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Uncivilized thinking in Frankenstein

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Presentation on theme: "Uncivilized thinking in Frankenstein"— Presentation transcript:

1 Uncivilized thinking in Frankenstein
Vanessa Chesnut, Gina Hong, John Thai, Karl Vedan, Rose Sullivan and Vivek Patel

2 Literal meaning According to Henry David Thoreau, literature with unworldly and wild intellect attract readers. The prompt wants us to find a creditable work of literature that was thought to be civilized and traditional, but with further analysis can be seen as a polar opposite of our original intention. Then write an essay which explains the works unworldly and wild behavior, also stating how the intellect is important to the work.

3 Thesis Thesis Step 1: The protagonist conveys.
Step 2: The two-faced protagonist thoroughly conveys. Step 3:In Frankenstein, the two-faced protagonist thoroughly conveys unconventional thinking throughout the novel. Step 4:In Frankenstein, the two-faced protagonist, Victor and his creature, thoroughly conveys unconventional thinking throughout the novel. Step 5: In Frankenstein, the two-faced protagonist, Victor and his creature, thoroughly conveys unconventional thinking throughout the novel because as a women in the 19th century Mary Shelley broke free from the chains of conformity by writing Frankenstein. Step 6:In Frankenstein, the two-faced protagonist, Victor and his creature, thoroughly conveys unconventional thinking throughout the novel because as a women in the 19th century Mary Shelley broke free from the chains of conformity by writing Frankenstein; through the creature’s language development, insanity as a prevailing theme, and the reanimation of the creature is Shelley able to establish “unconventional and wild thinking” .

4 “I am alone and miserable; man will not associate with me; but one as deformed and horrible as myself would not deny herself to me. My companion must be of the same species and have the same defects. This being you must create” ( ).  Text Examples This quote shows us that it is “uncivilized free and wild thinking” because you wouldn’t think that the creature would show compassion towards someone else let alone another creature. The creature is able to develop characteristics that a creature would not typically have, showing the free nature that is apparent throughout the book because you wouldn’t think a creature would show compassion.

5 “Yet mine shall not be the submission of abject slavery
“Yet mine shall not be the submission of abject slavery. I will revenge my injuries: if I cannot inspire love, I will cause fear; and chiefly towards you my arch-enemy, because my creator, do I swear inextinguishable hatred. Have a care: I will work at your destruction, nor finish until I desolate your heart, so that you shall curse the hour of your birth” Text Examples Although the creature has develop abnormal social skills, it is at an extreme level; he either feels love or hate and does not seem to have the capacity for any medium, there is no in between. This shows “uncivilized free and wild thinking” because only the reader/ audience has a sense of this leaving them to wonder what chaos would ensue from this.

6 Pivotal Moments After many years of planning and gathering the necessary materials Victor Frankenstein is close to achieving his goal of bringing life to the perfect human being. Victor’s plan backfires when he realizes his creation is a monster. This moment is significant due to the fact that Victor has just given life to a monster that will soon wreak havoc on the world.

7 Pivotal Moments On the mountains near Geneva, Victor encounters his monster. The monster forces Victor to make a promise in which Victor has to make a female monster, or else the monster will kill everyone that is close to Victor. This is a significant moment because the decision to create another monster makes Victor not only question his sanity, but also the safety of the entire human population.

8 Victor Frankenstein Frankenstein's thirst for knowledge beings at the University of Ingolstadt where his chemistry professor, M. Waldman, fuels his desire to conquer the laws on nature. He becomes fascinated with the “secret of life,” discovers it, and fathers a hideous monster. Throughout the novel, ironically Victor, not the creature, is associated as the monster figure. Victor had such an obsession to create a being and when he succeeded, he abandoned it leaving it to fend for itself. Hence Victor in essence is responsible for the deaths of Henry, Justine, William and Elizabeth.

9 The creature The creature is seen as a monster to society, portrayed as a malicious and devilish figure. However, in reality, the monster is compassionate and benevolent and is later tainted by society's ills. Abandoned by his creator and confused, he tries to integrate himself into society, only to be shunned. Society is horrified by the creature unnatural appearance, therefore blinding them to see the creatures true kind and gentle nature.

10 Allusion “I eagerly seized the prize, and returned with it to my hovel. Fortunately the books were written in the language, the elements of which I had acquired at the cottage; they consisted of Paradise Lost, a volume of Plutarch’s Lives, and the Sorrows of Werter. The possession of these treasures gave me extreme delight; I now continually studied and exercised my mind upon these histories, whilst my friends were employed in their ordinary occupations” (Shelley 90-91).

11 Imagery “It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly blunt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs” (Shelley 35).

12 Metaphor "The world was to me a secret which I desired” (18).
Victor is displayed as a God like figure, just as God is able to create life; Victor desires the knowledge and power to create life as God creates it, hence defying the laws of nature.

13 Work Cited Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996


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