In Mary Shelley's Frankenstein and in The Book of Genesis, Victor Frankenstein and the Christian God both create intelligent beings that are seemingly dependent upon their masters mentally and emotionally.
Dana Kornblum Cultural Studies November 1, 2002 In Mary Shelley's Frankenstein and in The Book of Genesis, Victor Frankenstein and the Christian God both create intelligent beings that are seemingly dependent upon their masters mentally and emotionally. Victor and the Creature are obvious representations of God and Adam, and the events in the two accounts parallel and differ from each other in many ways. In both creation narratives, Shelley and Moses address the concern with the use of knowledge for evil purposes, the treatment of one's "son," and the Monster and Adam and Eve's contributions to the downfall of humankind. In the Book of Genesis, Adam and Eve use the knowledge that they acquire in total disregard to their creator; through their curiosity, they defy God and His commandments. The couple had been warned about eating from the Tree of the Knowledge of Good and Evil. God told them, "you must not touch it, for when you eat of it, you will surely die." (Gen. 3:3b) Unlike Victor Frankenstein, God wished for His creation to prosper and bear fruit; He watched over them as His own children. In Chapter 2 of Genesis, Moses describes God bringing life into Adam's body as He lovingly, "breathed into his nostrils the breath of life, and the man became a living being." The defiance that Adam and Eve committed against God angered Him greatly because of the trust that He had
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It is necessary only to substitute kisses for intercourse and semen for blood to be left with a novel as sexually explicit as any of the time" [1] Bram Stokers Dracula has held a fascination for both the public
"It is necessary only to substitute kisses for intercourse and semen for blood to be left with a novel as sexually explicit as any of the time" 1 Bram Stokers Dracula has held a fascination for both the public and literary professionals alike for over a century, in fact, since it was first published in 1897; it has never been out of print. No other Gothic character has been able to hold universal appeal in quite the same way, but why society should find this morose, rigid and monstrous creature so alluring is a mystery that has compelled many to attempt to solve. In the 1970s there were only a few articles on Dracula and a long, tedious biography of the author Bram Stoker. Consequently most peoples' perceptions of Dracula were wholly influenced by the Hammer Horror films in which Dracula was portrayed as a two dimensional, out and out evildoer. Not many people had seriously read the actual book or questioned its message. However, by the late Eighties and, more importantly, the Nineties, (which celebrated the centenary in 1997 of Stokers classic); there came a surge of interest in the actual sub-text of Dracula. Many respected writers and academics have uncovered fascinating themes within the book that appear to reflect the fin-de-siecle anxieties of the times especially the issues surrounding sex and sexuality. Dracula's conception in 1897 coincided with the peak of
Explore how Mary Shelley develops the gothic genre in chapter 4 and 5 of Frankenstein.
English Coursework - Frankenstein Prose Study Explore how Mary Shelley develops the gothic genre in chapter 4 and 5 of Frankenstein. Up until 1800, literature in general consisted of a spontaneous expression of idyllic images of love - ultimately categorised as "The Romantic Movement." From this sprouted Romanticism's antithesis - literary Gothicism. When it was first introduced in the late 18th century, Gothic literature featured accounts of terrifying experiences set in graveyards or ancient castles, and descriptive motifs such as flickering lamps and ghostly figures. These have now become images of stereotypical horror. As it developed, Gothic literature came to designate everything to do with the macabre, mysterious and supernatural in literature more generally. Now one of the most recognisable forms of literature, Gothicism gained its popularity due to the stark contrast from anything that preceded it, and the surrounding controversy that shocked and intrigued its audiences. New scientific discovery swept across 18th century civilization, and the need for knowledge had overcome society. To the less educated, Gothic literature, (with its strong themes of science,) was seen as a way to further understand and involve themselves within these interesting developments, while the experienced scientist would be curious of the science mentioned in Gothicism. Another major
Discuss the use and importance of symbolism in Bram Stokers Dracula.
