in the natural world. They can be terrifying when you make them mad. Grendel’s mother is also ornamented with monstrous descriptions, “her hostile claws, that she-wolf of the sea swam to the bottom” (1505). This puzzles the reader when trying to categorize Grendel’s mother as (wo)man or “beast”.

Along with Grendel’s monstrosity and his mothers’, Beowulf’s humanity is called into question. His call for attacking and killing Grendel is only for the fame he receives from the men of Heorot, “he trusted his strength, the might of his handgrip-as a man should do if by his warfare he thinks to win long-lasting praise: he cares nothing for his life” (1535).

In this scene, the reader sees how he possess supernatural qualities of abnormal strength. This is the epitome of so many men in the natural world. Men are greedy for praise to impress a woman they like. The description of Beowulf here can again confuse the reader as to what to categorize him as, man or “beast”. Men try to be heroic when a tragedy happens most of the time to gain praise from the public. This is what Beowulf does in the story, to be the hero by stopping the attack on Heorot by Grendel.

Beowulf is the example of the “tragic hero” in the story. He comes from being known as nothing but an ugly strong monster to a praised monster who killed the bad guy. He has many animal attributes and a monstrous appearance, but he seems to be guided by vague human emotions and impulses. For example, the impulse to kill Grendel for glory and fame is a remorseful killing act, Beowulf uses it as adrenaline to keep killing and attacking the “beasts” who harm Heorot.

These different monstrous personalities are seen in the natural human world which need to be addressed today when reading and exploring one’s own life. too. Grendel is portrayed as the man who takes the bus to work every day and is envious of happiness in people’s life-maybe someone with depression.

Grendel’s mother is portrayed as everyone’s mother who wants revenge for a loved one’s death and Beowulf is the greedy white American who wants to be praised for saving blacks in a burning house. Each of these portrayals in the human world is scary to see and understand. But it is all real.

Concepts of monstrosity, heroism, and supernaturalism in Beowulf are complex due to the parallelisms between humanity and the monsters in the story. It is easy for readers to neglect the looming allusions on humanity that Beowulf offers through its use of subtle comparison. The ambiguity of “monster” and “hero” are intermixed in both the story and world of common man.

Beowulf reminds readers to question the flaws and norms in humanity and its longing labels. We must yearn to understand human motivation before asking and claiming self-righteous glory. The difference between Grendel’s mother and Beowulf is that his mother was avenging the death of her son and Beowulf kills for glory and fame. Humans are monsters.

MENA’s creative entrepreneurs talk on what it’s like to turn a passion project into a business venture, and share their insights for pursuing creative ambitions in the MENA region. 

Having worked in the fashion industry for more than 17 years, ’s influence in the sector shouldn’t be measured based off just her social media presence- the founder of has worked with the likes of Tom Ford, Burberry and Gucci over the course of her career, and her efforts at building personal relationships with these brands and designers then have certainly contributed to her success today. And even as the nature of the region’s luxury sector changed, Manji smartly set herself to be one step ahead of these trends- and made herself a force to reckon with in the

Q: As someone who’s been repeatedly lauded as a prolific digital media influencer in the region, how do you go about maintaining your presence?

“There is no doubt that is impactful. I think where brands make an error is choosing ‘influencers’ by numbers and not by quality. It’s better to be associated with a celebrity/influencer that naturally fits the brand’s aesthetics and values, than someone for the numbers only. Honestly, readers and followers are intelligent to know what’s real and what’s just a paid post. I also believe that the influencer has to personify the brand on and offline. That’s a true brand ambassador. I get a lot of offers to endorse brands and products, but I say no more often than yes because like everything in the world, it has its ups and downs, and right now, there is a surge in social media, but I strongly believe by maintaining integrity is what will stay true and last. I think about the long term.”

Related: 

How much sympathy does the writer make the reader have for Victor Frankincense? How does she do this? The reader often feels ambivalent towards Victor. The traits that make him a powerful and admirable figure are the same ones that lead to his ruin. His self-contradictions become more frequent as his problems get bigger. Our Initial sympathy alters radically once we meet the monster (Victor should feel more remorse for abandoning the monster: his duty to family and humanity should have deed to him helping) but we should not underestimate the foulness of Williams murder.

