Nature versus Nurture in Frankenstein Nature versus Nurture in Frankenstein 7 July Frankenstein Nature versus nurture; this is a common debate physiologists are in constant question over.
Frankenstein -- a Critique of the Monster Essay Pages: A Victorian audience was concerned with the theme of a man's ambition to replace God by creating a new species. Equal emphasis was placed on this aspect of the novel in the introduction of Frankenstein, "It is Mary Shelly's critique of where such highly abstracted creative powers can lead when put in a 'realizing' scientific context and then driven along by 'lofty ambition' and 'high destiny' p.
However, modern readers, with less restricted moral boundaries to those of the Victorians, likely see Victor's main crime within the novel more the perverse way in which the creation is carried out and more importantly Victor's failure to nurture the offspring; his crime is against the traditional framework of the family See: Frankenstein, or The Modern Prometheus, was published inanonymously; with Mary Shelley's name appearing in the second edition.
The book combines numerous elements of the Gothic novel, the Romantic revolution, warnings against industrialization, and philosophical concerns about the power of Man vs. To contemporary audiences, the plot is simple: Over the course of time, Frankenstein's creation learns to fear man, and spends a year living near a cottage and observing the family he never had.
It is through these observations that the creature evolves his humanity -- his physical appearance may be different, but his soul cries out for the same things as an human -- love, compassion, company, friendship, conversation, and simply to "belong.
The creature promises that if Frankenstein makes a female companion for him, he will never again appear in the scientists' life. Frankenstein agrees, but then becomes fearful of the power two such creatures might have, he and his assistant Clerval destroy the new creation.
In fury, the creature kills Clerval, and Frankenstein is imprisoned for the crime, becoming violently ill. Frankenstein is finally acquitted and returns home to marry his cousin Elizabeth, knowing full well that his creature has now vowed to destroy Frankenstein's family, since the creature cannot have a family of its own.
The creature does indeed kill Elizabeth, and the rest of the novel is the pursuit and final confrontation between Frankenstein and his "child," ending up in the Arctic; where Frankenstein dies as the creature appears in his room.
The captain of the ship, Walton, finishes the story by telling of the creature's lamentations and sorrow for the violence that has followed his short and unhappy life. The creature then leaves the ship and travels further north, vowing to destroy himself on his own funeral pyre so that he would be released from his pain of loneliness and humanity would never know of his existence.
Despite the modern film prejudice, Frankenstein is more concerned with the interrelationships between family members, the power that a Father has over his children, and the wisdom necessary to create.
In addition, the abject humanity, ego, and self-awareness become central to the creature's own journey through life -- finally realizing that it is the creature who has the more developed soul and compassion, but the external defines his place within the society of the time.
Shelley, of course, drew inspiration from Ovid's "Prometheus" mythos.
Prometheus stole fire from heaven to create the first human in the same manner that Victor Frankenstein drew the power of electricity from above -- all to create a new species.
While Prometheus ostensibly used his power for the good of mankind, Frankenstein's motives seem far more self-centered and egomaniacal -- he has the power to create, so why should he not use it?
He has abandoned his family with the following rationale: Moreover, Victor's actions suggest a fear of normal human sexuality. His solitary creation of a being is a direct rejection of the role of the female; it is a rejection of the natural biological responsibilities between men and women. Victor purposefully isolates himself from his family, escaping the suffocating 'silken cord' 34 of domesticity to carry out his scientific experiments.
Shelley symbolically presents this laboratory as a womblike 'workshop of filthy creation' The actions following the moment of creation are central to a study of Victor's crimes against normal family values. The Monster appears childlike, reaching out towards his creator and attempting to utter sounds.
Victor is appalled at the grotesque nature of this being and reacts by abandoning it. This first instance of abandonment, from the Monster's perspective, forms the very basis of his subsequent psychological development and is a key event in his initial inability to process morality.
In effect, Victor's abandonment of his creation is a direct rejection from its potential family -- and the creature's potential in life.
In Percy Shelley's preface to Frankenstein the central function of the family is described as 'the exhibition of the amiableness of domestic affection'. In the Monster, Mary Shelley presents a character who is entirely rejected by those around him, a character who tragically longs for nothing but acceptance.
Ironically, this sense of horror and revulsion did not seem an issue when the creature was not ambulatory, "he was ugly then; but when those muscles and joints were rendered capable of motion," Victor's perversion of natural human sexuality in this creation scene is continued in a dream.
The dream is a device typically used in Gothic fiction to present the inner most thoughts and desires of a character's psyche. Victor dreams that he goes to kiss Elizabeth, who then transforms into the corpse of his mother. Ideas of incest, such as this, are apparent throughout the novel - for instance, Victor's relationship with his adopted sister Elizabeth.
While this relationship is presented as one of idealistic childhood companionship, Shelley deliberately shifts Victor's narrative to a darker tone with the prophetic statement 'more my more than sister, since till death she was to be mine only' Aug 04, · Mary Shelley's novel, Frankenstein, shows how humans tend to be influenced by the major factors in their lives, such as people and the environment that they are living in.
The novel shows how constant rejection can cause someone to become a monster. Mary Shelley's depiction of aggression in Frankenstein is a text-book example of narcissistic rage, and Kohut's description applies to both Victor and the Creature: Narcissistic rage occurs in many forms; they all share, however, a specific psychological flavor which gives them a distinct position within the wide realm of human aggressions.
Mar 16, · Best Answer: Frankenstein - Mary Shelley Below you will find five outstanding thesis statements / paper topics for "Frankenstein" by Mary Shelley that can be used as essay starters.
All five incorporate at least one of the themes found in Frankenstein and are broad enough so that it Status: Resolved. A summary of Chapters 1–2 in Mary Shelley's Frankenstein. Learn exactly what happened in this chapter, scene, or section of Frankenstein and what it means.
Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans. Mary Shelley makes full use of themes that were popular during the time she wrote pfmlures.com is concerned with the use of knowledge for good or evil purposes, the invasion of technology into modern life, the treatment of the poor or uneducated, and the restorative powers of .
|Mary Shelley’s Frankenstein: Questions and Answers||She is concerned with the use of knowledge for good or evil purposes, the invasion of technology into modern life, the treatment of the poor or uneducated, and the restorative powers of nature in the face of unnatural events. She addresses each concern in the novel, but some concerns are not fully addressed or answered.|
|Analysis of a passage from Frankenstein by mary shelley, essay by AStreets09||Now, one or two reviews do not constitute a critical consensus … and I daresay Mr. But the opinions of more objective and critical evaluators offer a salutary antidote to this sort of bootlicking.|
OUTLINE. 1. INTRODUCTION. Aims of the unit. Notes on bibliography. 2. A HISTORICAL BACKGROUND FOR THE ROMANTIC PERIOD: THE PRE-ROMANTIC PERIOD (BEFORE ).