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Frankenstein mary shelley literary analysis of monster
Mary shelley and frankenstein influence
Mary shelley and frankenstein influence
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Shelley Jackson's Patchwork Girl
Patchwork Girl, a hypertext vision sewn together by Shelley Jackson, is a story and an account of the creation of a monster and the relationship the mind has with the monster within the technical boundary of lexia. The monster metaphorically was originally created by Mary Shelley in Frankenstein, but has now resurfaced in a layered identity with an opposing forum of complexity. Jackson has designed her version of the timeless tale from the female perspective by offering the reader not only a facet into the monster’s mind, but that of Mary’s, the girl’s, and of the author’s, which accounts for three female angles of perception. Through each narrative voice (and/or lexia), the reader discovers the psychological nightmare of mental maturity and the pains of achieving the ultimate sense of creativity or life. For Mary it is the obsession of the creation of life and the dedication to keep a promise, while for the girl and the monster it is the aspect of finding the understanding and acceptance in a stitched life. However, for Shelley Jackson the nightmare is the hyper literary challenge of stitching together thought and creation in fictional prose to show the relationship of mother to child or writer to the word by the means of technology.
The Hypertext fiction Patchwork Girl is offered with three primary story lines in lexia story format, which is effectively connected or stitched together to reveal the lives of Mary, Shelley, the girl, and the monster from the creative impulse of the mind’s imagination visually represented in a non-linear string of links. As the reader or in this case user enters the hypertextual world of Shelley Jackson’s words, the initial question, "Where should I begin," ...
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...readers or audience a compelling story, visual stimulation, various inter-linked story progression, unlimited path access, complex thematic motives, and unpredictability of discovery. For these reasons alone, it can be assumed that hypertext fiction will intrigue itself into the spectrum of popular culture and with that establish a longevity, which may surpass previous forms of literary media.
Works Cited and Consulted
Hayles, N. Katherine. "Simulating Narratives: What Virtual Creatures Can Teach Us." Critical Inquiry 26 (1999): 1-26.
---. "Virtual Bodies and Flickering Signifiers." How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press, 1999. 25-49.
Jackson, Shelley. Patchwork Girl by Mary/Shelley and herself. Watertown, MA: Eastgate Systems, 1995. Electronic. .
Mary Shelley and Samuel Taylor Coleridge are two recognized writers of the Romantic era. The influence of Coleridge’s The Rime of the Ancyent Marinere is reflected in Shelley’s Frankenstein in terms of narrative structure, literary techniques and themes. For example, bo...
The readers’ curiosity is ignited because they are not given all the details. Therefore, their mind wanders further than the plot to create a story and characters that acted on one’s imagination; thus, the story becomes entertaining- flooded by the questions of what? Who is the owner of the e-mail address? How do I get started? By which the reader can only answer.
...e. How We Became Posthuman: Virtual Bodies in Cybernatics, Literature and Informatics. Chicago: The University of Chicago Press, 1999.
Mary Wollstonecraft Shelley, was the daughter of the radical feminist, Mary Wollstonecraft, and the political philosopher, William Godwin, and the wife of the Romantic poet, Percy Bysshe Shelley. Through these familial affiliations, she was also acquainted with Lord Byron, Samuel T. Coleridge, and other literary figures such as Charles and Mary Lamb. Surrounded by such influential literary and political figures of the Romantic Age, it is not surprising that as an adolescent, at the age of 19, she wrote Frankenstein. Though critically a failure, (British Critic,1818 and Monthly Review, 1818) the novel has never been out of print and has been translated into numerous languages. What is surprising, however, is the enormous body of knowledge contained in the novel. The novel contains references to the fields of literature, poetry, science, education, politics, history, and mythology. How did such a young girl, living a life considered morally objectionable to society and harassed by family and financial burdens, acquire such a vast amount of knowledge in all fields of study that encompassed the important issues of her day? Through examination of biographical information and Mary Shelley's journal entries, we will be able to answer this question. Following, I also plan to highlight Mary Shelley's knowledge of literature with primary emphasis on the works studied by the monster in relation to his origins as well as Mary Shelley's.
The novel “Frankenstein” by Mary Shelley involves the complex issues with the creation of life through an inanimate life. Shelley uses these character archetypes of the monster, the scientist, and the anti-father and developed a deeper meaning of the characters intentions. Shelley does an excellent job at allowing the reader to have a peak at the characters inner thoughts and feelings. The archetypes presented in Frankenstein allow readers to identify with the character's role and purpose and allow the characters to become three-dimensional.
O'Brien, Dan and Betty Stanton. "Gun Control: Exploring the Issues." Inside Homeland Security. 2013: n. pag. Opposing Viewpoints in Context. Web. 19 Feb. 2014.