His death is tragic and he dies hoping that another man may succeed where he has failed. Shelley uses irony to help the reader take a critical attitude by using twists In the tale so that Victor’s responses develop him Into a complex and realistic figure. 2. Examine the differences between the male and female characters. What does this tell us about the context? The women are portrayed as virtuous; Caroline Breakout’s kindness towards the poor, her adoption of Elizabeth, the orphans Elizabeth, Justine ND Margaret act as surrogate mothers, Ghats and Sane show gentleness and kindness towards Delayed and Felix.

The fathers unlike the mothers, fall in their parental role. The fathers of Clerical, Walton and Safe try to stop their children pursuing their interests. Allophones tyrannical behavior mirrors Victor’s attitude to the monster. Women’s roles at the time were entirely domestic, with assertive behavior seen as ‘unfeminine’. Men had control over women both morally and legally but women were believed to have a duty to bring the finer virtues to a man’s fife particularly through marriage. Trench of women seen In their dialogue, reflecting their beliefs and attitude. Put into supporting roles (as was the reality of their situation) Women’s role in creating life is diminished. 3. Trace the development of the relationship between the monster and Frankincense briefly. Does this help direct the reader’s emotions towards each? The monster is made from many people’s parts. 4. How does Shelley use locations and weather to enhance our understanding of the novel? There are indoor and outdoor settings.

Indoor settings are symbols of mental as well as physical imprisonment. Most outdoor scenes are barren, wild, or desolate. They often symbolism the separation of a character from his fellow beings. Journeys form a pattern. The monster keeps returning to meet Frankincense, a haunting feeling. Victor travels away from his family and returns with new pressures. 5. In what ways is Frankincense a book of emotions and the imagination? Imagination Is the living power and the primary agent of all human perception.

Samuel Taylor Coleridge. The Romantics believed that art should have themes of great magnitude which could arouse emotional exhilaration in the audience. Frankincense belongs to 1 OFF stormy and dark settings, satanic imagery and themes of revenge and pursuit. 6. How reliable is Frankincense as a storyteller? Is he biased (duh! ) Victor feels himself to be a victim yet partially aware that his ‘mad scheme’ is also to blame. 7. How does the way the story told, with three narrators, affect the way the reader sees the novel?

We are introduced to the characteristics, desires and values of the narrators o we see things from their perspective but we can also question their character. The Chinese box narrative allows us to go deeper into the story as each narrative lets us know more about the different perspective, even if they are biased. This techniques has an effect on our feelings – we change our emotions towards each character as we meet each and have divided sympathies in the final section. There are contrasts and parallels in language, characters and settings. 8. How responsible is Frankincense for his own downfall?

Texts, in order to effectively convey a message, commonly reflect on social views, attitudes and contextual values. A comparison between Ridley Scott’s sci-fi thriller “Blade Runner: the Director’s Cut” and the Mary Shelley’s classic gothic novel “Frankenstein” will reveal that there are elements of human nature which will remain constant over time. These two texts reflect of the possibility of scientific and technological development and caution about possible physical and moral consequences of this development.

The seductive nature of knowledge is explored in both texts as the fine line that separates man and monster is revealed as our capacity for true human emotion is questioned. As a critique of scientific and enlightened rationalism, Shelley’s gothic text “Frankenstein” explores the duality of the human condition as man is capable of both good and evil. Walton’s letters portray man’s capacity for arrogance and moral blindness and foreshadow the subsequent folly committed by Dr. Frankenstein. The sun is forever visible, its broad disk just skirting the horizon, and diffusing a perpetual splendor” Walton’s romantic ideals are juxtaposed with his own arrogance as he refers to Shakespeare’s play Macbeth “but success shall crown my endeavors. Wherefore not? ” Shelley’s intertextual allusion to Macbeth portrays the arrogance Walton holds about his voyages success. Just as Macbeth was ambitious, so to does Walton lose his moral direction on his question for discovery. This aptitude is characteristic of romantic writers in the 1700’s who similarly used to romantic writing styles to contrast man’s moral blindness.

Similarly, Ridley Scott also explores the moral blindness of humans as the pragmatism of the ’80s is reflected through the loss of god in the dystopian 2019 Los Angles. Through corporate prosperity, Scott suggests that god has been replaced by the creator, Tyrell. “Nothing the god of biomechanics wouldn’t let you in heaven for” the direct allusion of Tyrell to “the god of bio-mechanics” reflects that Tyrell, as the owner of the supreme corporation on earth has been elevated to a god-like status, reflecting the importance of corporate dominance in the ’80s.