Discuss the use and importance of symbolism in Bram Stoker's Dracula. Bram Stoker's Dracula1 is a story about the good against the evil and how five men try to fight the evil blood-drinking monster. 'Bram Stoker's Transylvanian count is one of those rare literary characters who has achieved first name basis recognition. He has achieved in fact, iconographic status' (www.lsu.edu/necrofile/drac10). This statement suggests that Dracula was an iconic figure in the nineteenth century. Dracula is written in the context of fear and anxiety; like horror stories it works on a symbolic level. The use of symbolism throughout the novel has added further interest and suspense to the story. Bram Stoker has used a range of symbolism throughout the text to draw reader's attention to different issues. I will focus on a few main symbols and discuss their use and importance in Bram Stoker's Dracula. The use of blood, garlic and the crucifix in the novel all symbolise different issues. In the first half of the story the way Jonathon describes his journey in his journal, on the way to count Dracula's castle, and the event that occur during his journey symbolise a fear factor. This is shown when Jonathon is leaving from the hotel and an old lady begs him not to go, she says 'It is the eve of St George's Day. Do you not know that tonight, when the clock strikes midnight, all the evil
Find 3 passages in which Shelly explores the importance of the female.
Poppy Freeman "Find 3 passages in which Shelly explores the importance of the female." In this novel, the human female is often portrayed as passive and compliant. Frankenstein does not appear to be attracted to women and even when he marries Elizabeth he shows little of the passionate interest that he displays towards his science experiments. Although all of the females' roles are small it may be argued that the novel explores Frankenstein's fear of sexuality through his attempt to create a World that excludes women. It has been suggested that, through the novel, Shelly is trying to show that, if men continue to exclude women society will be less successful. Thus, despite writing about meek, subservient women Shelly is actually exploring radical, distinctly feminist ideas. Interestingly the only two females who are bestowed with independent behaviour are Safie and the unfinished female creature. When pages 29 and 30 are examined in detail the reader realises that from a young age Frankenstein was obsessed by Elizabeth's delicate beauty describing her as having been 'a child fairer than pictured cherub-creature who seemed to shed radiance from her looks, and whose form was lighter than the chamois of the hills.' This description reveals Frankenstein's view of Elizabeth as a perfect, angel-like being. Frankenstein enjoys the fact that she is delicate looking and
What image of Cephallonia and its inhabitants do you gain from chapters three and seven of "Captain Corelli's Mandolin"? Discuss with particular reference to humour.
What image of Cephallonia and its inhabitants do you gain from chapters three and seven? Discuss with particular reference to humour. Both chapters are narrated by an omniscient third person, the benefit of this is that as a reader I am able to pick up on dramatic irony and the difference between character's thoughts and their actual dialogue, this all contributes to the humour created, mostly through the convention of comparison and reduction of status. The main purpose of these two chapters is to introduce Cephallonian characters to the reader and develop the relationships between them. Velisarios is described in chapter three 'garbed as a pantomime Turk in pantaloons and curlicued slippers,' he is first referred to with little dignity in a comic costume, which in itself creates humour, but the description of Velisarios' clothes juxtaposed with his status 'the strongest man who had ever lived' takes the humour onto a further level. Much of the comedy created is with reference to the individual status of the characters described. This humour is continued with Pelagia's response to hearing Velisarios is 'in the square' when she drops her duties and with that reduces her prestige as 'she put up the broom with which she had been sweeping the yard and hurried out to join the gaggle of the inquisitive and impressionable that had gathered near the well'. Although it is humorous
What influence has the experiences in Mary Shelley's life had on the novel Frankenstein?
