Mary Shelley's Frankenstein and the Internet
So many years after it was written, Mary Shelley's Frankenstein lingers on our consciousness. Her novel challenges the Romantic celebration of creativity and genius by illustrating the danger of unbridled human ambition. When Frankenstein becomes consumed in his scientific experiment, he is able to fashion a stunning product: a quasi-human being. Similarly, the concept behind the World Wide Web was born of an impassioned mastermind. But since neither product was established with sufficient guidelines, they have spiraled out of control-sometimes, with lethal consequences. Nearly two centuries after Shelley wrote Frankenstein, the novel's theme is more pertinent than ever. Living in the Information Age, we continue to seek the proper response to knowledge. Shelley's examination of an inventor's motives, along with her subtle support of rules and responsibility, also remain relevant. Ultimately, the solution rests in strengthening the relationship between creator and creation.
Many critics attribute the popularity of Frankenstein to its portrait of perverted creation. They examine ways that Shelley critiques the creative process. For example, Robert LeCussan maintains that the author criticizes arrogance and egotism (116). George Levine, in his essay "The Endurance of Frankenstein," agrees; Frankenstein wants to flex his muscles, to create someone to "exercise his will and pay him homage" (111). Most critics concur that Frankenstein oversteps his bounds by presuming he's worthy of the creative act once reserved for God. Some critics associate Frankenstein's project with "Promethean arrogance...the ambition to create life without an order..." (...
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Batman beats the Joker. Spiderman banishes the Green Goblin. For centuries story tellers have used the basic idea of good beats bad to guide their tales. Stories of blood sucking, human possessions and other tales have been passed down generations and vary between cultures. Among the creators of the famous protagonists is, Bram Stoker, the creator of Dracula. This fictional character was soon to be famous, and modified for years to come into movie characters or even into cereal commercials. But the original will never be forgotten; a story of a group of friends all with the same mission, to destroy Dracula. The Count has scared many people, from critics to mere children, but if one reads betweens the line, Stoker’s true message can be revealed. His personal experiences and the time period in which he lived, influenced him to write Dracula in which he communicated the universal truth that good always prevails over evil.
Works Cited Shelley, Mary. Frankenstein. 1818. Ed. J. Paul Hunter. Norton Critical Edition. New York: Norton, 1996.
Through the gothic writing of Stoker, there was a huge intimidation of Dracula coming forth from it. “Stoker spared no effort to present his demonic vampire as dramatically as possible” (Leatherdale 105-17). With this sinister presence of death, people start to panic. As a vampire hunter, it was Helsing’s job to help notify people on how to rid themselves of this demon. Stoker portrays survival in the form of teamwork between the men and women of the novel. These characters soon take survival into their own hands. “‘We must trace each of those boxes; and when we are ready, we must either capture or kill this monster in his lair; or we must, so to speak, sterilize the earth, so that no more he can seek safety in it’” (Stoker 373). At this point in the novel, the characters know about the existence of vampires. The consequences are also put on top priority. The men know of the consequences, yet still want to go after this demon. “By chasing Dracula, the men risk being sentenced to an immortal life as a vampire. This immortality is endless time lived in physical form” (Poquette 35). Knowing the risks of hunting a vampire, the characters ignore them to protect their loved ones. A vampire hunter is an important factor in the novel because without one, the other characters wouldn’t know what to do. Stoker chose right in including
In feminist literary theory, it claims that Frankenstein’s act of creation is not only a sin against God and nature. It is also an act against the “female principle” which includes natural procreation as one of its central aspects. The monster, the result of male arrogance, is the enemy and destroyer of the eternal female principle.
With the advancement of technology and science, we are now able to genetically modify animals. Mary Shelley found a way to make science an epitome, and confirms what could happen if science is taken too far. In conclusion, Mary Shelley’s Frankenstein is considered to be a historical novel, based on scientific advancements. In this novel Shelley depicts her own definition of human nature, by showing the creature and the ways that humans react to him. The novel also showed the differences between morality and science.