As Roy confronts Tyrell, the creator plays with an extravagant, human like chess set, symbolic of his god-like status over humans. Tyrell’s eyes are hidden behind the glare of his glasses as he peers over the figures, his tone as he confronts Roy is arrogant as he states “the light that burns twice as bright, burns half as long, and you have burned so bright” the objectification of Roy dehumanizes and belittles the replicant and portrays Tyrell’s control and dominance over humanity. Humanity has been embedded with the capacity to celebrate the divinity of nature and this appreciation of the natural world is a key element of the human spirit.

Shelley’s text “Frankenstein” reflects the Romantic’s pantheistic view of God and nature as the two are inextricably linked. The Romantic belief that god is revealed through the natural world is shown as Frankenstein takes solace in the sublime beauty of nature. “The vary winds whispered in soothing accents, and maternal nature bade me weep no more” the personification of the wind and comparison of natural to a mother reflects the romantic influences over Shelley as nature is portrayed as divine and splendid. Similarly, other characters in the novel also marvel at the magnificence of nature.

Walton, in his letters, reflects on the beauty of the Artic on his voyage “Sailing over a calm sea, we may be wafted to a land surpassing in wonders and in beauty every region hitherto discovered on the habitable globe” Walton fascination with the discovery and exploration of the Artic also reproduces Shelley’s romantic ideals, reflecting the romantic writers common pre-occupation with the unspoiled domain of the artic. The dangers of circumventing the natural order are also explored in Ridley Scotts “Blade Runner: The Directors Cut”. The text reflects how nature has been compromised for industrial profit of transnational corporations.

The soaring oblique camera angle and the hellish image of fireworks with the dramatic, eerie music at the beginning of the film to suggest the capitalistic world has destroyed the natural world for the creation of profit. The film noir technique used throughout the film adds a sense of lifelessness to the Los Angles environment and offers contrast to Frankenstein, where nature is respected and revered. Scott uses his text to didactically warn the audience about the degradation of the natural environment as the capitalist world of Los Angles and the on world colony has become degraded urban sprawl devoid of natural life.

In Blade Runner, the natural world is represented by the breakdown of the physical environment. In Frankenstein, the natural world is broken down morally as the creator defies the natural order. Ultimately both texts caution against the perception that all progress is beneficial. Shelley’s Frankenstein and Ridley Scotts Blade Runner each challenge human supremacy as the created is portrayed as moral, emotionally and physically superior to their creator. The Replicants in Scotts Blade Runner challenge this Darwinian view of human supremacy as, in contrast to the humans of LA 2019; they are emotive, compassionate and moral. All those moments will be lost in time, like tears in rain” the raw emotion shown by Roy as his image is silhouetted against filtered blue light life reflects the elements of humanity that have been lost in the dystopic world as the replicants are the only beings capable of true emotive, human behavior. Similarly, Shelley’s Frankenstein portrays the reversal of the Darwinian Theory with Frankenstein creating a being superior physically and emotionally to man.

Shelley uses the Romantic belief of the loss of innocence, shown in the inter-textual allusion to Milton’s “Paradise lost” as the monster is portrayed as benevolent and being capable of both compassion and love, similar to man before his expulsion from the Garden of Eden. “I ought to be thy Adam; but I am rather the fallen angel, whom thou drivest from joy for no misdeed” the biblical allusion to Adam and the Devil portray the monsters human elements as he is shown as compassionate, intelligent and munificent “I was benevolent and good, misery made me a fiend” contrasting Frankenstein who seems incapable of showing human emotion.

Shelley uses the rivalry between Victor and his Creature to reflect the hostility between the devil and god in Milton’s epic poem “Paradise lost”, Shelley was influenced by her husbands writing on the poem and used his general interpretation to present the antagonism between Frankenstein and his monster.

Despite the different contexts of both Shelly’s Frankenstein and Scott’s Blade Runner, each texts reflects similar themes and a further knowledge and greater understanding of context enables the reader to hold a deeper appreciation of the texts. Both texts challenge our assumption that knowledge is beneficial and expose the physical and moral consequences of circumventing the natural order. However, the two texts question our more primal practices as each they question to what extent our human nature has remained the same.

The name “Frankenstein” is probably one of the most recognizable names in literature. The name came from the creature in Mary Shelley’s “Frankenstein or the Modern Prometheus” (1818) It is a name that has captured the imagination and the fear of readers of many generations worldwide. And so, it is just understandable that many writers had adapted the story and the character of Frankenstein. The original piece “Frankenstein or the Modern Prometheus” (1818) was remarkably written by Mary Shelley when she was only eighteen years old. Many other works were remakes of Shelley’s masterpiece, a testament to the success of the original text.

