Analysis Of Frankenstein By Mary Shelley - 1590 Words

Marilyn Monroe, born Norma Jeane Mortensen, is one of Hollywood’s most famed actresses and sex symbols (Biography.com Editors). Typically cast in the â€Å"dumb-blonde† roles, Monroe appeared â€Å"sensual and at ease† in front of cameras (Henrikson). With an idiosyncratic sense of humor and sly wit, Monroe’s true personality was not reflected in the stereotypical characters she portrayed (Biography.com Editors). Despite her fame and popularity, Monroe faced numerous struggles throughout her life until her death, a drug overdose, in 1962. In this sense, she was actually quite similar to Frankenstein’s monster from the novel, Frankenstein, by Mary Shelley. The monster is brought to life by Victor Frankenstein only to be abandoned moments after his†¦show more content†¦Monroe was also very insecure about her acting abilities (Biography.com Editors). Monroe’s illnesses and insecurities led to frequent tardiness on set and a hatred of l ive shows, which then led many people in Hollywood to consider her a â€Å"difficult† actress (Henrikson). In a desperate attempt to cure her depression and anxiety, Monroe resorted to drugs and eventually became addicted (Henrikson). This drug addiction led to Monroe’s apparent suicide caused by a drug overdose in 1962 (History.com Staff). Despite facing this long list of struggles, Monroe continued acting and even got professional help. In 1961, Monroe admitted herself to the Payne-Whitney Clinic in New York, but soon transferred to Columbia-Presbyterian Medical Center (Doll). Several conspiracy theories have arisen over the decades regarding Monroe’s apparent suicide, some claim that her psychiatrists messed up her prescription and killed her accidentally, while one of the most popular theories is that she was murdered by the Kennedys (Henrikson). Regardless of whether these theories are true, Monroe was an incredible woman with amazing â€Å"strength and re silience† to be able to accomplish all that she did, despite the struggles she faced. Frankenstein’s monster is actually quite similar to Monroe in the sense that he also faced many difficulties throughout his short life. The monster’s struggles begin the moment he is created when Victor Frankenstein, filled with â€Å"breathless horror andShow MoreRelatedAnalysis Of Frankenstein By Mary Shelley Essay1231 Words   |  5 Pages2016 Frankenstein Literary Analysis Power is the ability to control something or someone into doing what is given. Knowledge is the understanding of an idea, but not yet following through with it. You can have knowledge without power but the two combined usually result in a better outcome. Victor creates a monster which goes on rampages after they go separate ways. Because Victor originally left it and never later took control of it, unfortunate consequences occurred. In Frankenstein, by Mary ShelleyRead MoreAnalysis Of Frankenstein By Mary Shelley1755 Words   |  8 PagesFrankenstein An Analysis of the use of knowledge In the novel Frankenstein by Marry Shelley, it is apparent that a lack of knowledge along with an abundance of knowledge can lead to the destruction of relationships that are ideal for a happy life. The theme of corruption through knowledge is a recurring literary device throughout the novel. This corruption compels the reader to question whether or not it is beneficial to have the vast amount of knowledge that Victor has. Knowledge is a powerfulRead MoreAnalysis Of Mary Shelley s Frankenstein1411 Words   |  6 PagesIn the early 1800s Mary Shelley set pen to a paper and started to develop a novel that little to her knowledge would become world renowned. In 1818 she finished and published the novel to sell to the European public. The novel caught the world off guard in the way that a female was able to write about such harsh, dark, and evil things in a European society whose authors like John Locke and Charles Montesquieu preached enlightenment, self exploration, and individualism all in an optimistic enablingRead MoreAnalysis Of Mary Shelley s Frankenstein 1948 Words   |  8 PagesThere are many critical analyses to Mary Shelley’s Frankenstein. Two of these analyses bring forth varied interpretations. Sandra M. Gilbert and Susan Gubar wrote â€Å"Mary Shelley’s Monstrous Eve.† Anne K. Mellor wrote â€Å"Possessing Nature: The Female in Frankenstein.