Character of The Monster in the novel "Frankenstein" (1818) by Mary Shelley. Who is the Monster, The Creature or Dr. Victor Frankenstein in Mary Shelly's novel "Frankenstein Or The Modern Prometheus"
Character of The Monster in the novel "Frankenstein" (1818) by Mary Shelley. Who is the Monster, The Creature or Dr. Victor Frankenstein in Mary Shelly's novel "Frankenstein Or The Modern Prometheus"
Lecture Outline LECTURE 1 Frankenstein and Gothic .docxSHIVA101531
Lecture Outline
LECTURE 1: Frankenstein and Gothic literature
The problem of lecturing Frankenstein
The pervasiveness of the Frankenstein myth in 20th-century culture (especially in film; see
Terminator, The Incredible Hulk); the overwriting of the novel with its mythic refiguration.
Origins: the Jewish myth of the golem.
The appropriation of Mary Shelley by feminist criticism.
The social context
The historical context to the nineteenth century, as a time very aware of upheaval and change.
Important factors include:
- the French Revolution, and its effect on notions of class and identity;
- Darwinism and his effect on religious thought;
- the Industrial Revolution, with its ambivalence towards technology as both exciting and
dangerous, and its profound effect on social class with the possibility for acquired rather than
inherited wealth;
- Colonialism, and the British Empire's expanding wealth and influence;
- the influence of Romanticism as a unified intellectual movement.
Gothic literature and Romanticism
Neo-classicism and the Romantic reaction against social order and rationality.
Gothicism as a lunatic fringe version of Romanticism's celebration of the emotional (terror as the
most extreme form of emotion)
Common themes: Nature, the emotions, the exotic, medieval nostalgia, a celebration of the self.
The Gothic novel
The function of Gothic as a cult literature of the late 18th and early 19th century
A popular, romance form - stylised, non-realistic, idealised, with an adventure format
Gothic as an extreme form of romance - the imagination run wild.
The implications of Gothic as mostly a pulp genre, the equivalent of the modern horror movie.
Jane Austen's parody in Northanger Abbey of the titillation of the "horrid".
Some characteristics of Gothic
MELODRAMA - stereotype, moral polarisation, one-dimensionality, excess.
EXOTICISM - wild/remote locations, other cultures such as the Oriental.
TRANSGRESSION - fear of barbarism, of unleashing human passion beyond social constraings.
Gothic's operation as a literature of the unconscious, of transgressive desires.
ALIENATION - the genre's interest in identity and subjectivity, but of an alienated self, set apart
from society.
LECTURE 2: Frankenstein as a novel of identity
Romanticism and selfhood
Shelley's position firmly within the Romantic movement
The importance of the Romantic emphasis on the self as distinct from society
The exaggeration of Romance's sense of individuality into alienation in gothic.
Selfhood as a process of deliberate artistic construction.
The distinction between the physical and spiritual selves.
The family in Frankenstein
The family as a representation of society.
Physical and metaphorical orphans: the theme of alienation from the family.
Excessive reactions against alienation: the theme of incest.
The influence of Milton's Paradise Lost
...
Lecture Outline LECTURE 1 Frankenstein and Gothic .docxSHIVA101531
Lecture Outline
LECTURE 1: Frankenstein and Gothic literature
The problem of lecturing Frankenstein
The pervasiveness of the Frankenstein myth in 20th-century culture (especially in film; see
Terminator, The Incredible Hulk); the overwriting of the novel with its mythic refiguration.
Origins: the Jewish myth of the golem.
The appropriation of Mary Shelley by feminist criticism.
The social context
The historical context to the nineteenth century, as a time very aware of upheaval and change.
Important factors include:
- the French Revolution, and its effect on notions of class and identity;
- Darwinism and his effect on religious thought;
- the Industrial Revolution, with its ambivalence towards technology as both exciting and
dangerous, and its profound effect on social class with the possibility for acquired rather than
inherited wealth;
- Colonialism, and the British Empire's expanding wealth and influence;
- the influence of Romanticism as a unified intellectual movement.
Gothic literature and Romanticism
Neo-classicism and the Romantic reaction against social order and rationality.
Gothicism as a lunatic fringe version of Romanticism's celebration of the emotional (terror as the
most extreme form of emotion)
Common themes: Nature, the emotions, the exotic, medieval nostalgia, a celebration of the self.
The Gothic novel
The function of Gothic as a cult literature of the late 18th and early 19th century
A popular, romance form - stylised, non-realistic, idealised, with an adventure format
Gothic as an extreme form of romance - the imagination run wild.
The implications of Gothic as mostly a pulp genre, the equivalent of the modern horror movie.
Jane Austen's parody in Northanger Abbey of the titillation of the "horrid".
Some characteristics of Gothic
MELODRAMA - stereotype, moral polarisation, one-dimensionality, excess.
