➊ Can Man Play The Role Of God In Frankenstein Essay

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Can Man Play The Role Of God In Frankenstein Essay



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Frankenstein and Feminism [CC]

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If you continue, we will assume that you agree to our Cookies Policy. Learn More. Toogle TOC. Writing is easier if you find a topic that suits your interests. So, the first step is to sit down and think. Ask yourself these questions: Are there any contemporary social issues that you find fascinating? Superficial research. Once you have a direction, you can start researching. Find basic information on your topic.

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But ask yourself: can you really provide a novel perspective on the subject? Euthanasia: in how far are terminally ill patients capable of the decision to end their lives? Immunization, safety concerns, and public attitude. Medical intervention: ethical, legal, and moral dilemmas. Does the problem of Adderall usage by stressed college students need more national attention? Biomedical ethics study in the Christian narrative. Psychology issues: television violence. Obedience and conscience: how far are psychological experiments allowed to go?

The true cost of living in the virtual world. Your position on interpersonal relations theory in nursing. Discuss the ethics of circumcision. Should older adults receive expensive medical treatment, even if it puts a financial strain on their family members? Patient-centered vs. Should we use the electronic health record? Discuss organizational behavior in the nursing settings. The role of social media in nursing practice. Transformative education: main arguments.

Inclusion policies in education and their effects. Individualized education program accommodations. Is it justified that university students are often in debt by the end of their education? Labeling in special education. Children with special education needs: intervention. Does integration help reduce social stigma against students with disabilities? Strategies for addressing individual needs in special education. Discuss whether special needs students should have freedom of school choice. Should students with different types of disabilities be taught differently? Personality: early childhood development effects. Eavesdropping, the creature familiarizes himself with their lives and learns to speak, whereby he becomes an eloquent, educated, and well-mannered individual.

During this time, he also finds Frankenstein's journal in the pocket of the jacket he found in the laboratory and learns how he was created. The creature eventually introduces himself to the family's blind father, who treats him with kindness. When the rest of the family returns, however, they are frightened of him and drive him away. Enraged, the creature feels that humankind is his enemy and begins to hate his creator for abandoning him. However, although he despises Frankenstein, he sets out to find him, believing that he is the only person who will help him. On his journey, the creature rescues a young girl from a river but is shot in the shoulder by the child's father, believing the creature intended to harm his child.

Enraged by this final act of cruelty, the creature swears revenge on humankind for the suffering they have caused him. He seeks revenge against his creator in particular for leaving him alone in a world where he is hated. Using the information in Frankenstein's notes, the creature resolves to find him. The monster kills Victor's younger brother William upon learning of the boy's relation to his creator and makes it appear as if Justine Moritz, a young woman who lives with the Frankensteins, is responsible. When Frankenstein retreats to the Alps , the monster approaches him at the summit, recounts his experiences, and asks his creator to build him a female mate.

He promises, in return, to disappear with his mate and never trouble humankind again, but threatens to destroy everything Frankenstein holds dear should he fail or refuse. Frankenstein agrees, and eventually constructs a female creature on a remote island in Orkney , but aghast at the possibility of creating a race of monsters, destroys the female creature before it is complete.

Horrified and enraged, the creature immediately appears, and gives Frankenstein a final threat: "I will be with you on your wedding night. After leaving his creator, the creature goes on to kill Victor's best friend, Henry Clerval, and later kills Frankenstein's bride, Elizabeth Lavenza , on their wedding night, whereupon Frankenstein's father dies of grief. With nothing left to live for but revenge, Frankenstein dedicates himself to destroying his creation, and the creature goads him into pursuing him north, through Scandinavia and into Russia, staying ahead of him the entire way.

As they reach the Arctic Circle and travel over the pack ice of the Arctic Ocean, Frankenstein, suffering from severe exhaustion and hypothermia , comes within a mile of the creature, but is separated from him when the ice he is traveling over splits. A ship exploring the region encounters the dying Frankenstein, who relates his story to the ship's captain, Robert Walton.

Later, the monster boards the ship, but upon finding Frankenstein dead, is overcome by grief and pledges to incinerate himself at "the Northernmost extremity of the globe". He then departs, never to be seen again. Shelley described Frankenstein's monster as an 8-foot-tall 2. His limbs were in proportion, and I had selected his features as beautiful. Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.

