Ragchaa Zaya Hwanhee Park Introduction to Academic Writing 22 October 2015 Feminist reading in Mary Shelley`s Frankenstein, or, Modern Prometheus This thesis examines female representation`s in Marry Shelley`s Frankenstein, or Modern Prometheus, because it is important in understanding of the reasons behind author`s motivation and choice. Marry Shelley was the daughter of one of the earliest feminist Mary Wollstonecraft who is best known for “A Vindication of the Rights of Woman” (1972), in which
Barbara Claire Freeman's Frankenstein With Kant: A theory of Monstrosity or the Monstrosity of Theory1 critique's on Kant's theory on sublimation and monstrosity. She manifests a contrast between Kant's emphasis on the sublime which stands for the aesthetics and “boundlessness of an object”, and Frankenstein's monster which represent the horror and “catastrophe” that Kant forbids for a state of sublime. The atmosphere that Mary Shelley conveys the Monster in includes elements of a “sublime landscape”
This essay serves as a way to understand the intertextual relationship between Hamlet and Frankenstein; Or, The Modern Prometheus, by showing readers the difference between revenge and retribution, as well as what prompts each of these two ideas, the influence of a father figure (or lack thereof) on a son’s moral compass, and the introspection of Hamlet and the Creature in what they are and who they become on their journeys of revenge. On the surface, the ideas of revenge and retribution are one
and focuses on the significance of skin itself, as a culturally poignant element which represents a ‘fabric’ of race, gender, sexuality, and social class while also expressing the importance of historical and cultural readings in to the form and narrative. As
A large amount of literature is narrated from the perspective of men with grand ambitions. Two such men are Victor Frankenstein, from Mary Shelly’s novel Frankenstein and Benjamin Franklin from The Autobiography of Benjamin Franklin. The construction and representation of masculine identity in these two works are vastly different. In this essay I will be arguing that Benjamin Franklin’s construction and representation of masculine identity is that of trust and sincerity while Frankenstein’s is rational
of the Romantic Movement in its appreciation of nature, and the use of sublime imagery is prevalent in the literature du jour, and is presented as the diametric opposite to what Julia Kristeva calls the abject in her 1980 work, Powers of Horror: An Essay on Abjection. Abjection is the human reaction (such as terror or horror) to a threatened loss of meaning when confronted by the loss of distinction between the subject and the object: the moment at which the subject (the Cartesian “I”) is confronted
The 19th century in Western literature is one of the most significant and interesting periods of all. Many of the modern literary tendencies have derived from this formative era.Nineteenth-century literature is characterized by the Romantic movement and by the strong nationalism which was formed by French Revolution and American revolution in 18th century.Romantic movement developed as a rection to scientific and rational attitude of 18C..It was a shift from age of decorum,reason and order to Romantic
elements which combine to form this theme. The Gothic as a genre is not something which just emerged ripe and ready for exploitation into the modern era. (Spooner, 2006) It is profoundly concerned with the past, it has a history. The aim of this extended essay is to focus on the seduction of the Gothic
period realism was highly valued. We also see nature becoming a central aspect of literature during the Romantic period while during the Victorian period art is a lot more focussed on the indoors life. In the Victorian period we see the novel grow, essays and periodicals circulation increased drastically. ‘The Expansion of print culture enabled a wide range of prose writing to flourish’. (Paul Poplawski, p 455). I think it is very interesting to see that the industrial revolution impacted the realistic