EXOTICISM - wild/remote locations, other cultures such as the Oriental.
TRANSGRESSION - fear of barbarism, of unleashing human passion beyond social constraings.
Gothic's operation as a literature of the unconscious, of transgressive desires.
ALIENATION - the genre's interest in identity and subjectivity, but of an alienated self, set apart
from society.
LECTURE 2: Frankenstein as a novel of identity
Romanticism and selfhood
Shelley's position firmly within the Romantic movement
The importance of the Romantic emphasis on the self as distinct from society
The exaggeration of Romance's sense of individuality into alienation in gothic.
Selfhood as a process of deliberate artistic construction.
The distinction between the physical and spiritual selves.
The family in Frankenstein
The family as a representation of society.
Physical and metaphorical orphans: the theme of alienation from the family.
Excessive reactions against alienation: the theme of incest.
The influence of Milton's Paradise Lost
...
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2. ♧ Name :- Nirali Makvana
♧ Sem :- 2 ( 2019 – 20 )
♧ Roll no. :- 14
♧Subject :- The Romantic Literature
♧ Topic :- The Study of “ Frankenstein ” through
the lens of Cultural studies
♧ Submitted to :- Department of English, Maharaja
Krishnakumarsinhaji Bhavnagar university.
♧ Enrollment no. :- 2069108420200023
3. BRIEF INTRODUCTION ABOUT THE AUTHOR
♤ Mary Shelley was an English novelist, well
known female author in the Romantic era,
who wrote Gothic and Scientific novel, “
Frankenstein : The Modern Prometheus.”
♤ In her writing style we can find out such
elements like : Autobiographical elements,
Gender, Enlightenment and Politics. She
wrote Short stories, Travelogues, Biographies
and editorial works.
4. FRANKENSTEIN THROUGH THE LENS OF CULTURAL
STUDIES
First, it is important to know What is
Cultural Studies.
What is Cultural
studies
Generally Cultural studies is the study of
elements of Marxism, Postmodernism and
poststructuralism, Feminist, gender studies,
anthropology, Sociology, race and ethnic
studies, film theory, urban studies, Public
policy, Popular cultural studies and
Postcolonial studies.
5. MARY SHELLEY’S NOVEL MORPHED INTO COUNTLESS
FORMS IN HIGHBROW AND POPULAR CULTURE.
Including the Visual arts, fiction
and nonfiction, stage plays,
television, advertising, clothing,
jewelry, toys, key chains, coffee
mugs, games, Halloween costumes,
Comic books, Jokes, Cartoons,
Pornography, academic study, Fan
clubs, web sites and even foods.
6. WE CAN STUDY FRANKENSTEIN THROUGH
Revolutionary Births The Frankenpheme in popular culture :
Fiction, Drama, Film, Television
● The Creature as Proletarian
● A Race of Devils
● From Natural philosophy to
Cyborg
● The greatest Horror story Novel ever
written
● Frankenstein on the Stage
● Film adaptations
7. ♧ Frankenstein Challenged accepted
ideas of its days.
♧ Frankenstein “ getting in touch ”
~ American created Frankenstei
~ Frankenfoods
~ test – tube babies and cloning
Revolutionary Births
8. THE CREATURE AS PROLETARIAN
● Mary Shelley’s creature is a political
and Moral paradox.
The Creature’s literary education and
idealistic education.
● Goethe’s “ The Sorrow of Young
Werther ”
● Plutarch’s “ Lives ”
● Milton’s “ Paradise Lost ”
9. FRANKENSTEIN: A RACE OF DEVIL
● Frankenstein may be analyzed in its portrayal of different races.
● “ To turn him ( the slave ) loose in the manhood of his physical strength, in
the maturity of his physical passion, but in the infancy of his instructed
reason would be to raise up a creature resembling the splendid fiction of a
recent romance.” ( George Canning, speaking on March 16, 1824 )
● Frankenstein‘s Creature recalls the theory of Polygeny and autogenesis.
● The novel as a critique of empire and racism, pointing out that Social
engineering should not be based upon pure, theoretical or natural – Science
reason alone.” ( Gayatri Chakravorty Spivak)
10. FROM NATURAL PHILOSOPHY TO CYBORG
● Frankenstein is more relevant than genetic
engineering, biotechnology and Cloning, the
most far reaching industrialisation of life forms
to date.
● Paradigm shift occured from Science as
natural philosophy to Science as biology, a
crucial distinction in Frankenstein.
● Has science gone to far ?
11. The Frankenpheme in
Popular culture: Fiction,
Drama, Film, Television
Frankenstein on the
stage :-
The first theatrical
presentation based on
Frankenstein was, “
presumption” or “ The
Fate of Frankenstein” by
Richard Brinsley Peak
Film Adaptation
1931 James Whale film “
Frankenstein” is the
most famous of all
adaptation.