† Gilbert and Gubar argue that Mary Shelley wrote Frankenstein from the influence of her family in order to represent her personal life and life events. Mellor argues that the author wrote Frankenstein in order to represent many themes uponRead MoreAnalysis Of Mary Shelley s Frankenstein1615 Words   |  7 Pagesa whole and how accurate a depiction they might think it to be, they will miss out on many of the qualities of the painting that reside below the immediately apparent surface level. Mary Shelley’s Frankenstein is a text dedicated to expounding upon the dangers of such superficial analysis. In Frankenstein, Mary Shelley openly condemns the surface level and appearance oriented methodology under which the human mind operates. The very protagonist of the novel is inspired solely by reputation and howRead MoreAnalysis Of Mary Shelley s Frankenstein 1758 Words   |  8 PagesFrankenstein was published over 200 years ago. Ever since it was published, it has been one of the most famous books known to literature. History.com Staff states that this book, by 21-year-old Mary Wollstonecraft Shelley, is frequently called the world’s first science fiction novel (History.com Staff). According to Wikipedia, Shelley was an English novelist. She was born August 30th, 1797. She died on February 1st, 1951 (Wikipedia). Shelley came up with the idea of Frankenstein as she andRead MoreAnalysis Of Prometheus And Frankenstein By Mary Shelley Essay1996 Words   |  8 PagesPrometheus and Frankenstein both written in two different centuries I will show that our mentality hasn’t changes much in regards to monsters. While Prometheus and Frankenstein are, both consider monsters, Prometheus deals with trying to help humanity and Frankenstein deals with trying to find an understanding of why he was created. Both are considered monsters because of their actions. In the book Frankenstein by Mary Shelley, there is an article entitled Psychoanalytic Criticism and Frankenstein. In thisRead MoreAnalysis Of Frankenstein By Mary Shelley1449 Words   |  6 PagesDuality Makes The Man: What It Takes to Be Human in Frankenstein In her nineteenth century novel Frankenstein, Mary Shelley explores the characteristics of humanity, illuminates societal influences on development, and challenges the traditional biological definition of human through character developments and interactions. Particularly, she focuses on the characterization of the creature and his creator, pitting an ugly, malformed giant against an educated, dedicated scientist to establish a surprisingRead MoreAnalysis Of Frankenstein By Mary Shelley1372 Words   |  6 Pageshumanity. Although not in the technological age, the characters in Frankenstein by Mary Shelley, experience isolation due to bad choices or the opinions of society. Yet, the true evil in Frankenstein is not the characters, but isolation itself. When one is disengaged from family and society, egotism, violence, and revenge occur. Victor Frankenstein decides to abandon his family for six years in order to focus on his quest for glory. Frankenstein became focused on creating a scientific miracle that he isolatesRead MoreAnalysis Of Mary Shelley s Frankenstein Essay2155 Words   |  9 Pagesmain agenda could orchestrate catastrophic repercussions to the human populations. Mary Shelley’s work â€Å"Frankenstein† although over two-hundred years old, remains at the pinnacle of irresponsible innovation that wreaks havoc to the human population. In the â€Å"Jurassic Park,† an aspect of mad science that deteriorates the stability of life is depicted. Both Michael Clinton’s â€Å"Jurassic Park† and Mary Shelley’s â€Å"Frankenstein† extensively explore the role of man in maintaining and sustaining life. The two

Jan Steen Rhetoricians at the Window Example For Students

Jan Steen Rhetoricians at the Window Biography Jan Steen is recognized as one of the prominent artists of the Dutch Golden period right alongside Johannes Vermeer and Rembrandt van Rijn. However, Steen didnt get as much appreciation during his lifetime, leaving behind upwards of 500 unsold paintings when he died (Gold 213). He lived a modest life as an artist, supplementing his income over the years by opening a couple taverns and an inn. Daily life was Steens main pictorial theme and the tavern was a recurring setting for many scenes, especially during his period in Haarlem in the 1660s. His vivid portrayals of the Dutch social life were often humorous riddled with his own sort of moralizing, satirical comments he became recognized for. Steen has a real eye for comedy that deeply penetrated almost all of his paintings alas it was exactly this attention to humor that held him back from getting his foot in the fine art door. Vermeers poised stillness and Rembrandts dark, brooding imagery were praised as exemplars of Baroque style, making Steens artwork seem like a joke to some contemporaries. Gaining a posthumous reputation as Jan Steen, the good-for-nothing slackard , capable of nothing better than drinking and jesting, he became the unfortunate bearer of a crass and low-class reputation in the art world. Although Steen might have lived his days at the alehouse, eventually turning his own dwelling into a tavern, his lifestyle should not detract from his real merits. Invariably categorized as a genre painter, Steen is also a gifted history painter, creating scenes showing the recreations of the middle and lower classes (TEXT 731). Although portions of his work are indeed humorous, they usually convey a serious message as well. Steen was more than a free drinker but a free liver and a philosopher