Frankenstein Monster Analysis

Have you ever read a story that causes chills or your emotionally invested in a character. The story’s Frankenstein by Mary Shelley and The mysteries of udolpho by Ann Radcliffe are literature that are centered in fear. These story’s cause suspense or has ghost or some type of monster. A gothic is a great example of fear in literature. The settings, characters, and story line has a way of making the reader invested by hooking to their emotions. Literature can be put into categories but it does not mean that all stories are the same.

Perceptions from others can be cruel. Criminals are often thought of negatively by themselves and are also disrespected by others in society. The novel Monster presents the impressions people have about Steve Harmon, an accused criminal on trial for robbery and murder. Furthermore, the text explains Steve’s views of himself during and after time in prison from first person point-of-view. The novel Monster by Walter Dean Myers highlights the various perceptions that exist about an accused criminal.

The author of “The Literary Panorama, and National Register, N.S., 8 (1 June 1818): 411-414.” uses the critical analysis to point out the flaws of Mary Shelley’s Frankenstein story. Although there have been many re-printings of Frankenstein, Mary Shelley originally wrote and published her book Frankenstein in 1818. When Frankenstein was first published in 1818 it was met with mixed reviews like any good book is. I found my critical analysis on the website Romantic circles run by the University of Maryland under the The Mary Wollstonecraft Shelley Chronology & Resource Site by Shanon Lawson. The website itself had a couple different critical analysis options to choose from. Unfortunately in all the the information I was able to locate about these posts I was unable to find even one author name in any of the critical analysis that I looked at. With that I decided to do some research and try and find the author anyway. Sadly I still came up empty handed even after finding the article listed or mentioned on a couple different websites. However I do not believe that diminishes the importance of this critical analysis as many sites seem to use this analysis. All things considered the author has some good points of opposition for Mary Shelley 's Frankenstein.

Some of the main qualities that make up the basis of a monster include a creature that mostly deviates from the norm and can pose a threatening force against the rest of society. When it comes to works of fiction, the machine has taken a prominent role in the formation of monsters and continues to do so as societies reliance on technology increases. In 1818s Frankenstein, Or the Modern Prometheus by Mary Shelley, The Curse of Frankenstein produced by Hammer Studios in 1957, and Ex Machina made in 2015 each tells the story of a man pushing the limits and bringing to life a new being, in turn creating a monster. These creations deviate from their creator’s initial expectations and change from being viewed as a wonder to something of horror forcing

In Mary Shelley’s Frankenstein, Victor Frankenstein brings his creation to life and has to endure the repercussions of his actions. While Victor is in fact human, the question of whether the creature or Victor is more human still stands. Humanity is demonstrated as compassionate in the book and monstrosity is the opposite. The creature is more human because of his developed personality and desire to be human. Victor, although born into a humane family, evolved into everything bad about humanity; he developed obsession, resentment, and manipulated life to conform to his idealities. Therefore, Victor is the real monster.

“Clinical gaze”, a term coined by French philosopher Michel Foucault from The Birth of the Clinic, deals with the transformation of doctor-patient relationships over time. Since the birth of modern medicine, Foucault states that doctors tend to view their patients more as a disease and less as a person. Before the improvements in science were made during the 19th century, doctor carefully listened to their patients and heavily relied on their narratives to make a diagnosis. Not only were these narratives were a central part to the doctor-patient relationship, but they also helped build a sense of trust within the doctor and individuality within the patient. Doctors were viewed more an “advisor” and “friend” rather than a complete authoritative

Although the process of dehumanization begins when Victor procures various parts for the Creature from the slaughterhouse, it is made poignant when the Creature remains a nameless entity. Dehumanization is known as “a psychological process whereby opponents view each other as less than human and thus not deserving of moral consideration” (Maiese). Without a name, the Creature is unable to be claim relation to societal humanity—even domesticated dogs have names —but as the term ‘monster’ persists, he moves further into the territory of fear. “’Great God…who are you?’”(Shelley 148) exclaims the

This passage taken from Mary Shelley’s horror novel, Frankenstein, on page 66-67 describes the atmosphere and ponderings of Victor Frankenstein as he solitarily ascends to the summit of Montanvert. After feeling grievance and despair as he blames himself for the death of both his brother, William and his servant, Justine, Victor attempts to find solace in the majesty of nature to repair his emotional state. However, his descriptions of the environment are somewhat grim and bleak, contrasting the pleasant and peaceful mood that being in the natural world typically evokes. This scene causes him to question man’s desire for superiority against nature as it reflects upon himself. In this passage,

In literature, a doppelganger is a device used to shape a protagonist’s double. This double exhibits the ability to impersonate their original, but can also possess different morals and ethics that revolve around bringing a dilemma to the protagonist. The Double by Fyodor Dostoevsky uses the idea of a doppelganger when the main character, Golyadkin, finds an exact double of himself upon travel. His double ultimately has a goal of destroying Golyadkin’s reputation because he has the social skills that Golyadkin doesn’t, which creates madness in both characters. Mary Shelley’s Frankenstein reveals that Victor Frankenstein, the protagonist, and his monster each control different aspects that make up one human being. Frankenstein represents the

One’s personality or inside appearance should not be determined by their outside appearance. The monster was treated differently because he looked different, but if one got to know him he might have been a kind, caring person instead of a vicious person. If Frankenstein realized his responsibilities for others, his citizens, he would not have made this vicious monster, or Frankenstein would have given it the nurturing it needed to be a good person. As global citizens, we should understand the risks we can put each other through with our scientific, social, or personal life decisions. Our responsibility for others could be to help one to grow up as mature, kind, effective

Victor’s knowledge and godly curiosity to create life, led him to make an uncontrollable murderer. This creation was built purely out of selfishness and greed:

He has spent almost two years of his life completely focused on his task, even at the expense of his own personal well being. Yet his beautiful dream is now completely gone and all Victor sees is horror. With the same amount of intensity that he desired to complete his task, he now desires to take back and forget the experience. Victor is “unable to endure the aspect of the being [he] had created”. He genuinely cannot stand the sight of the creature. If there was a person who should be able to overcome the creature’s physical presence, it is Victor. Not only is Victor the creator, but he also put so much of his own time and effort into the creature. But the creature’s body is too hideous. Furthermore, Victor attributes his change in feeling to “human nature”. This contrasts with the horrifying description that the reader is just given of the creature. Here Victor is explaining the creature’s disgusting body, and explaining his reaction to it as human nature.

In this passage, Frankenstein’s monster is witnessing the reuniting of Felix, one of the members of the family that he is watching, and Safie, the Turkish woman that Felix is in love with. The Monster also experiences love, for Felix as well as the other members of the family, but does the Monster feel attracted to him? He does mention that he feels that Felix at one point is “as beautiful as the stranger”. The Monster recognizes beauty in both genders. This may give more insight into Mary Shelley’s personal life that may have spilled into her writing. Since Shelley’s parents were progressive thinkers, she may have been accepting of other sexual orientations, which is uncommon for the time period. Similarly, Victor Frankenstein has expressed

1964 was the year that Toho decided to shift the kaiju genre 's focus from adults to children, stripping the films from much of their depth and largely turning them into wrestling matches among actors with monster suits. This particularly film though, remains one of the best entries in the category, particularly due to its cast that featured Takashi Shimura, who played in Akira Kurosawa 's "Ikiru" and Eiji Okada, from Hiroshi Teshigahara 's "Woman in the Dunes".