It is through Shelley's doubling between Frankenstein and the Monster, and herself and Frankenstein and the Monster, that Freud's uncanny and psychological concepts of the id, ego, and superego can be analyzed. Shelley demonstrates how an individual's outward appearance is not necessarily representative of their character and at the same time is able to come to terms with the psychological traumas that plagued her -- from losing her own mother at childbirth to losing her own children shortly thereafter. Furthermore, Shelley is able to demonstrate how an imbalance between an individual's id, ego, and superego can influence behavior and is also able to demonstrate how each of these is formed, either through instinctual...
Ultimately, Shelley's understanding of the uncanny, and psychological constructs, paved the way for psychologists like Freud to investigate the constructs of fear and unease.
When Wilder had trouble developing the script, he turned to his comic genius friend, and the writing collaboration was born. Wilder loves creating characters, and he created many memorable ones in "Young Frankenstein." He says, "I love creating a character in a fantastical situation, like 'Dr. Frankenstein,' like 'Leo Bloom,' a little caterpillar who blossoms into a butterfly. I love that" (Editors). Brooks on the other hand is known for
Frankenstein Dr. Frankenstein is the "modern Prometheus" Mary Shelley refers to in the title of her novel Frankenstein. Prometheus stole fire from the gods to bestow its gift upon mankind, in direct affront to natural and spiritual law. As a modern Prometheus, Dr. Frankenstein harnesses the power to create life. Mary Shelley uses diction and rich description to convey the central idea that Dr. Frankenstein acts immorally with grave consequences for
The creature grew fond of the family and perceived them to be his protectors. He laboriously studied the family; he learned about their relations to one another, he felt their moods and he practiced their language. He had hoped to be accepted as a member of the family and developed a plan for revealing himself. He decided to first approach the elderly, blind father; the creature hoped to gain
However, he also chooses isolation in his desire to explore the North Pole. And yet, to Brannstrom, the character of Robert Walton balances Victor Frankenstein who deliberately chooses to isolate himself from society and the creature who longs to belong to society. According to Brannstrom, "Walton is someone who can strive for distinction but at the same time turn back when his actions might harm others." Tied to the theme
What Victor is saying is that in order to create a living being from the dead, he must haunt the graveyards like a human ghoul and experiment on live animals to "animate" "lifeless clay," being the deceased remains of human beings. From this admission, it is abundantly obvious that Victor, like Prometheus, sees "clay" as the foundation for creation, a substance which is part of the earth itself and
It is an unwanted pregnancy, a madness that he works hard for. And as soon as he is able to infuse artificial life into this inanimate assembly of various body parts from different corpses, his dream vanishes and his nightmare begins. Unlike a legitimate and natural "pregnancy" and procreation, Victor hides his ambition to create life on his own. It is an illegitimate "pregnancy" with horrifying features of power of
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