with a profoundly acute eye. Located at the Philadelphia Museum of Art, Jan Steens Rhetoricians at a Window (1658-65) is a 17th century Baroque oil painting, picturing four men hanging out the upstairs window of a Tavern. As the title supposes they are members of a chamber of rhetoric; a type of dramatic and literary society popular in Holland and public readings like the one taking place in Rhetoricians at a Window were commonplace. Steen portrayed many scenes from the lives of the Rederijkers and while its unknown if he himself belonged, the humanity, humour and optimism of the figures suggest that Jan Steen knew these men well, and wanted to portray them positively   (Gudlaugsson). The characters in this scene have a genuine living quality to them. It feels like a real moment Jan Steen witnessed, capturing and exaggerating all the subtleties of their personalities and expression in ruddy detail. The star figure of this composition is the group orator reading aloud from a paper titled; Lof Liet   or Song of Praise  . He hides the poem from us other than the title, making us wonder what the words of the poem are saying. Steen looked at the work of his peers for inspiration, and occasionally, he actually quoted their work directly on his own canvas or panel. (18) While its unclear if this is a direct reference to some other work, it could easily be a reference to Rembrandts Simeons Song of Praise (1631) which was a painting Jan Steen definitely knew of. We have to surmise our own interpretation of the poem is like by reading into the faces of the people who are hearing it. The paintings from this period are full of differentiations of character and expression in the figures. This, together with the profusion of detail, the multiplicity of incident, the frequent proverbial or literary basis, and an occasional theatrical element, requires them to be read  rather than simply experienced as a visual whole (Gowing Web). Although there are four main characters gathered around the open window, we can discern a total of six male figures. Steen wanted the orator to be the first person you see because in the painting he is the person you hear first. Vincent van GoghNotably, all three painting also features a coat of arms hanging below the window denoting a specific chamber of rhetoric. In all three paintings, the blazon is cropped by the composition cutting off its lower half. If you look at the series as a more of an artistic development working towards a stronger single image its easy to see that with each subsequent painting Steen is working towards a unique vision. The development from the initial composition, moving towards more dramatic expressions and finally an atheistic that successfully renders his humorous vision using an abundance of color. Rhetoricians at a Window features the strongest composition by far. Jan Steens dated paintings, when viewed in chronological order from 1650 to 1670, can provide a tentative timeline of his palette and any unique pigments in his palette during specific years. Jan Steen painted a variety of styles and his quality of work also varied throughout his career (Norbutus 55). This painting is one of Steens best, in its rich attention to detail, mastery of light, and elegant choice of colors. 7th century Dutch artists normally only had six or seven colors on their palette including white gradually darkening via red (vermillion), light ochre and a brownish-red towards two dark greens, browns or blacks (Norbutus 54). Steen was known for his distinctive handling of salmon-red, pale yellows, blue greens, and pinker colors (45). The size of this painting is relatively average at 29 7/8 x 23 1/16 inches (or 75. 9 x 58. 6 cm) but the scale of the composition envelops the viewer in this rather intima te scene as if they were participating in the scene. Bibliography: Gold, Sarah. Fodors Amsterdam. New York: Fodors Travel Publications, 2006. Print. Gudlaugsson, S. (1945). The Comedians in the work of Jan Steen and his Contemporaries, Janson, H. W., Penelope J. E. Davies, and H. W. Janson. Jansons History of Art: The Western Tradition. Upper Saddle River, NJ: Prentice Hall, 2011. Print. Norbutus, Amanda J. Technical Investigation of the Materials and Methods Utilized in a Copy of a 17th Century Dutch Genre Painting: Gerrit Dous Man Interrupted at His Writing (1635). N.p.: n.p., 2008. Print. Philadelphia Museum of Art Rhetoricians at a Window. Philadelphia Museum of Art Collections Object : Rhetoricians at a Window. PMA, n.d. Web. 24 Aug. 2014. Steen Jan (1626 1679) A Biographical Dictionary of Artists, Andromeda. Ed. Lawrence Gowing. London: Windmill Books (Andromeda International), 1995. Credo Reference. Web. 27 August 2014. Sutton, Peter C., and Marigene H. Butler. The Life and Art of Jan Steen. Philadelphia Museum of Art Bulletin 78.337 (1982): 1-63. Jstor. Web. 26 Aug. 2014.  . Walsh, John, and Jan Steen. Jan Steen: The Drawing Lesson. Los Angeles, CA: Getty Museum Studies on Art, 1996. Print.