A picture of the creature appeared in the edition. Early stage portrayals dressed him in a toga, shaded, along with the monster's skin, a pale blue. Throughout the 19th century, the monster's image remained variable according to the artist. The best-known image of Frankenstein's monster in popular culture derives from Boris Karloff 's portrayal in the movie Frankenstein , in which he wore makeup applied and designed by Jack P.

But their makeup replicated the iconic look first worn by Karloff. In modern times the image of Karloff's face is owned by his daughter's company, Karloff Enterprises, secured for her in a lawsuit for which she was represented by attorney Bela G. Lugosi Bela Lugosi's son , after which Universal replaced Karloff's features with Glenn Strange's in most of their marketing. Since Karloff's portrayal, the creature almost always appears as a towering, undead -like figure, often with a flat-topped angular head and bolts on his neck to serve as electrical connectors or grotesque electrodes. He wears a dark, usually tattered, suit having shortened coat sleeves and thick, heavy boots, causing him to walk with an awkward, stiff-legged gait as opposed to the novel, in which he is described as much more flexible than a human.

The tone of his skin varies although shades of green or gray are common , and his body appears stitched together at certain parts such as around the neck and joints. This image has influenced the creation of other fictional characters, such as the Hulk. In the Toho film Frankenstein Conquers the World , the heart of Frankenstein's Monster was transported from Germany to Hiroshima as World War II neared its end, only to be irradiated during the atomic bombing of the city , granting it miraculous regenerative capabilities.

Over the ensuing 20 years, it grows into a complete human child, who then rapidly matures into a giant, metre-tall man. After escaping a laboratory in the city, he is blamed for the crimes of the burrowing Kaiju Baragon , and the two monsters face off in a showdown that ends with Frankenstein victorious, though he falls into the depths of the Earth after the ground collapses beneath his feet. In the TV miniseries Frankenstein: The True Story , a different approach was taken in depicting the monster: Michael Sarrazin appears as a strikingly handsome man who later degenerates into a grotesque monster due to a flaw in the creation process.

In the film Mary Shelley's Frankenstein , the creature is played by Robert De Niro in a nearer approach to the original source, except this version gives the creature balding grey hair and a body covered in bloody stitches. He is, as in the novel, motivated by pain and loneliness. In this version, Frankenstein gives the monster the brain of his mentor, Doctor Waldman , while his body is made from a man who killed Waldman while resisting a vaccination. The monster retains Waldman's "trace memories" that apparently help him quickly learn to speak and read. In the film Van Helsing , the monster is shown in a modernized version of the Karloff design. He is 8 to 9 feet — cm tall, has a square bald head, gruesome scars, and pale green skin. The electricity is emphasized with one electrified dome in the back of his head and another over his heart.

It also has hydraulic pistons in its legs, essentially rendering the design as a steam-punk cyborg. Although not as eloquent as in the novel, this version of the creature is intelligent and relatively nonviolent. In , a TV miniseries adaptation of Frankenstein was made by Hallmark. Luke Goss plays The Creature. This adaptation more closely resembles the monster as described in the novel: intelligent and articulate, with flowing, dark hair and watery eyes.

The film Frankenstein Reborn portrays the Creature as a paraplegic man who tries to regain the ability to walk by having a computer chip implanted. Instead, the surgeon kills him and resurrects his corpse as a reanimated zombie creature. This version of the creature has the flowing dark hair described by Shelley, although he departs from her description by having pale grey skin and obvious scars along the right side of his face. Additionally, he is of average height, being even shorter than other characters in the series.

In this series, the monster names himself " Caliban ", after the character in William Shakespeare 's The Tempest. In the series, Victor Frankenstein makes a second and third creature, each more indistinguishable from normal human beings. As depicted by Shelley, the monster is a sensitive, emotional creature whose only aim is to share his life with another sentient being like himself.

From the beginning, the monster is rejected by everyone he meets. He realizes from the moment of his "birth" that even his own creator cannot stand the sight of him; this is obvious when Frankenstein says "…one hand was stretched out, seemingly to detain me, but I escaped…". His greatest desire is to find love and acceptance; but when that desire is denied, he swears revenge on his creator. The monster is a vegetarian. While speaking to Frankenstein, he tells him, "My food is not that of man; I do not destroy the lamb and the kid to glut my appetite; acorns and berries afford me sufficient nourishment The picture I present to you is peaceful and human. Contrary to many film versions, the creature in the novel is very articulate and eloquent in his speech.

