Abstract
This paper attempts to determine the overall relationship between science and nature in "Frankenstein" and whether both serve as vehicles to God, or divine knowledge. It looks at how Shelley portrays the pair as antithetical adversaries. It also discusses how themes from John Milton's "Paradise Lost" feature heavily in the question of science versus nature and the potential for divinity within the pair. The paper relates that Milton's poem shapes the consciousness of the monster as well as epic allows Shelley to add a human drama to the non-human entities of science and nature. The paper also argues that Shelley's Miltonic references imply that divinity is dead in the realm of science.

From the Paper
"When the monster bounds across the perilous landscape and approaches his creator, Victor's words becomes charged with god-like rhetoric. He commands the creature, the "vile insect," to flee, or else be trampled to "dust." Victor even wishes for the power over life and death (the initial motivation for his scientific pursuits), so he can "restore those victims whom <the creature>...diabolically murdered." Victor, once so close to a euphoric ecstasy with nature, now becomes an embittered and wrathful god. He sojourns to the peaks of Montanvert for rest and recovery, but his interactions with the creature weaken him physically and rob him of a spiritual communion with nature. "

Tags:Paradise, Lost, John, Milton, Victor, Monster

Abstract
This paper reviews Mary Shelley's "Frankenstein" and, in particular, examines the irrational behavior of the protagonist, Victor Frankenstein. It looks at how Victor Frankenstein's irrational behavior begins with his ambition, and what begins as a healthy curiosity about nature and science turns into an obsession that he cannot control. It analyzes the effect of this irrationality on the other characters in the story and shows how Frankenstein's irrational behavior leads to the death of four innocent people and, eventually, his own demise.

From the Paper
"The next character to suffer from Frankenstein's irrational behavior is Justine. She is accused of murder and Frankenstein is still unable to tell what he knows. This scene demonstrates the depth of Frankenstein's irrational behavior. Even as he hears the judges condemning Justine, all he can do is leave the courtroom "in agony" (69). This scene is amazing because it demonstrates Frankenstein's selfish nature. He says, "The tortures of the accused did not equal mine: she was sustained by innocence, but the fangs of remorse tore my bosom and would not forgo their hold" (69). Even as Justine confesses to a murder she did not commit, Frankenstein is not moved. He admits feeling despair, but not so much as to save the girl's life."

Tags:monster, william, justine, science

Abstract
This paper discusses how the three main narrators of Mary Shelly's "Frankenstein" are utterly isolated. It looks at how Robert Walton, Victor Frankenstein, and the Creature are all victims of loneliness and rejection. It discusses how Victor and Walton choose to be detached from the outside world. Walton, looking for a passage through the North Pole, and Victor's dedication to a science revelation, leaves them both alone and surrounded by controversy. It also explores how the Creature is abandoned and forced to be on his own and how this isolation from Victor and the family in the cottage is the fuel for his murderous nature. It shows how Walton, Frankenstein, and the Creature are three characters that are removed from society and loved ones throughout the novel and, ironically, end together in each other's company at the North Pole.

From the Paper
"Victor Frankenstein appears to have been unattached through out his life. During his childhood he was always reading, his thirst for knowledge then is the same obsession that would eventually damn him. While he was creating the monster, he was cut of from the rest of the world while he concentrated on his own ego and scientific development. He, like Walton, did not notice that he was alone. He could only see the success and contributions that he was insistent on completing. Once the creature is finished and alive, Victor immediately regrets his action from the sight of this monster before him. He runs out into the streets, leaving behind the only body that he had been with for months."

Tags:walton, creature, victor, north, pole

Abstract
An in-depth view of Frankenstein's reasons for producing his monster and his mixed feelings of grief and elation at his results. Explored here are the character traits and eccentricities of many of the main players. The essay also looks at whether there are any autobiographical aspects to Shelley's writing when discussing pain and success.