What influence has the experiences in Mary Shelley's life had on the novel Frankenstein? Mary Shelley's experiences have had a large impact on the themes and issues in her novel Frankenstein. It is considered by some to be a birth myth, because of the influence Shelley's experiences of motherhood has had on the novel. Further, the novel reveals numerous allusions to Shelley's life. The novel explores the retribution visited upon Monster and creator for incomplete infant care, and several of the characters are representations of individuals in Shelley's life. This essay explores the issues of the birth myth and family relations that are identifiable in the novel and argues that Shelley's life and her experiences have inspired the themes of creation, birth and family in the novel Frankenstein. Frankenstein is perceived as a birth myth because of the themes of maternity and parenthood alluded to within the novel. Mario Praz comments, "All Mrs. Shelley did was to provide a passive reflection of some of the wild fantasies which were living in the air about her." These fantasies or issues that existed in Shelley's life are identified in the novel as issues of birth, creation, neglect, and confusion. For example, in Frankenstein, birth is presented as a hideous thing. For birth to be possible, Victor must collect bones and decomposing body parts, among other things, in order for
"Dracula"- sexual women
"Dracula"-sexual women Phyllis Roth believs dracular has remained so popular throughout the years as it involves a fantasy that is shared and understood by many, and this fantasy is strongly linked to the Oedipus complex. The fantasies of this novel change horror into pleasure. Dracula's hostility to female sexuality would have been appealing to both the victorians and 20th century reader and Carrol Fry compares the vimpiressess to the fallen women of 18th and 19th century novels. The division between the dark and the fair women and the fallen and idealised is clear. Roth states ; quote "Perhaps nowhere is the dichotomy of sensual and sexless women more dramatic than it is in Dracula and nowhere is the suddenly sexual woman more violently and self-righeously persecuted than in stoker's thriller". Vampirism and sexuality are closely related, and Freud observes "morbid dread always signifies repressed sexual wishes". Although the tone of morbid dread is evident throughout the novel, also is that of lustful anticipation; anticipation of killing dracular himself and anticipation of a sexual consummation. One instance of morbid dread mixed with sexual desire is when Harker meets Dracula's 3 vamire women; "All three had brilliant white teeth that shone like pearls against the ruby of their voluptuous lips. There was something about them that made me uneasy, some longing and at
"Gothic...reflects humanity's quest to aspire to great things, but also to hide in shadowy spaces. It represents perpetual human ambition, and the constant threat of human failure"
"Gothic...reflects humanity's quest to aspire to great things, but also to hide in shadowy spaces. It represents perpetual human ambition, and the constant threat of human failure" The Gothic novel is characterised by horror, transgressive violence, supernatural effects and a taste for the mediaeval. Horace Walpole heralded the arrival of the gothic genre in 1764 with his archetypal novel: The Castle Of Otranto. The success of this catastrophic story led the way for an analogous torrent of gothic releases such as William Beckford's Vathek (1786) and Mathew Lewis' The Monk (1796). By 1818, Mary Shelley's perennial masterpiece; Frankenstein had been released, its arrival marked a new chapter in the gothic genre; by combining her knowledge of feminist authors such as Radcliffe and her reading of patriarchal tales such as those listed above, Shelly was able to actively critique previous gothic traditions while still managing to create a great myth. Like many of the stories before, Frankenstein reflects humanity's quest to aspire to great things. Shelley subtitled her novel; The Modern Prometheus, by doing this she is reinforcing her protagonist's great endeavours while infusing inevitable failure. The subtitle refers to the figure in Greek mythology who was responsible for a conflict between mankind and the gods. Prometheus stole fire from Zeus in order to help people
A103 Introduction to the Humanities
A210 - Approaching Literature TMA 02 A key difference between a Gothic novel and a realist novel lies in the use of setting. Discuss with reference to Frankenstein, and either Father and Sons or Great Expectations. Frankenstein Great Expectations The term "setting" can be used for a variety of situations. In order to answer the above question, we must look for geographical locations and the buildings and environments within those locations. We must also look to both the time in history these events took place, so we can ascertain any historical relevance, and also what time of day events are taking place (for example, the brightness of day or the gloom of night). Gothic and realist novels use all of these different forms of setting to accentuate the mood they wish to convey, according to the rules often applied to each genre. Frankenstein contains a veritable feast of fascinating destinations, taking us on a journey around Europe. There are a plethora of places visited, from beautiful Geneva, Italy and Ingolstadt to the bleakness of the Orkneys, Ireland and the Arctic. Frank Darabont (Screenwriter and Director) makes the point that for contemporary readers of Frankenstein, the "novel was the only way people could go on tours of the world" (TV1, A210, The OU). This would have added to the reader's sense of amazement during each fantastical event. These different