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Annotated bibliography on postpartum depression
Annotated bibliography on postpartum depression
Postpartum depression research paper
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In 1985, Moer coined the term ‘birth myth’ to describe Frankenstein as a “woman’s book” about post-natal depression (79), and this idea has since been developed upon. However, the tradition of understanding Frankenstein as a ‘birth myth’ has been primarily considered in light of the biographical details of Mary Shelley’s life and their correspondence with her work. Particular attention has been given to the impact of her mother’s death shortly after Shelley’s birth and the subsequent trauma of the death of her daughter who was born premature (Williams 30). Hence, Moer suggests that ‘no outside influence’, other than Shelley’s personal losses, is necessary to explain the ‘fantasy of a newborn as at once monstrous agent of destruction and piteous
In The Last Man, for example, Shelley writes that ‘women who while gazing on the living forms of their children forget the pain of maternity’ (54). This is embodied in the ‘fond and anxious’ Mrs Raby in Falkner, who proclaims her child ‘lovely from her birth’ and desperately tries to shelter her from the ‘loveless race’ of an uncaring society (44). In contrast, Frankenstein feels nothing but immediate revulsion for his creature’s ugliness, pronouncing it ‘hideous’ (34) because it does not have a human appearance. Mellor draws parallels between the newborn creature’s yellow skin and eyes and babies who suffer from jaundice (39). It was not until the 20th century that neonatal jaundice was properly assessed, and the concept was only beginning to be understood when Shelley was writing Frankenstein, with the continuing idea that ‘if a poor child grows yellow – consequently it must die’ and therefore further help would not be attempted (Garner). The neglect of children, therefore, who were born with a “monstrous” deformity or illness, seems to be commented upon by Frankenstein’s abandonment of the creature because of its appearance. Moreover, Frankenstein not only fails as a maternal presence after the creature is born, in being unable to show affection or nurture his child, but his means of reproduction may also have harmed his offspring before it even comes into existence. Although not in the psychosomatic terms of the 1960s concept of the ‘The Attachment Theory’ (Holmes 41), the importance of the mother as the primary caregiver was apparent in the nineteenth century. For example, The Literary Gazette, in 1827, ran an article that stated a child’s health unquestionably ‘depends greatly on the health, both corporeal and mental, of the mother’ (122). According to Mind Hacks, which traces back the history of birthing psychology, the nineteenth century
Previously portrayed through Frankenstein’s letters as the sole cause of both his and society’s despair, the monster’s use of the word “abortion” instead demonstrates Victor’s individual contribution towards his creature’s destructive path. Since the definition of abortion serves as the premediated act of terminating life, Frankenstein’s deliberate decision to desert his artificial creature exhibits society’s lack of sympathy for those with uncontrollable differences such as the monster’s physical deformities. Nevertheless, the textual irony of the monster’s frustrations eventually becomes apparent when the creature exclaims “Was there no injustice to this?”. Setting off a chain reaction of several more questions, Shelly’s text further mirrors the monster’s bafflement with the careless actions of Victor Frankenstein. That is, although Frankenstein gave his creation the “gift” of life, the monster has been perpetually denied every chance to live happily because of mankind’s relentless and inescapable hatred. More so, explained as the abandonment or failure of a process, Frankenstein’s ultimate refusal to love his own creation typifies how the creator’s ironic choices remain accountable for failing both the monster and
In Mary Shelley’s novel, Frankenstein, she addresses the challenges that arise in both the creation and life of a dead creature that has been brought back to life in hideous forms. The
Critic Northrop Frye says, “Tragic heroes tower as the highest points in their human landscape that they seem the inevitable conductors of the power about them, the great trees more likely to be struck by lightning than a clump of grass. Conductors may of course be instruments as well as victims of the divine lightning”. Mary Shelley’s Frankenstein greatly exhibits the theme of the consequence of knowledge and irresponsibility among others through its tragic hero, Victor Frankenstein. Northrop Frye’s quote is certainly true when looking at Frankenstein’s situation. Victor is a victim of his divine lightning, and ultimately causes much trouble for himself; however, Victor also serves as the tragic hero in the lives of the monster, his family, and his friends.
A predominant theme in Mary Shelley’s Frankenstein is that of child-rearing and/or parenting techniques. Specifically, the novel presents a theory concerning the negative impact on children from the absence of nurturing and motherly love. To demonstrate this theory, Shelly focuses on Victor Frankenstein’s experimenting with nature, which results in the life of his creature, or “child”. Because Frankenstein is displeased with the appearance of his offspring, he abandons him and disclaims all of his “parental” responsibility. Frankenstein’s poor “mothering” and abandonment of his “child” leads to the creation’s inevitable evilness. Victor was not predestined to failure, nor was his creation innately depraved. Rather, it was Victor’s poor “parenting” of his progeny that lead to his creation’s thirst for vindication of his unjust life, in turn leading to the ruin of Victor’s life.
