The gigantic body and the ugly countenance, these hideous features of the creature who is assembled with the materials that Frankenstein had selected as beautiful, imply an alienated and transformative state of human beings. Marx’s theory of alienation works best here, as what is created by Frankenstein becomes what he is alienated from and largely controlled by. Again, the metaphor ‘slave’ appears in the confrontation between Frankenstein and the creature. When Frankenstein agrees to make a female creature for the creature, he feels the submission in his relationship with the creature and admits that he is the slave of the creature, saying “but through the whole period during which I was the slave of my creature I allowed myself to be governed by the impulses of the moment” (139). The creature is even more conscious of his superior power over Frankenstein, and calls himself ‘the master’ when Frankenstein breaks his promise, “Slave, I before reasoned with you, but you have proved yourself unworthy of my condescension.
Female monstrosity is manifested in different dimensions. Mladan Dolar, in this respect, argues that: “The monster can stand for anything our culture has to repress; the proletariat, sexuality, other cultures, alternative ways of living, heterogeneity, the Other.” (qtd. in Walser, 2). In other words, monsters represent a site of threat for the Western notions of normalcy. Mittman argues that monsters not only “challenge and question; they trouble, they worry, they haunt.
The closer Macbeth gets to his goal, the more corrupted he becomes, and even in power, he finds himself tormented by the thought of losing it. This intense ambition, coupled with Macbeth’s relatively normal disposition in the beginning of the play, works to characterize power as inherently corruptible and, ultimately, to be kept under close surveillance. Similarly, King Lear finds himself perverted by the power he once held- so much so that he can’t even recognize himself without it, exclaiming, “does
This subgenre of Romantic Literature uses emotion as a technique to create metaphorical gender coding. By presenting overflowing emotions as a living or animated experience, characters in a Gothic work are given an additional layer of traits. According to Nicola Trott, the sublime is associated with masculinity by providing massive strength and size that induces terror. Sublimity creates terror through obscurity and uncertainty of potentially, irrationally terrible situations, such as murder or rape. Terror being gendered as feminine, allows Gothic works such as the The Monk by Matthew Gregory Lewis to complicate the gender and identity of his characters with the aforementioned
I long to go through the crowded streets of your mighty London, to be in the midst of the whirl and rush of humanity, to share its life, its change, its death, and all that makes it what it is. (1993: 22) Thus, as we come to realize the context is crucial, and from the beginning of Dracula it is quite obvious that the story’s localization strengthens contemporary fears related to the Victorian society as well as with the nature of Englishness. The contrast between the West’s richness and splendor is constantly correlated with the East’s perpetual worthlessness. As Gill Davies pointed out, “the detailed geography of London is deployed to highlight a number of imperial and national anxieties” (Davies, 2004) which already existed. As a matter of a fact, by the time that Dracula was published stereotypes were well-established, and London was already considered both the heart and the image of the Empire, all the while the East represented all the things that the West was not.
Shelley is nuanced in acknowledging that a belief in absolute good or evil is an unrealistic moral framework of the world and in defining key points of unexpected moral reversal amongst her characters, Frankenstein can also suggest Both The creature and Victor display monstrous and humane qualities. The creature 's own killing spree is unable to be overlooked and especially his premeditated attack on Elizabeth, where he explicitly threatened to be with her "on her wedding night" illustrates that the monster also demonstrated monstrous qualities. Additionally, Shelley presents the destructive nature of her otherwise victimised creature, through the black marks that his murder imprints on the necks of Henry and Elizabeth. This symbolic manifestation of the lasting scars of unfettered industrialism perhaps evoke resentment for the monster 's lack of control and similarly suggest that Both The creature and Victor display monstrous and humane qualities. Moreover, it is Victor who appears transiently capable of consideration for the consequences of his actions who, as he aborts a secondary female creation, questions "had I right... to inflict this curse upon everlasting generations?"
In the contemporary era, the issue of race remains a prevalent topic in public discussion. Thus, Colson Whitehead’s The Underground Railroad is meaningful as it explores the legacy of racial injustice in the United States and its consequences in today’s society. In his development of the underground railroad as a literal and physical vehicle to freedom, Whitehead is able to candidly detail the ubiquitous nature of racial prejudice and the horrors associated with it. Over the course of his novel, the author utilizes a variety of rhetorical devices in order to further explore the many hardships that ‘freedom’ inevitably entails. In particular, Whitehead’s use of imagery, character interactions and figurative language brings to attention aspects of race relations that were and are still often misunderstood or disregarded by society.
Hume also supports this claim by stating that the creature, which was meant to be beautiful, reflects in its outward form Victor’s inward deformity. He gives an example with the early history of the monster that craves love, which is an ironic reproduction of Frankenstein 's personality, for he can neither express love, nor respond properly to human emotions. The result of this intercourse between Gothic and Romantic elements is a novel that is far more complex and sophisticated than the work of many of her contemporaries by provoking philosophical, ethical and moral questions left to the reader to answer, as said by Nicole
The perception of authenticity can be described as the notion that people ask questions about the substance of directorial standards of society, and consequently they discard certain behavioural enigmas of the society which they belong to. (Khaladkar).Holden dislikes being an inauthentic and displays aggravation towards ignorance, immorality, superficiality and hypocrisy; subsequently he begins his existential quest for authenticity. Holden reacts against privileged predators such as Stradlater Ward in Chapter 6, where he describes Stradlater as “ Youre a dirty stupid sonuvabitch of a moron’’ which lead to the fight between him and Stradlater.
Machiavelli seemed to have a critical look regarding human nature. He assumed that individuals have good and bad characteristics, yet would generally turn towards self-interest. With this being said, Machiavelli commonly questioned the loyalty of the citizens of the state. His views on human beings were that absolutely selfish and egotistical creatures, so a prince could not trust the word of the people. This is the reason a prince ought not to be excessively compassionate, because men were characterized as being “ungrateful, fickle, liars, and deceivers”, and when there is danger they is a threat they will betray the prince in a heartbeat.