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Dissertation on frankenstein by mary shelley
Dissertation on frankenstein by mary shelley
Essays on frankenstein by mary shelley
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Mary Shelley’s description of Victor Frankenstein’s mental world and behavior match the definition of a pathological narcissist to such a degree that it makes it quite improbable for her to have based the novel solely on well-developed religious and literary tropes. In other words, Shelley must have had real life experience with narcissism which she subsequently used as template for Victor Frankenstein. Freudian id, ego, and superego are the epitome of the creature that Mary Shelley created as a reflection of her life and mirror it with Frankenstein. Mary Shelley by writing Frankenstein or The Modern Prometheus, attempted to satisfy her hunger for recognition, gain approval and to satisfy her lack of self-confidence that lies behind the fear …show more content…
This becomes a direct resistance to the laws of the oedipal system - and sends both the monster and the creator to their tragic endings. Not only does Frankenstein deny the rights of procreation to his creature - but he also manages to avoid this area in his own life. Frankenstein - since the beginning - seems to be a man intent on usurping the natural position of the maternal. This falls exactly into Freudian beliefs on family romance. These rules of the sex-gender system also prevail within Frankenstein's own life. There is an odd "absence of courtship in Victor's story" (Rieder 7). Although within the tale of the monster - and his experiences with the French family and his own desires for female companionship - this is vastly different. In the case of Frankenstein - and the monster - it seems that one must become a member of the family before being considered for sexual partnership. Frankenstein's own mother was taken in by Mr. Frankenstein, and became a daughter-figure before marrying Alphonse. According to Frankenstein, his father had been "like a protecting spirit to [Caroline], who committed herself to his care" (Shelley 18). These Oedipal undertones again manifest themselves within the relationship between Elizabeth and Victor - one that almost is able to transcend the sister/brother relationship. There is no doubt within the relationship between Victor and Elizabeth that Shelley's story "overrides the prohibition against incest" (Rieder
In a psychoanalytic view of Mary Shelley’s Frankenstein, Robert Walton develops, during a “dreadfully severe” trip through the Arctic, a type of schizophrenia; this mental condition enables him to create a seemingly physical being representing each his superego and his id (9). In his mind, Walton creates Victor as his very own superego and the monster as his id. The superego and the id battle throughout the story to produce the final result: Walton, the ego.
The classic theme of perversion of family is a major component in Frankenstein. Dr. Frankenstein comes from a good family but in his adult life he longs for a new companion this is mainly found in the Creature and Elizabeth. The development for the need for the Creature starts when he falls in love with knowledge and is furthered when he leaves to study. In his child hood he has “Natural philosophy is the genius that has regulated my fate; I desire, therefore, in this narration, to stat those facts which led to my predilection for that science”(Shelley 36). This passion develops into his obsession in his adult life when he gains more accesses to knowledge and equipment. Then it climaxes with start of the creation of the Creature because his accesses to bodies and tools. (quote Intro) “I read with ardour those works, so full of genius and discrimination… it easily conceived that my progress was rapid”(48). His description of the creation makes it seem like he is mothering a child into birth. He distorts the sanity of child birth by creating a human in a lab. This also makes him the mother and father of the Creature. (quote intro) “When I found so astonishing a power placed within my hands, I hesitated a long time concerning the manner in which I should employ it… my first success to permit me doubt of my ability to give live…”(51). This illustrates his power that he has that was never meant to be any humans. With the successful test my can create life, strengthens his bond with this impending birth of Creature, who embodies all of his scientific achievement. (quote Intro) “How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavored to from?” (55). Frankenstein shuns his own creation, whom he should be the loving parents of. The culmination of all of Frankenstein’s education led to creation his own companionship; he can not bear to see his hideous creation.
Frankenstein revolves around the relationships between its characters. Aside from Safie and Felix, the romantic male-female relationships are tinged with an incestual element. Also, the males idealize femininity and take the women's adoration of them for granted. Victor's parents, Alfonse and Caroline, have an age disparity that echoes father and daughter; he rescues her from poverty by coming, "...like a protective spirit to the poor girl" and then after their marriage "strove to shelter her, as a fair exotic is sheltered by the gardener...with all that could tend to excite pleasurable emotion in her soft and benevolent mind" (32).
The idea for the novel of Mary Shelley’s Frankenstein came to her one night when she was staying in the company of what has been called ‘her male coterie’, including Lord Byron and her husband, Percy Shelley. Mary Shelley’s whole life seems to have been heavily influenced by men. She idolised her father, William Godwyn, and appears to have spent a good part of her life trying very hard to impress both him and her husband. There seems to have been a distinct lack of female influence, her mother, Mary Wollstonecraft, having died weeks after her birth, being replaced by a neglectful step-mother. These aspects of her life are perhaps evident in her novel. The characters and plot of Frankenstein were perhaps influenced by Shelley’s conflicting feelings about the predominately masculine circle which surrounded her, and perhaps the many masculine traits that we see in novel were based upon those of the male figures in Shelley’s own life. In this essay I will attempt to show some of these traits.
Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
Frankenstein by Mary Shelley introduces the change from good to evil with the attention that guardians give a child. William Crisman, in his critique of Mary Shelley’s work, identifies the “sibling rivalry” between Victor and the rest of his family. Crisman remarks that Victor feels as if he is the most important person in his parents’ lives, since he was Alphonse’s and Caroline’s only child. The Frankensteins adopt Elizabeth and Victor sarcastically remarks that he has a happy childhood. This prompts Victor starts to read essays about alchemy and study natural science. Anne Mellor, another critic of Frankenstein, proposes that Frankenstein’s creature was born a good person and society’s reaction to him caused him to turn evil. Victor’s makes the creature in his own perception of beauty, and his perception of beauty was made during a time in his life when he had secluded himself from his family and friends. He perceived the monster as “Beautiful!”, but Victor unknowingly expressed the evil in himself, caused by secluding himself from everybody, onto the creature (60). In this way, the creature is Victor’s evil mirrored onto a body. The expression of Victor onto the monster makes the townspeople repulsed by the creature. The theory of the “alter ego” coincides with Crisman’s idea of sibling rivalry (Mellor). Mary Shelley conveys that through Crisman’s idea of sibling rivalry, Victor isolates himself from society. Mellor describes the isolation during his creation of his creature leads to him giving the creature false beauty that causes Victor to abandon him and society to reject him.
Monsters embody brutality, twisted morality, and irrationality—the banes of human existence, yet the children of man’s inner demons. Monsters are, in short, projections of man’s wicked id. The term creature may suggest monstrosity, and Frankenstein’s creation in Mary Shelley’s novel may be perceived as a personification of the Freudian id. In this case, however, the creature also mediates between its neurotic creator and societal values, just as the Freudian ego, conditioned by the reality principle, mediates between external reality and inner turmoil through practicality. The ego is the psyche’s driving force and, arguably, the real protagonist of Frankenstein. But in the fierce tug-of-war within the ego between the id and its law-abiding opposite—the superego—lies the true battlefield of Shelley’s novel. For ironically the man of science embodies an ego-ridden id, a man-monster, but creates a monster-man that embodies his counterpart: an id-ridden ego. In the wake of his mother’s death, Frankenstein’s tinkering with reanimation unconsciously shapes a symbiosis between himself and his creation—between two tortured halves of one neurotic mind. In fact, Shelley’s novel sinks deep into the crevices of Freud’s psychoanalytic theory, oozing into pits of neurosis, repression, parapraxes, dream symbolism, and the Oedipus complex.
In Mary Shelley’s novel, Frankenstein, values of society are clearly expressed. In this particular society and culture, a great value is placed on ideologies of individuals and their contribution to society. In order to highlight these values, Shelley utilizes the character of Victor Frankenstein. Frankenstein is the main character of the novel, and with his alienation, he plays a significant role that reveals the surrounding society’s assumptions and moral values of individualism and use in society. This is done through Victor’s actions of self-inflicted isolation.
In the novel Frankenstein, the author, Mary Shelley writes about a scientist named Victor Frankenstein who brings to life a human- like creature. Viewing this book through a psychoanalytic lens uncovers the many layers that make up this text and the characters. The psychoanalytic theory deals with a person’s underlying desire, most famously, the oedipal complex. The oedipal complex is the belief that all people possess the desire to partake in affectionate relations with a parent of the opposite sex. In Frankenstein, Shelley uses Victors conscious and subconscious to suggest that Victor possesses the oedipal complex, and that he feels intense guilt for the monster that he has brought to life.
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.
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.
“Allure, Authority, and Psychoanalysis” discusses the unconscious wishes, effects, conflicts, anxieties, and fantasies within “Frankenstein.” The absence of strong female characters in “Frankenstein” suggests the idea of Victor’s desire to create life without the female. This desire possibly stems from Victor’s attempt to compensate for the lack of a penis or, similarly, from the fear of female sexuality. Victor’s strong desire for maternal love is transferred to Elizabeth, the orphan taken into the Frankenstein family. This idea is then reincarnated in the form of a monster which leads to the conclusion that Mary Shelley felt like an abandoned child who is reflected in the rage of the monster.
Victor Frankenstein, the monster’s creator, is the victim of his own pride. An ego unchecked is a dangerous thing. But in truth, it really just shows Victor’s humanity. He is privileged, educated, talented, loved, adored, but he is not perfect. His flaw is his own ego and pride. Without doubt, this is the result of a childhood where he was overindulged. Overindulged to the extent he was given a little girl “Elizabeth” as a “present”, whom he considered from childhood “mine only” (Shelley 21). Little wonder the twenty year old Victor would think he could create, control and command life. But Victor as with any indulged child did not take the time to learn much from his parents about parenting and fath...
To begin with, Victor describes how his mother, Caroline Beaufort, meets his father, Alphonse Frankenstein, after Caroline’s father died in poverty. Victor mentions, “He came like a protecting spirit to the poor girl, who committed herself to his care; and after the interment of his friend, he conducted to Geneva, and placed her under the protection of a relation” (Shelley 28). Even though Caroline is younger than Victor’s father, she has no choice, but to marry him. Without marrying Victor’s father, Caroline will still be in poverty with nobody to support her. Caroline’s decision to marry Victor’s father symbolizes a woman in need of a man to protect her.
Mary Shelley’s Frankenstein or; The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif. Shelley also shows us, in Frankenstein, that although juxtaposing terms, the monstrous being everything human is not, they are also intertwined, in that you can not have one without the other. There is also an overwhelming desire to know the monstrous, if only temporarily and this calls into question the influence the monstrous has on the human definition.