Victor narcissistically investshimself in his offspring, the helpless Creature; but contrary toFreud's belief that parents idealize their children, Victorimposes a monstrous identity on the "." With fittingpoetic justice, Victor finds himself punished by his shadowydouble.Victor Frankenstein is the first of several narcissisticcharacters who will occupy our attention, characters whorationalize their empathic failures and seek to escape theconsequences of their actions.
Deborah said: An interesting collection of essays on elements of the Frankenstein storAn analysis of the theme of alienation in Mary Shelley's…2.1 The theme of alienation in the character of Victor Frankenstein.
Despite theawkwardness in terminology -- "narcissistic schizophrenic"conflates two quite different psychiatric classifications --Trop accurately describes crucial elements of VictorFrankenstein's personality.
Hill," and the Physiognomy of Desire," 32, 4 (1975): 335. Gerhard Joseph, "Frankenstein's Dream: TheChild as Father of the Monster," , 7,2 (1975): 97-115. Gordon D.
Miyoshi points out the essential oneness of Victor andthe Monster (84). In the original 1818 edition of, Elizabeth is described as Victor's cousin,while in the 1831 revision she is described as an Italianfoundling adopted by the Frankensteins.
The monstrous uncertainty produced bysuch open-endedness might also have a doubled effect: on the onehand it might instil a desire to construct a final,authoritative meaning; on the other it might engender restlesscritical interrogations.Such double effects of writing, exceeding the singular limits ofbinary opposition, parallel the work of deconstruction asJacques Derrida describes it: deconstruction must, 'through adouble gesture, a double science, a double writing - put intopractice a reversal of the classical opposition and a generaldisplacement of the system' (195).
But surely, traders and financial operators must make something out of it, right? Our mental image of finance does in fact tend to represent an élite of scientists and money experts (going so far as to include quantum physics!), but today’s financial crashes do rather give the impression of a clique of mad scientists playing with other people’s life-and-death stakes. These people appear utterly convinced they know what they are doing, but end up resembling Dr. Frankenstein – their monster turned on its creators (see: the subprime crisis). Today’s financial markets have taken the guise of absurd and unknowable entities – like Sgurz. Finance seems more divination than actual science.
No less pertinent to the daughter of Wollstonecraft, the 1790s was the decade of the first political arguments for the rights of women. Metaphors of monstrosity played a part in this polemic, too. In A Vindication of the Rights of Men (1790), Wollstonecraft’s brisk rebuttal to Burke’s conservative alarm, she described the man privileged in the system of aristocracy as “an artificial monster.” Her sequel of 1792, A Vindication of the Rights of Woman, highlights monstrosity as a category for women in all social classes.
However, Peter Brooks explains in “Godlike Science/Unhallowed Arts: Language and Monstrosity in Frankenstein” that Shelly had presented the problem of “Monsterism” through her language....
Light cedes to darkness, the life-giver dies andWalton reluctantly abandons his quest but still gazes on themonster disappearing in the opposite direction.
The force of the monster asa dangerously necessary but unstable figure of difference hassubverted all security and all systems of meaning.The novel, too, is traversed by this disturbing momentum ofmonstrosity.
The word monster is used in both the above quotes, yet one is used as an insult about evilness, and the other is used as a descriptive word about the physical appearance....
Everything is rendered suspect, as the expostulations ofElizabeth, Frankenstein's previously contented fiancee,announce: 'misery has come home' she declares, and she goes onto say that 'men appear to me as monsters thirsting for eachother's blood' ().