In this essay I will be looking at the differences between the creation of the first and second monster, how Mary Shelley portrays the feelings of Victor and the monster and the different myths and legends that she refers to within the novel. Victor Frankenstein had a wonderful life as a child: 'No human being could have passed a happier childhood than myself' (p.39) He was loving and cared deeply for his family, especially for his foster-sister, Elizabeth, who he looked upon as his own, and saw as a 'more than sister' (p.37). Victor always had an 'eager desire to learn' (p.39) about 'the secrets of heaven and earth' (p.39). When he was thirteen years old he started studying the works of Cornelius Agrippa and the fact that his father called it all 'sad trash' (p.40) fuelled his curiosity and enthusiasm and caused him to study even more which was to him, 'the fatal impulse that led to my [his] ruin' (p.41).
“Allure, Authority, and Psychoanalysis” discusses the unconscious wishes, effects, conflicts, anxieties, and fantasies within “Frankenstein.” The absence of strong female characters in “Frankenstein” suggests the idea of Victor’s desire to create life without the female. This desire possibly stems from Victor’s attempt to compensate for the lack of a penis or, similarly, from the fear of female sexuality. Victor’s strong desire for maternal love is transferred to Elizabeth, the orphan taken into the Frankenstein family. This idea is then reincarnated in the form of a monster which leads to the conclusion that Mary Shelley felt like an abandoned child who is reflected in the rage of the monster.
Shelley, Mary. Frankenstein: A Norton Critical Edition. Ed. J. Paul Hunter. New York: W. W.
Works Cited for: Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. a. a. a. a. a J. Paul Hunter. New York: W. W. Norton, 1996.
In the novel Frankenstein, by Mary Shelley, the main theme revolves around the internal and external consequences of being isolated from others. Being isolated from the world could result in a character losing his/her mental state and eventually causing harm to themselves or others. Because both Victor Frankenstein and the creature are isolated from family and society, they experienced depression, prejudice, and revenge.
The idea for the novel of Mary Shelley’s Frankenstein came to her one night when she was staying in the company of what has been called ‘her male coterie’, including Lord Byron and her husband, Percy Shelley. Mary Shelley’s whole life seems to have been heavily influenced by men. She idolised her father, William Godwyn, and appears to have spent a good part of her life trying very hard to impress both him and her husband. There seems to have been a distinct lack of female influence, her mother, Mary Wollstonecraft, having died weeks after her birth, being replaced by a neglectful step-mother. These aspects of her life are perhaps evident in her novel. The characters and plot of Frankenstein were perhaps influenced by Shelley’s conflicting feelings about the predominately masculine circle which surrounded her, and perhaps the many masculine traits that we see in novel were based upon those of the male figures in Shelley’s own life. In this essay I will attempt to show some of these traits.
The theme in a piece of literature is the main idea or insight on characters. Most pieces of literature do not limit itself to one but many other themes all collected into one. This is just like in Frankenstein by Mary Shelley. This horrifying story was produced in 1818 and has several themes that she portrays throughout. The theme of dangerous knowledge is unmistakably seen theme in Frankenstein. In Frankenstein we see this theme through three of the main characters, Victor Frankenstein, Robert Walton and the creature. We can see how their desire for knowledge can take them places and show them eventually what they are looking for. Sooner or later it will take them to dangerous and unwanted places. The desire for knowledge can eventually lead one to its grave. Victor Frankenstein’s scientific endeavor, Robert Walton’s search for the North Pole, and the creature’s kind heart but scary features creates this theme of dangerous knowledge.
Mary Shelley’s Frankenstein or; The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif. Shelley also shows us, in Frankenstein, that although juxtaposing terms, the monstrous being everything human is not, they are also intertwined, in that you can not have one without the other. There is also an overwhelming desire to know the monstrous, if only temporarily and this calls into question the influence the monstrous has on the human definition.
Many critics have argued how much Mary Shelley’s personal life and background should be considered in the reading and interpretation of Frankenstein which contains many autobiographical references and experiences of her own. Analyzing the combination of a complex novel and biographical information readers find evidence that circumscribes her life produces a possible feeling and intentions that the author may have possessed. During the time period of writing Frankenstein, f...
Mary Wollstonecraft Shelley’s Frankenstein (sometimes also known as The Modern Prometheus) is the classic gothic novel of her time. In this eerie tale, Dr. Victor Frankenstein – suffering from quite an extreme superiority complex – brings to life a creature made from body parts of deceased individuals from nearby cemeteries. Rather than to embrace the Creature as his own, Frankenstein alienates him because of his unpleasant appearance. Throughout the novel, the Creature is ostracized not only by Frankenstein but by society as a whole. Initially a kind and gentle being, the Creature becomes violent and eventually seeks revenge for his creator’s betrayal. Rather than to merely focus on the exclusion of the Creature from society, Shelley depicts the progression of Dr. Frankenstein’s seclusion from other humans as well, until he and the Creature ultimately become equals – alone in the world with no one to love, and no one to love them back. Frankenstein serves as more than simply a legendary tale of horror, but also as a representation of how isolation and prejudice can result in the demise of the individual.
Mary Shelley in her book Frankenstein addresses numerous themes relevant to the current trends in society during that period. However, the novel has received criticism from numerous authors. This paper discusses Walter Scott’s critical analysis of Mary Shelley’s Frankenstein in his Blackwood's Edinburgh Magazine Review of Frankenstein (1818).