Almost immediately after his creation, he dresses himself; and within 11 months, he can speak and read German and French. By the end of the novel, the creature is able to speak English fluently as well. The Van Helsing and Penny Dreadful interpretations of the character have similar personalities to the literary original, although the latter version is the only one to retain the character's violent reactions to rejection. In the film adaptation , the monster is depicted as mute and bestial; it is implied that this is because he is accidentally implanted with a criminal's "abnormal" brain. In the subsequent sequel, Bride of Frankenstein , the monster learns to speak, albeit in short, stunted sentences.

In the second sequel, Son of Frankenstein , the creature is again rendered inarticulate. Following a brain transplant in the third sequel, The Ghost of Frankenstein , the monster speaks with the voice and personality of the brain donor. This was continued after a fashion in the scripting for the fourth sequel, Frankenstein Meets the Wolf Man , but the dialogue was excised before release. The monster was effectively mute in later sequels, although he refers to Count Dracula as his "master" in Abbott and Costello Meet Frankenstein.

The monster is often portrayed as being afraid of fire , although he is not afraid of it in the novel. Scholars sometimes look for deeper meaning in Shelley's story, and have drawn an analogy between the monster and a motherless child; Shelley's own mother died while giving birth to her. Another proposal is that the Frankenstein was based on a real scientist who had a similar name, and who had been called a modern Prometheus — Benjamin Franklin. Accordingly, the monster would represent the new nation that Franklin helped to create out of remnants left by England. In discussing the physical description of the monster, there has been some speculation about the potential his design is rooted in common perceptions of race during the 18th century.

Three scholars have noted that Shelley's description of the monster seems to be racially coded; one argues that, "Shelley's portrayal of her monster drew upon contemporary attitudes towards non-whites, in particular on fears and hopes of the abolition of slavery in the West Indies. In her article "Frankenstein, Racial Science, and the Yellow Peril," [22] Anne Mellor claims that the monster's features share a lot in common with the Mongoloid race.

This term, now out of fashion and carrying some negative connotations, is used to describe the "yellow" races of Asia as distinct from the Caucasian or white races. To support her claim, Mellor points out that both Mary and Percy Shelley were friends with William Lawrence , an early proponent of racial science and someone who Mary "continued to consult on medical matters and [met with] socially until his death in Malchow argues that the Monster's depiction is based in an 18th century understanding of "popular racial discourse [which] managed to conflate such descriptions of particular ethnic characteristics into a general image of the "Negro" body in which repulsive features, brute-like strength and size of limbs featured prominently.

From Wikipedia, the free encyclopedia. For related information, see Frankenstein disambiguation. Main article: Frankenstein. London, England: Palgrave Macmillan. ISBN In Frankenstein's shadow: myth, monstrosity, and nineteenth-century writing. Oxford: Clarendon Press. Frankenstein: a cultural history. New York City: W. The s. The Cambridge Companion to Mary Shelley. Cambridge, England: Cambridge University Press. Comfortable Words. New York City: Random House. A dictionary of modern American usage. New York: Oxford University Press. Den of Geek. London, England: Dennis Publishing. Retrieved 13 July Retrieved 29 August Los Angeles Review of Books. Retrieved 25 November Up, Up, and Oy Vey!

Baltimore, Maryland: Leviathan Press. Retrieved 3 November — via Gutenberg Project. Retrieved 5 October A Vindication of Natural Diet. Project Gutenberg. Retrieved 21 January The Cambridge Companion to Shelley. Cambridge University Press. Literature, Culture and Society. CliffsNotes on Shelley's Frankenstein. Boston, Massachusetts: Houghton Mifflin Harcourt. Project MUSE muse. Archived from the original on 2 June Retrieved 29 May Mad Monster Party? Munster, Go Home! Organ transplantation.

Third installment of the conservative Fallen franchise is a pro-Trump film that tackles the Russia Can Man Play The Role Of God In Frankenstein Essay lie. Roger Chillingworth In Nathaniel Hawthornes The Scarlet Letter condemns terrorism, as the main villain, Edgar the Bug, arrived on Earth to personally assassinate two extraterrestrial diplomats of two warring civilizations specifically to Can Man Play The Role Of God In Frankenstein Essay a war with Earth and thus Can Man Play The Role Of God In Frankenstein Essay his kind to Can Man Play The Role Of God In Frankenstein Essay on any killed in battle. Sometimes an individual is forced to leave their home Can Man Play The Role Of God In Frankenstein Essay of war or persecution. In essence this is a movie about confronting evil and destroying it.

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