Here are some of the remakes of “Frankenstein” in no particular order: “Frankenstein” a film directed and written by J. Searle Dawley (1920), “Frankenstein” a film that was directed by James Whale (1931), “Frankenstein 1970” a film by director Howard Koch (1958), “Frankenstein: The True Story” a television film written by Christopher Isherwood and directed by Jack Smight, “Mary Shelley’s Frankenstein” a movie adaptation by director Kenneth Branagh (1994), “Frankenstein” a mini-series for US TV by the Hallmark television network (2004), “Frankenstein” television adaptation by ITV (2007), “Frankenstein Jr. nd the Impossibles” an animated series adaptation in US television, “Frankenstein or The Vampire’s Victim” a play adaptation staged at the Gaiety Theater in London (1887)

The character of Frankenstein also appear in many other works, a contemporary example would be in the movie “Van Helsing. ” Even though there are many adapted versions of Mary Shelley’s masterpiece, all of those versions would still be inline with the original text. All of the main components of the novel are still intact like the characters, themes, setting, plot, and of course a remake would be incomplete without the inclusion of Frankenstein.

There are many themes that could be unearthed from this particular text. Here are some of the most visible ones: man playing god, acceptance, secrecy, loneliness, humanity, knowledge, aesthetics, ethics, responsibility, and many others. In relation to the theme of responsibility, Victor Frankenstein had uttered “William, Justine, and Henry they all died by my hands” (Shelley 156) In that particular scene, Victor claims responsibility for the tragic death of the children even though they did not literally died by his hands. In the original text, the story is set during the eighteenth century.

The location of the narrative would be constantly changing. The locations would be in Geneva, the Alps, Ingolstadt, Scotland, and England. But in the later adaptations, more contemporary locations were chosen by the writers. For instance in the animated series “Frankenstein Jr. and the Impossibles”, the story is set in the future and Frankenstein would be depicted as a young robot. In the original novel, it is mainly Victor Frankenstein and the creature (commonly regarded as Frankenstein) that would be interacting and conflicting with each other.

But in most of the remakes of Frankenstein, some of the original characters were deleted. Even Victor Frankenstein was deleted in some of the remakes. And of course, the eight-foot monster with superhuman strength and intelligence (and a remarkable humanity within could also be considered) monster, more commonly known as Frankenstein would be a staple character in the remakes. Making Frankenstein one of the most feared, but at the same time loved fictional characters in literature.

Frankenstein and Pride & Prejudice Socratic Seminar Reflection This Socratic Seminar made me agree much more with Socrates’ beliefs: that extended discussion and continual questioning facilitate the most meaningful learning experiences. It helped me understand the novel much more than I had before because I got to hear about the book from the perspective of others and how they interpreted the story and discussed what they thought were the positive and negative aspects of Frankenstein.

I discovered that many others interpreted some meanings of the novel in the same way that I did. Overall, the seminar went very well in both groups, but there were some negative aspects in both seminars. In the Pride & Prejudice seminar, none of the members proposed any questions in response to an already given question (a rebuttal question). This was not the case in the Frankenstein group, which is good.

However, although we did ask rebuttal questions, our group failed to use quotes for support and our discussion was more of a modern conversation between people with a lot of agreeing and disagreeing, but no evidence for backup. I believe that there was only one person who used quotations and cited them to backup his/her point, who was Matt Kane (I hope you didn’t want us to specify names; at least it’s not a bad comment). The Pride and Prejudice group did fulfill the use of quotations, which evened out the differences between the seminars.

There were also many great points brought up in our discussion of Frankenstein, which almost everybody agreed with such as how we appointed Victor Frankenstein as the monster of the novel and not the physical monster that he has created. I would not have thought about many of the things with deeper meanings that were discussed in the seminar by myself. Not only was the seminar itself what helped me to further understand the story, but also the pre-seminar tasks (question responses and formation).

Each question coincidentally asked me something that I had thought about at least one time during the reading, and the required quotations helped remind me of when and where I had encountered the question while reading it. The post-seminar paper (this thing) is helping me because it makes me remember what we talked about during the seminar and how it was effective to understanding the story. Being reminded of how effective the seminar actually was, will make me believe more in the beliefs of Socrates, as well as want to do more seminars for different novels in the future.