Even though it is problematic to define the happening of an event as a “text” or “hypotext”, works of literary journalism are closely related to the framework of adaptations because an adaptation is defined as the process of making a work of art upon the basis of elements provided in a different medium; furthermore, works of literary journalism often resemble the filmic construction of a screen play.
Shirley Jackson, a writer of horror and humour, was born on December 14th, 1916 and passed away during the summer of 1965. Her first novel, “The Road Through the Wall” (1948) was set in the same suburb she spent her early years; Burlingame, San Francisco, California. In 1934 her family moved to Rochester, New York. She dropped out of the University of Rochester and three years later, Jackson enrolled into Syracuse, University where she met husband Stanley Edgar Hyman. As an editorial assistant for The New Republic he helped her publish “My Life with R.H Macy” (1941) as her first nationally published story. Jackson is most famous for writing “The Lottery”, a short story of communal savagery, and “The Haunting of Hill House”, a highly acclaimed horror novel.
When discussing issues presented in Mary Shelley’s famous Frankenstein, sexism may seem completely irrelevant. One would expect Mary Shelley, a woman herself and the daughter of feminist author Mary Wolstencraft to present her female characters in a fair way. However, Frankenstein is a surprisingly sexist work. In this paper, I will analyze how the female monster from Frankenstein is a victim of objectification, a problem which has been rampant from Shelley’s time to the modern day.
ProQuest Staff. "At Issue: Medical Marijuana." ProQuest LLC. 2014: n.p. SIRS Issues Researcher. Web. 24 Apr. 2014.
Thousands of lives are lost every day due to some form of violence with the involvement of firearms. People varying from an adolescent age to the elderly are robbed of the likelihood to live a long and promising life due to the gun violence in this country. The abuse and misuse of guns cause caused a stain of blood to run through the country as the citizens of this country have taken it upon themselves to ruin and end others lives. Stricter gun laws should be in place as the lapse in gun control has caused an epidemic of gun violence in the United States.
Back in 2003 Henry Jenkins caused a massive stir in the media world when he introduced the idea of transmedia storytelling, Jenkins describes it as a process where elements of fiction are dispersed across multiple media platforms in order to serve the purpose of creating a coordinated entertainment experience. Jenkins goes on to say that preferably, each medium will contribute different aspects which will assist in the telling of a story and unveil new aspects. However a good transmedia text does not simply supply information, instead it allows the fans, or fandom, to interact with the world within the text (Jenkins, 2007). This essay will arue that transmedia storytelling impacts on how the audience interacts with the story, in order to
In Conclusion William Gibson created a cyberpunk/ postmodernism tale that has blurred not only the physical state between mechanics and human anatomy, but has as well blurred the line between the natural and virtual world. He is making the reader contemplate how both software and hardware have influenced the natural world. Gibson’s fictional world would have not been possible without the existence of software and hardware, that is why the distinction between them is very crucial and play a different part within the text. Without these two things, the reader would not be able to comprehend and relate to Gibson’s view on how our society is interlocking with the advances of technology and the normality of today will no longer exist in the future.
In Hamlet on the Holodeck, Janet Murray argues that we live in an age of electronic incubabula. Noting that it took fifty years after the invention of the printing press to establish the conventions of the printed book, she writes, "The garish videogames and tangled Web sites of the current digital environment are part of a similar period of technical evolution, part of a similar struggle for the conventions of coherent communication" (28). Although I disagree in various ways with her vision of where electronic narrative is going, it does seem likely that in twenty years, or fifty, certain things will be obvious about electronic narrative that those of us who are working in the field today simply do not see. Alongside the obvious drawbacks--forget marble and gilded monuments, it would be nice for a work to outlast the average Yugo--are some advantages, not the least of which is what Michael Joyce calls "the momentary advantage of our awkwardness": we have an opportunity to see our interactions with electronic media before they become as transparent as our interactions with print media have become. The particular interaction I want to look at today is the interaction of technology and imagination. If computer media do nothing else, they surely offer the imagination new opportunities; indeed, the past ten years of electronic writing has been an era of extraordinary technical innovation. Yet this is also, again, an age of incubabula, of awkwardness. My question today is, what can we say about this awkwardness, insofar as it pertains to the interaction of technology and the imagination?
But, “human persons have an ‘inner’ dimension that is just as important as the ‘outer’ embodiment” (Cortez, 71). The “inner” element cannot be wholly explained by the “outer” embodiment, but it does give rise to inimitable facets of the human life, such as human dignity and personal identity. The mind-body problem entails two theories, dualism and physicalism. Dualism contends that distinct mental and physical realms exist, and they both must be taken into account. Its counterpart (weak) physicalism views the human as being completely bodily and physical, encompassing no non-physical, or spiritual, substances.