Wednesday, May 13, 2020
Victor Frankenstein s Moral Ambiguity - 1062 Words
Frankenstein by Mary Shelley tells the tale of the protagonist Victor Frankenstein and his creation. Both Frankenstein and Frankensteinââ¬â¢s creationââ¬â¢s questionable actions lead them both to be considered morally ambiguous figures. Victor is ambitious with good intentions, but his ambition leads to bad results. The Creature is an innately kind and compassionate person who commits abominable actions due to how others treat him. Their moral ambiguity is significant, as it reveals that an obsession with ambition distorts oneââ¬â¢s morals. Victor Frankensteinââ¬â¢s moral ambiguity lies in good intentions with bad results. Victor evolves from an intellectually curious, innocent and blameless man to being remorseful, secluded and obsessed with theâ⬠¦show more contentâ⬠¦However, the results of the creation of the Creature are egregious, as the creature begins to murder people, specifically Victorââ¬â¢s loved ones, including his brother William upon realizing that William is related to Victor. Victor here is partially at fault in his brotherââ¬â¢s death, as he abandoned the Creature, leaving it to terrorize the people. Though he is overwhelmingly contrite for their deaths, he neglects to admit who the true culprit is in Williamââ¬â¢s murder and allows Justine Moritz to take the blame, an example of his morally ambiguous actions. His inconsiderate actions cost Justine her life, though he feels horrible for it. Even then, he argues that the action he regrets the mostââ¬âthe creation of the monsterââ¬âwas the work of destiny, which was ââ¬Å"too potent, and her immutable laws had decreed my utter and terrible destruction.â⬠(Shelley 23) Again, Victor places blame on fate to justify his obsession with ambition that led him to create the thing he regrets the most. His failure to recognize his role in Williamââ¬â¢s, Justineââ¬â¢s, etc. deaths while concurrently feeling remorseful for them solidifies his status as a morall yShow MoreRelated Morality and Responsibility - Moral Development in Mary Shelleys Frankenstein1627 Words à |à 7 PagesMoral Development in Shelleys Frankenstein à à Mary Shelleys Frankenstein is a commentary on the natural disposition of man. By personifying her vision of a natural everyman character in the form of Victor Frankensteins creation, The Creature, Shelley explores the natural state as well as the moral development of man, and develops conclusions regarding both. But before Shelley could create her commentary on mans natural dispositions, she was in need of a character to represent her naturalRead MoreThe Moral Knowledge Of Mary Shelley s Frankenstein Essay1640 Words à |à 7 PagesMoral knowledge, a tricky subject to grapple with because morals are subjective to everyone. We canââ¬â¢t say whether one is right or wrong, as the truth behind that knowledge is not determined. Since we canââ¬â¢t surely know what we say is right or wrong, is it ok to experiment with ideas that might not be determined to be right at that time? History has proven that the concepts of right and wrong are able to change over time. David Hume ha s much to say about the development of moral knowledge as he createsRead MoreJane Austen s Pride And Prejudice1139 Words à |à 5 Pagesways does Jane Austen s Pride and Prejudice conform to ideas of the Enlightenment? In which ways does it foreshadow Romanticism? The Enlightenment refers to a European movement in the late 17th century and early 18th century which emphasized reason and individualism rather than tradition. Jane Austen was born towards the end of the Enlightenment and grew up during its waning years. The influence of the Enlightenment is seen throughout Pride and Prejudice, within Austen s opposition to the sensibilityRead MorePolitics and The English Language: George Orwellà ´s Literature3705 Words à |à 15 Pages which is for writers to try to separate themselves from their own political agendas as much as possible when they write creatively by dictating ââ¬Å"the position of the writer in an age of state control.â⬠During the context of the essay, the late 1940ââ¬â¢s, Orwell use of rhetoric characterises it as a ââ¬Å"political ageâ⬠where the plethora of ââ¬Å"ismsâ⬠orbit around the consensus of ââ¬Å"what we daily think about, and therefore to a great extend what we write about, even when we do n ot name them openly.â⬠The connotativeRead MoreLogical Reasoning189930 Words à |à 760 Pagesarguing in our technical sense of ââ¬Å"argument,â⬠because neither is giving reasons for what is said. Choice (c), on the other hand, merely describes the Republican Party. One moral to draw from this Concept Check is that an argument based on incorrect information is still an argument; a bad argument is still an argument. A second moral is that an argument can have just one reason, although most arguments use more than one. 7 nearby to ask about Giardia. The underlying principle you applied isRead MoreMetz Film Language a Semiotics of the Cinema PDF100902 Words à |à 316 PagesOxford University Press, 1974. Includes bibliographical references. ISBN 0-226-52130-3 (pbk.) 1. Motion picturesââ¬âSemiotics. 2. Motion picturesââ¬â Philosophy. I. Title. PN1995.M4513 1991 791.43 014ââ¬âdc20 90-46965 C1P The French edition of Christian Metz s Essais sur la signification au cinema, volume 1, was published by Editions Klincksieck in 1971, à © Editions Klincksieck, 1968. ÃËThe paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment
Note: Only a member of this blog may post a comment.