From the paper:

"Superiority through suffering is a major theme of Mary Shelley?s novel, a romantic half-tragedy in which the fall from greatness is nearly all fall or, more accurately, where greatness is defined in terms of the personal pain which results from the consciousness of loss which cannot be recalled or comprehended by other men. In unique regret, Frankenstein discovers his true distinction when he tells of he was seized by ?remorse and the sense of guilt?to a hell of intense tortures.? The failure of language, as always in romantic fiction, is meant to be a sign not of vacuity or of an imaginative limitation of the character or author, but of the single non-communicable nature of great experience. The hero of the novel, a young Genevese student of natural science, is a magnetic character, described as possessing attributes that seem almost divine. Yet despite such expressions of love and veneration for the nobility of Frankenstein, Shelley expresses through her characters certain reservations about him that has led some readers to interpret the novel as an unconscious repudiation of Shelley."

Tags:guilt, remorse, elation

Abstract
Victor Frankenstein is the main character of Mary Shelley's novel, "Frankenstein," published in 1818. He is a brilliant and over-ambitious young Swiss who delves in natural science and aspires to achieve the sole divine prerogative of creating life. Victor reaches this peak level of ambition because he has been pampered in childhood and, because of this, everything seems possible to him. This paper shows that Alfred Adler, like Sigmund Freud, believes that one's personality or lifestyle is fixed as early as 5 years old. The paper discusses three basic child situations, as offered by Adler, the first of which is pampering. Pampered children, like Victor, assume that they can take without giving and do not learn to do things by themselves, only to discover later that they are actually inferior. Victor is also the first child in the family and, according to Adler, first children are more likely to turn into problem children, or become precocious, solitary and more conservative than children in another birth order. The paper shows that Adler's personality concept is viewed as applicable to Victor Frankenstein in his pursuit and creation of a monster. The paper shows examples from the novel of the traits discussed by Adler.

From the Paper
"Victor's lack of natural domestic affection for the creature has very dire consequences for both of them and other people around them (Waxman 2003). He has delved into the depths of the mystery of creation and removed the barriers between life and death, also by using body tissues of dead persons. The combination amounts to monstrosity in all levels. In procreating the monster, Victor also traverses and violates the boundary between the sexes and arrogates upon himself the procreative capacity of a woman in procreating and delivering a creature. When he sees the contemptible result of his ambitious experiment, Victor wants an abortion, instead."

Tags:pseudo-man, Waldman, Krempe

Abstract
This paper looks below the level of the plot exploited by movie version of the book to examine what Shelley herself would have felt was the true level of horror in the book, the investigation of what it means to be human and the terrible things that we might each do ? and in turn have done to us if we were somehow to lose that quality of ourselves that sets us off from all other living creatures as uniquely human.

From the paper:

"It is perhaps true that any movie based on an important book does a great disservice to it, for the media of literature and of film are so essentially different from each other that any translation between the two of them must be cause for substantial cross-cultural fumblings. But Mary Wollstonecraft Shelley's novel Frankenstein, or the Modern Prometheus (published in 1818, long before any author could imagine what the big screen might do to her work) has been especially ill-served by its various cinematic adaptations, which have transformed this novel about a prototypical "mad scientist" who creates a monster who eventually kills him from a serious investigation into the nature of the human soul into a horror flick. Indeed the name Frankenstein has become popularly attached not only the Shelley's creature itself but to a whole genre of low-tech horror movies."

Tags:Zeus, perverse, feminine, nature, science, creation, tyrant, humanity

Abstract
This paper presents a two-fold analysis of the novel, "Frankenstein". One facet discusses the issue of conflict and change happening in human society during the period, and the other facet looks into the dynamics of these changes through exemplars and cases illustrated in the novel. The paper then explores the dominant theme of humanity versus nature and how this conflict affects the development of science and state of humanity. Specifically, this paper posits that "Frankenstein" serves as a chronicle of human history, where science, supported by humanity, dominates nature, thereby causing changes and conflicts that helped shape and improve modern societies of today.

