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Sigmund freud work review
Sigmund freud work review
Mary Shellys Frankenstein a gothic novel
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Psycho-Analysis in Mary Shelley's Frankenstein
Sigmund Freud's studies in psychoanalysis are uncannily fore-grounded in the late romantic period. The works of William Wordsworth, Percy B. Shelley, Lord Byron, and Mary Shelley, all function as poetic preludes to Freud's 18th century field. Particularly, it is Mary Shelley's Frankenstein that creates a fictional rendering for psychoanalyst. In Frankenstein, Victor's rejection of the Monster metaphorically represents the ego's rejection of the unconscious. Following from this metaphorical paradigm, Freud's theories on narcissism, the libido theory, the doppelganger, neurosis, and the Oedipus-complex all resonate in the pages of Frankenstein. After a brief introduction to narcissism and the libido theory, a psychoanalytic character study of Victor and the monster will be preformed. Finally, the romantic works of Lord Byron, Percy Shelley, and Wordsworth will further demonstrate the Freudian phenomenon.
Freud declares that mankind has suffered three major blows, the "destruction of the narcissistic illusion" (Freud, "One of the Difficulties of Psycho-Analysis," 5), that permanently destabilized how individuals envisioned themselves in relation to the exterior world. These three blows were: The Cosmological, where the Copernican Revolution dislodged mankind from the center of the universe. Secondly, The Biological, where Darwin reunited man and beast as equals, and the third, Freud's own contribution, The Psychological, where mankind cannot trust his own thoughts: "What is in your mind is not identical with what you are conscious of; whether something is going on in your mind and whether you hear of it, are two different things" (Freud, "One of the Difficulties to Psycho-Analys...
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...rate mankind's departure from narcissism and its multiple complexities. However, as Freud would agree, the fact that the workings of psychoanalysis existed long before its publishing is metaphorically exalted in the Romantic era.
Works Cited
Bennett, Betty T. & Charles E. Robinson, ed. Frankenstein. By Mary Shelley. Boston: Oxford University Press, 1990.
Freud, Sigmund. Introductory Lectures to Psycho-Analysis. Ed. James Strachey.
New York: W.W. Norton & Company, 1965.
—"One of the Difficulties of Psycho-Analysis." 1917.
—" Some Character Types of Psycho-Analytic Work." 1915.
—"The Uncanny." 1919.
Shelley, Percy B. "On Love." Romanticism: An Anthology. Wu, Duncan, ed. Malden: Blackwell, 1998. 849-850.
Wordsworth, William. [from The Prelude] "Crossing the Alps." Romanticism: An Anthology. Wu, Duncan, ed. Malden: Blackwell, 1998. 389-392.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Works Cited Shelley, Mary. Frankenstein. 1818. Ed. J. Paul Hunter. Norton Critical Edition. New York: Norton, 1996.
in Frankenstein: Contexts, nineteenth century responses, criticism. By Mary Shelley. Ed. J. Paul Hunter. Norton Critical Edition.
From 1888-1891 a portion of London England known as Whitechapel was terrorized by a rash of murders. In total eleven women were murdered, five of those are thought to be the victim of one of the most well-known serial killers whom was never identified, Jack the Ripper. Out of the murders committed in the two year period, the five had like backgrounds, they lived in boarding houses and were prostitutes, alcoholics, or both. The women were found with their bodies lying on their backs with the legs spread apart. The victims were also found to have been murdered in like fashion with their throats had been slit and their bodies mutilated. This gave Jack the Ripper a specific modus operandi narrowing down the field of likely victims from the original total. Those five murders also took place in a time span of ten months.
“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.
Shelley, Mary. Frankenstein. Ed. D.L. Macdonald and Kathleen Scherf. Orchard Park, NY: Broadview Press, 1999.
Works Cited Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Shelley, Mary. Frankenstein or the Modern Prometheus. The 1818 Text. New York: Oxford UP, 1998.
The interpretation of the young girl’s ghastly nightmare, fashioned by her own imagination derived the novel “Frankenstein: The Modern Prometheus.” Mary Shelley began, putting pen to paper reveling her cautionary tale, a moral lesson hidden within a horrifying story that would awaken thrill and terror in her audience. Mary felt that if this was not accomplished, the novel would not live up to its title “The Modern Prometheus.” She relates to geographic elements that are subsequent the French Revolutionary era, with a strong connection to Greek mythology. In metaphor she illustrates how creature and creator are one in the same and with the symbolic use of sickness and nature creating the foreshadowing for events to come. Mary Shelley divulges though this novel her personal approach on humanity and life’s lessons; formulating the idea that ignorance is bliss and human injustice is wrong by taking in to account the sexiest views of the later eighteenth-century.
The obsessed search for knowledge, fame and fortune can often undervalue one’s life and become the main focus of their existence. In Mary Shelley’s novel Frankenstein, she proves that obsession is a dangerous aspect of the human behavior, which always results in a negative outcome, this is mainly portrayed through the protagonist of the story Dr. Victor Frankenstein, because of Dr. Frankenstein’s obsessive personality he fails to recognize the affects of his scientific experiments which eventually lead to his and his family’s death.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
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...
The most prevalent theme in Mary Shelley’s “Frankenstein” is that of obsession. Throughout the novel there are constant reminders of the struggles that Victor Frankenstein and his monster have endured. Many of their problems are brought upon by themselves by an obsessive drive for knowledge, secrecy, fear, and ultimately revenge.