well as fantasy creatures. An indication is Mary Shelley’s Frankenstein (1818), in which Victor Frankenstein attempts with his methods to create life with effects on himself, his creation and his family. In the frames of the supernatural, the rational explanation of situations is less significant than the atmosphere and the effects created by the authors. The “supernatural” is not subject to the laws of nature but to what exists above and beyond nature. The supernatural stories belong to fantasy
Mary Shelley’s Frankenstein follows the story of a scientist and his experiment gone wrong. Victor Frankenstein, the scientist, abandons his creature at the first sight of it coming to life. The monster, left alone and afraid, transforms from a warm, loving character to one that seeks revenge as the toils of nature and reality begin to take control. Their title changes of “master” and “subordinate” are often referenced in Frankenstein, and plays off the feelings of vengeance they have for each other
Mary Shelley wrote Frankenstein in 1816 while she was in Geneva with her husband and her other friends and they decided to write ghost stories for their amusements. This novel lies between different genres and communicate issues regarding the apprehensions of new emerging science, excessive rationality and mechanism. To begin with the generic concern of the novel, it can be seen a typical of romantic era where notion of aesthetic and imagination were dominant, imagination contrasted itself with
boundaries of human knowledge. Marvellous Horror is the second category which can only be explained by surrendering to the unknown and accepting the supernatural while the story lasts. We should be ready to accept and not to object the ‘new laws of nature’. This horror deals with stories about vampires, werewolves, devils and other supernatural or mythological creatures. The third category is fantastic horror which does not give any justification of the non-sensical events which are happening but instead
develops. Hegel was one of the first to embrace the idea of the other as integral in self-consciousness. Findley, in an analysis of Hegel’s Phenomenology of Spirit, explains the author’s idea: We progress to a true view of the relation of essential nature to outward manifestation if we see both the profound opposition of the two, which must not be ignored, and the fact that each factor is the opposite of its opposite, and so includes the whole opposition and its opposite in itself. The supersensible