From the Paper
"With these state of events and forces dominating 19th century human society, this paper's analysis of the novel Frankenstein is two-fold: one facet discusses the issue of conflict and change happening in human society during the period, and the other facet looking into the dynamics of these changes, through exemplars and cases illustrated in the novel. However, despite this two-fold analysis, one recurring and dominant theme is inherent in the discussion and analysis, and this is the theme of humanity versus nature, and how this conflict affects the development of science and state of humanity in the novel Frankenstein. Specifically, this paper posits that Frankenstein serves as a chronicle of human history, where science (supported by humanity) dominated over nature, thereby causing changes and conflicts that helped shape and improve modern societies of today."

Tags:natural, sciences, empiracle, thought, scientific, method, victor, monster, creator

Abstract
The issue of the consequences of scientific knowledge is a commonly debated one. Mary Shelley, in the nineteenth century, offers a deep and comprehensive understanding of human values and attitudes towards science in her novel "Frankenstein". This paper shows that instead of simply categorizing science and scientists as either good or evil, Shelley presents a complex network of interwoven values concerning a scientist's responsibility to himself, society and in the practice of science. The paper shows that Shelley analyzes the effects of the accretion of scientific knowledge. As a result, she admonishes scientists who do not think of the consequences of their imprudent certainty of the progress of science and its inherent benefits to mankind. Instead, Shelley asserts that although it is feasible to study nature, the natural world will not succumb to domination.

From the Paper
"Shelley implies that although a scientist may possess the necessary knowledge to achieve almost limitless scholarship, he must think of the consequences of his actions. While Frankenstein represents a rash scientist who must later pay for his lack of regard for society, Walton aspires to discover a total source of power but his ambition is moderated by his love and respect for humanity. Walton, as Shelley's ideal scientist, possesses a more developed conscience than Frankenstein. He strives for distinction by acquiring knowledge yet turns back when his actions have the potential to harm others."

Tags:frankenstein, method, scientific, shelley

Abstract
This paper examines how science fiction explores the nature of technology. It starts by pointing out that the bulk of science fiction is populist, and therefore propagates the naive view of technology. This is where technology is seen as a mere instrument to satisfy human needs, and the paper shows how the instrumentalist view corresponds with the Darwinian concept of unending progress. The paper then introduces Heidegger's critique of instrumentalism, which says that instrumentalism overlooks the essence of technology as "enframing" human existence. The paper then explains why Heidegger calls technology "revealing" and why instrumentalism represents a challenging of nature, as opposed to the traditional view of technology which appeases nature. The paper then highlights the prescience of Mary Shelley's "Frankenstein", which explores the essence of technology so accurately. Other examples of science fiction that explore the essence of technology in the Heideggerian sense, such as Isaac Asimov's robot stories, Karel Capek "Rossum's Universal Robots" and Aldous Huxley's "Brave New World" are also discussed.

From the Paper
"The modern genre of science fiction is by and large defined by its celebratory approach to technological advance. In this way it embodies the ethos of the Enlightenment, which Condorcet had expressed through the notion of the "infinite perfectibility of man". From this point of view technology is a mere means to an end, and the end in question here is the full realization of the potential of material man. From the Industrial Revolution onwards technology becomes more and more a conscious aspect of man's life, and the conscious concept of "technology" is as a tool by which man imposes his control over nature. Despite being the general perception, the opposite perception, that technology unleashes horror onto the world, has also been entertained all along. This is the perspective of Mary Shelley's Frankenstein, arguably the very first science fiction novel. "

Tags:Frankenstein, Asimov, robot, rebellion, Capek, Rossum, Brave, New, World

Abstract
This paper analyzes two works of literature that explore the destructive fascination for science and nature: Mary Shelley's "Frankenstein" and Nathaniel Hawthorne's "The Birthmark." It discusses the characters of Alymer and Frankenstein, both men of science, and how they are responsible for their fate.

Tags:Frankenstein, The Birthmark, Alymer, Hawthorne, Shelley, Prometheus