Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Effects of new imperialism on africa
Negative effects of european imperialism in africa
Effects of new imperialism on africa
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Effects of new imperialism on africa
Written in 1818, Mary Shelley’s Frankenstein; Or, The Modern Prometheus was published before the majority of European colonialism in Africa; however, the novel still witnessed the dawn of European imperialism. In 1798, Napoleon Bonaparte and his French army invaded Egypt. Despite the fact that his campaign was largely unsuccessful, Napoleon’s campaign “revealed the Middle East as an area of immense strategic importance to the European powers.” (Metz) Therefore, this novel behaves as an early criticism of this European imperialism. Characters such as Robert Walton and Victor Frankenstein, both members of the European aristocracy, exemplify the racist attitudes, which were the foundation of imperialism, Europeans held of indigenous populations. Specifically, Shelley symbolizes French imperialism through the …show more content…
Through this dynamic, Shelley predicts likely impacts of the French expeditions into Africa if the French government retains hypocritical institutions by not upholding the virtue of equality. Essentially, her work foreshadows how members of the French upper class, starting with Napoleon Bonaparte, would blatantly disrespect their own values in Africa while they exploited the native population. Therefore, even though Mary Shelley’s novel was published early in the French imperialism timeline, it still provides strong critiques the increasingly hypocritical nature of French politics and governments.
There are several characters whose beliefs help exemplify the notion that Europeans, in particular upper class Europeans, were quite nationalistic. Although he is not explicitly described as a member of the European elite, explorer Robert Walton should still be considered as member of upper-class European society because he is rich and he is an arctic explorer. In his first letter to his sister Margaret, Walton simply states how he got wealthy enough to fund an expedition to the polar region, “I inherited the fortune of my cousin” (Shelley 52). Because he
In the first segment of his film series, Different but Equal, Basil Davidson sets out to disprove the fictitious and degrading assumptions about African civilization made by various Western scholars and explorers. Whether it is the notion that Africans are “savage and crude in nature” or the presumed inability of Africans to advance technologically, these stereotypes are damaging to the image and history of Africa. Although European Renaissance art depicts the races of white and black in equal dignity, there was a drastic shift of European attitudes toward Africa that placed Africans in a much lower standing than people of any other culture. The continent of Africa quickly became ravished by the inhuman slave trade and any traditional civilization
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
In Frankenstein, Mary Shelley scrutinizes the Enlightenment era’s pursuit for progress and knowledge as it is seen as morally chaotic for overstepping the natural order idealised by the Romantics. Victor F’Stein’s amibition to overpower the boundaries of nature by attempting to take up God’s role as the creator is enunciated in the metaphor “many excellent natures should owe their being to me”. Victor’s hubris and ambition reflects aspects of the Enlightenment – Shelley criticises the attempts of the age to control and empower natural processes, embodied in Galvani’s experimentation with animal electricity. Victor F’Stein represents humanity’s hubristic ambitions and fondness of knowledge. Shelley uses intertextual reference by characterising F’Stein as the “Modern Day Prometheus”. In Greek Mythology, Prometheus usurped the natural order by the creation of man. Prometheus was punished for for this crime eternally – an eagle eating from his liver; the implications are that nature is having its revenge for upsetting hierarchal order. However, Vi...
Shelley, Mary Wollstonecraft, and Maurice Hindle. Frankenstein, Or, The Modern Prometheus. London: Penguin, 2003. Print.
Mary Shelley’s Frankenstein is ‘one of the pioneering works of modern science fiction’, and is also a frightening story that speaks to the ‘mysterious fears of our nature’. Mary Shelley mocks the idea of “playing God”, the idea that came from the Greek myth of Prometheus, of the Greek titan who stole Zeus’ gift of life. Both the story of Frankenstein and Prometheus reveal the dark side of human nature and the dangerous effects of creating artificial life. Frankenstein reveals the shocking reality of the consequences to prejudging someone. The creature’s first-person narration reveals to us his humanity, and his want to be accepted by others even though he is different.
Shelley, Mary Wollstonecraft, Walter James Miller, and Harold Bloom. Frankenstein, Or, The Modern Prometheus. New York: New American Library, 2000. Print.
The Enlightenment age encouraged everyone to use reason and science in order to rid the world of barbarism and superstition. In fact, Kant argued that the "public use of one's reason must always be free, and it alone can bring about enlightenment among men" (Kant 3). Enlightenment thinking not only influenced philosophy and the sciences, but also literature (especially in Pope's Essay on Man). In reaction to Enlightenment's strict empiricism, Romanticism was born. In Frankenstein, Shelley argues (1) that Victor Frankenstein's role as an Enlightenment hero, not only pulled him out of nature, but made him a slave to his creation; (2) that Frankenstein's role as a revolting romantic failed, because he didn't take responsibility for his creation; and (3) mankind must find a balance between the Enlightenment and Romantic ideologies.
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.
Romantic writer Mary Shelley’s gothic novel Frankenstein does indeed do a lot more than simply tell story, and in this case, horrify and frighten the reader. Through her careful and deliberate construction of characters as representations of certain dominant beliefs, Shelley supports a value system and way of life that challenges those that prevailed in the late eighteenth century during the ‘Age of Reason’. Thus the novel can be said to be challenging prevailant ideologies, of which the dominant society was constructed, and endorsing many of the alternative views and thoughts of the society. Shelley can be said to be influenced by her mothers early feminist views, her father’s radical challenges to society’s structure and her own, and indeed her husband’s views as Romantics. By considering these vital influences on the text, we can see that in Shelley’s construction of the meaning in Frankenstein she encourages a life led as a challenge to dominant views.
“Oh! No mortal could support the horror of that countenance. A mummy again endued with animation could not be so hideous as that wretch” (Shelley 57). This statement is how Mary Shelley successfully portrayed the overall negative consensus of the industrialization of Europe in the 1800s in her novel Frankenstein. This story parallels the world’s transition from nature and emotion to reason and truth which was the primary cause for the industrial revolution. Though the revolution brought new technology and knowledge, people felt as though they were enslaved by this sudden change. This is clear through Shelley’s Dr. Frankenstein and the ‘wretched monster’ that would forever change the world.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
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.
In the novel Frankenstein by Mary Shelley, Rousseau's idea of amour propre (self-love), amour de soi meme (love of self), and pity are what define the characters' ability or inability to give love. Victor Frankenstein exhibits amour propre or pride, which causes his inability to pity or love anyone, as he only strives for his own glory. In contrast, the creature of Frankenstein, exhibits both amour de soi meme or self-preservation and pity. He is not interested in the glorification of himself over others; therefore he can be compassionate towards other people. The narrator Walton exhibits amour propre, amour de soi meme, and pity. In the end, he chooses his amour de soi meme and pity over his amour propre. Despite each character's ability to
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).