Mary Shelley’s Frankenstein is ‘one of the pioneering works of modern science fiction’, and is also a frightening story that speaks to the ‘mysterious fears of our nature’. Mary Shelley mocks the idea of “playing God”, the idea that came from the Greek myth of Prometheus, of the Greek titan who stole Zeus’ gift of life. Both the story of Frankenstein and Prometheus reveal the dark side of human nature and the dangerous effects of creating artificial life. Frankenstein reveals the shocking reality of the consequences to prejudging someone. The creature’s first-person narration reveals to us his humanity, and his want to be accepted by others even though he is different. We are shown that this ‘monster’ is a ‘creature’ and more of a human than we think.
Mary Shelley’s Frankenstein is a nineteenth century literary work that delves into the world of science and the plausible outcomes of morally insensitive technological research. Although the novel brings to the forefront several issues about knowledge and sublime nature, the novel mostly explores the psychological and physical journey of two complex characters. While each character exhibits several interesting traits that range from passive and contemplative to rash and impulsive, their most attractive quality is their monstrosity. Their monstrosities, however, differ in the way each of the character’s act and respond to their environment. Throughout Frankenstein, one assumes that Frankenstein’s creation is the true monster. While the creation’s actions are indeed monstrous, one must also realize that his creator, Victor Frankenstein is also a villain. His inconsiderate and selfish acts as well as his passion for science result in the death of his friend and family members and ultimately in his own demise.
It is precisely the point that Hollywood distorts and corrupts serious literature for the entertainment pleasures of a mass audience. In the task of comparing and contrasting the novel of "Dracula" to film extracts of "Bram Stoker’s Dracula", values, meaning and context discovered lie between discrepancy and similarity. The change from differing mediums, novel and film, reveal characteristics and possibilities of narratives. Through the advancement of technology, modern writers have gained a cinematic approach to their writing. However Dracula, written in 1987 by Abraham Stoker, where the introduction of technology was gradual, forging inventions such as the typewriter and phonograph, made reference to in the novel, had no anticipation of what technology would have an effect on such writings. With society’s fascination with the supernatural, and love of technology, Dracula’s many adaptations, film, stage, have ensured its survival through the passage of time.
Solove, Daniel J. “5 Myths about Privacy” Washington Post: B3. Jun 16 2013. SIRS. Web. 10
Like all works that have been taught in English classes, Frankenstein has been explicated and analyzed by students and teachers alike for much of the twentieth and all of the twenty-first century. Academia is correct for doing so because Frankenstein can appeal to the interests of students. Students, teachers and experts in the areas of medicine, psychology, and sociology can relevantly analyze Frankenstein in their respective fields. However, Peter Brooks explains in “Godlike Science/Unhallowed Arts: Language and Monstrosity in Frankenstein” that Shelly had presented the problem of “Monsterism” through her language. According to Brooks, Monsterism is explicitly and implicitly addressed in Shelly’s language. While this may be correct, Brooks does it in such a way that requires vast knowledge of subjects that many readers may not be knowledgeable in. After summarizing and analyzing the positive and negative qualities of Brooks’ work, I will explain how the connection of many different fields of study in literature creates a better work.
Shelley, Mary. Frankenstein. Ed. D.L. Macdonald and Kathleen Scherf. Orchard Park, NY: Broadview Press, 1999.
Yousef, Nancy. "The monster in a dark room: Frankenstein, feminism, and philosophy." Modern Language Quarterly 63.2 (2002): 197+. Literature Resource Center. Web. 24 Jan. 2012
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Internet privacy and security has become the concern of many individuals throughout recent years. There are a very limited amount of laws that have been enacted to combat computer or cyber related crimes. This has become an issue because as the internet grows increasingly popular so does the criminal and immoral behavior that abounds on it. With these crimes gaining in impact, effectiveness, and frequency, there needs to be more repercussions for these crimes. The United States government needs to increase restrictions on the amount and type of data on individuals from the internet, to prevent the government from invading privacy of citizens and to prevent companies from storing browser histories of individuals, to then sell that information to ad agencies and other companies.