I personally define a monster as a being, whether human, animal or something of another shape, that acts immorally, fiendish, and or vile. My idea of what a monster is isn’t defined by its looks or aesthetics because looks are subjective. My idea of a monster is defined by its intentions and its actions. Questions to reflect over when considering whether or not something is a monster would include, what does the monster do and can what it does be considered good or evil? Grendel, the first creature in the epic, was a beast driven mad by jealousy and envy.
What is going on? The monster may hate Victor, want to take vengeance on him, want to kill all his friends in gruesome and inhuman ways, but that doesn’t mean he doesn’t love the guy. Of course, the other reason the monster turns on the water works is that Victor was his last connection to humanity. If you hadn’t noticed, the monster is one
The theme of doubling occurs when a pair of characters can be described as two sides of the same coin, though one usually represents the evil or hedonistic side of the other. Doubling is a recurring theme used in many Gothic novels but is also used in novels like ‘Wuthering Heights’ and the play of ‘MacBeth’. Mary Shelley frequently uses the theme of doubling through her novel ‘Frankenstein’ through how she structures the personalities and appearances of the characters. The most common use of doubling is between the characters of Victor Frankenstein and his monster. It is said that the monster’s ‘hideous looks’ represents Victor’s abnormal personality.
Monster is defined by the Oxford Australian Students Dictionary as ‘a large ugly or frightening creature’ but is this the extent of all monstrosity or can monsters be more than just what is seen to be scary or threatening. The concept of ‘The Monster Within’ explores the ways in which texts use the idea of a monster to reflect the cultures and values of their times, using different perspectives on a topic to convey a similar theme or idea. F.W. Murnaus’ film “Nosferatu” released in 1922 uses a stereotypical monster to convey ideas relating to the monster within a creature and its drive and determination to kill for survival. In contrast to this, Tim Burton uses the idea of a conventional monster in his film “Edward Scissorhands” (1990) to uncover the abstruse reality of the monster not being an individual, but being society itself.
Victor’s distant and cold language reveals his overwhelming hubris and reflects the conflation of scientific and Romantic paradigms. Frankenstein clearly created the monster
What was I? Whence did I come? What was my destination? These questions continually recurred but I was unable to solve them.” Readers may also find it easy to sympathise with The Monster as Shelley is very critical of Frankenstein. For example, in Chapter 15 when the Monster is talking about Frankenstein’s journal that documented his creation, the Monster says ““Everything is related in them which bares reference to my accursed origin; the whole detail of that series of disgusting circumstances which produced it is set in view; the minutest description of my odious and loathsome person is given, in language which painted your own horrors and rendered mine indelible.
Power & Dominance (Science and Technology) - over arching idea - everything isd linked back here and through that to the question creator and created - double-edged sword. Both Frankenstein and Blade Runner (800 words) the role of science and technology - Warning voice Context - shelley and scott portray their creators as hubristic figures who challenge the laws of nature and moral sensibilities of their time. while each of these characters alludes to promethean warnings regarding their acquisition of knowledge, there are a variety of aspects that differ and lend further dimensions of meaning........ tyrell lacks the benevolent aims for society where victor originally professes ...... unlike victor who only dreams of God like
Essay: Frankenstein by Mary Shelly based on “The Uncanny” It is a strange, but yet stimulating phenomenon to justify and compare the inanimate and animate object by suggesting the impression of unconscious work behind the ordinary appearance of mental activity. Throughout the novel, Frankenstein by Mary Shelly, Victor Frankenstein’s character possesses “knowledge, feelings and experience” in common with the self-named monster he has created. The monster is presented as both a human being and automaton, while Frankenstein is deliberated according to his appearance of sanity versus insanity. Why is it so difficult for Frankenstein to dissemble himself from the creature’s wrath? Perhaps it is true and applies to this “double” situation when they say “you are who you marry.” This brings meaning and relates to Frankenstein in the sense that unconsciously, Frankenstein creates a creature that possesses and resembles Frankenstein’s most deep and inner thoughts and desires.
To the reader, it seems that Shelly consistently reminds us of the lack of responsibility on the part of Frankenstein, and the monster’s inherent innocence, who is only made evil by his circumstances. But like the reader, Shelley too, is unclear about whose behaviour is most unjustifiable and unpardonable. With reference to David Punter’s essay “Gothic and Romanticism”, Victor Frankenstein can be compared to the ‘Wanderer’, the Wanderer’s essential characteristics being that he is hero and victim both, who defies God by crossing the laws of mortality and dares to touch the untouchable. The Wanderer is never satisfied with the restrictions placed on him by an ordered society, and he ultimately suffers for his disobedience. Victor clearly fits the description of the Wanderer, as his obsessive need to create life and be its sole creator has a hint of an unnatural desperation to satisfy his ego and attain gratitude.
The main theme of marry Shelly’s Frankenstein is Gothicism. Within marry Shelly’s novel Frankenstein we see elements of gothic and the supernatural, sometimes represented through the grotesque. The gothic supernatural is described as being real and disturbing according to Linda Bayer. In fact it can be described as simply being something we are used to and implementing it in the world around us making it more immediate, more believable. Within this theme we see the reoccurring element of gothic villains where “the exaggeration of just one aspect of the beautiful can produce the hideous,” (Bayer 80) in this case it is literal and can be applied to the monster where this is achieved with “combinations of the normal or even beautiful through an unexpected fusion of different realms.