Mary Shelley's gothic novel Frankenstein has traditionally been read by critics as a cautionary tale and social responsibility for their creations. However, like many of its gothic sisters, the novel also contains other substantial lodes which can be mined by the twentieth century literary critic.One largely ignored and potentially rich vein in the novel is the compulsive and self-destructive behavior of Dr. Frankenstein himself. No critic has yet borrowed Freud's black bag of psychoanalytical tools and used them to plumb the subterranean depths of the young scientist's labyrinthian unconscious.After the death of his mother, and despite his protestations to the contrary, Dr. Frankenstein's real desires are unconscious, the primary one being the need for closure of the family circle. These repressed desires are fulfilled by his alter ego, the homicidal monster he stitches together in an obsessive effort to reconcile life and death. The study seeks to reveal Dr. Frankenstein as an allegorical figure representing the dark side of man's nature.

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Thesis (M.A.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 44-49).

Thesis (M.A.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 44-49). Also available in print.

Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-02-15T13:44:40Z No. of bitstreams: 1 Marilia Mattos.pdf: 1383432 bytes, checksum: 8f12a8adc360ed2ee1449731d38aa2b3 (MD5) / Approved for entry into archive by Fatima Cleômenis Botelho Maria (botelho@ufba.br) on 2013-02-18T16:19:47Z (GMT) No. of bitstreams: 1 Marilia Mattos.pdf: 1383432 bytes, checksum: 8f12a8adc360ed2ee1449731d38aa2b3 (MD5) / Made available in DSpace on 2013-02-18T16:19:47Z (GMT). No. of bitstreams: 1 Marilia Mattos.pdf: 1383432 bytes, checksum: 8f12a8adc360ed2ee1449731d38aa2b3 (MD5) / A tese investiga a relação do mito Frankenstein com configurações identitárias, ditas "pós-humanas", da cultura ocidental. O capítulo inicial focaliza as principais características do mito frankensteiniano, tais como a questão do duplo, a noção de monstro e a de herói trágico, assim como o conflito entre o Romantismo e o Iluminismo. Em "Monstros e máquinas" são abordados androides ficcionais da literatura e do cinema, relacionando-os a correntes epistemológicas da Inteligência Artificial e a Frankenstein. Também é enfocado o subgênero literário "Ficção Científica", buscando-se compreender sua especificidade. O último capítulo concentra-se no pop star Michael Jackson, que é lido como uma versão pós-moderna de Frankenstein, pois se recria incessantemente através da ciência. Jackson é analisado a partir de videoclipes e de dados biográficos e considerado uma atualização contemporânea do herói trágico dionisíaco apontado por Nietzsche / Universidade Federal da Bahia. Instituto de Letras. Salvador-Ba, 2010.

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Thesis (D. Phil.)--University of Oxford, 2008. / Supervisors: Dr Fiona Stafford, Dr Jo McDonagh. Includes bibliographical references (leaves 324-352).

Thesis (M.A. History)--University of Waikato, 2006. / Includes bibliographical references (leaves 127-141). Also available via the World Wide Web.

The aim of this dissertation is to shed light on an oft-overlooked aspect of Hobbes’ and Locke’s educational theories. Specifically, this dissertation examines the role of mothers in Hobbes’ Locke’s, and Wollstonecraft’s political theories and defends the claim that mothers have an overlooked, important role to play in civic society insofar as they contribute to educating children to become good members of civic society. To date, scholars working on Hobbes and Locke have largely focused on only one type of education and its relationship to civic society. Specifically, they have focused on civic education. Civic education refers to formal programs, such as day school or university curricula aimed at molding individuals into citizens or subjects, capable of sustaining a thriving commonwealth. However, when scholars focus on civic education, they miss part of the story surrounding how Hobbesian and Lockean education is implemented because not all of their educational program can be contained in formal schooling. In the Chapters 1 and 2 of the dissertation, I show that mothers play a role in educating future subjects and citizens in Hobbes’ and Locke’s theories by means of what I call civic socialization. Civic socialization refers to the informal processes by which children are educated to become good subjects and citizens who contribute to the wellbeing and stability of the commonwealth. In Chapter 3, I consider whether mothers’ role in civic socialization is compatible with early modern, liberal theories. Insofar as Hobbes and Locke are early modern, liberal thinkers, they maintain that men and women are naturally equal. However, mothers’ role in civic socialization often results in their subordination to fathers. Mary Wollstonecraft, although a figure in modern philosophy, is useful for showing this tension. In her theory, even when mothers are highly educated, their role in civic socialization often means that mothers must use their education for the benefit of their children and not for themselves. / 2020-11-27T00:00:00Z

The Sentimental/Gothic myth, which dominates much of English and American literature during the late eighteenth and nineteenth centuries, represents a cultural attempt to achieve unity, but the attempt is foredoomed because the essence of the myth is division. The myth's metaphor is sexual. The division that forms the acknowledged basis of the myth is that between two modes of being, seen as sexual modes: masculinity (power, aggression, violence, energy, dominance, etc.) and femininity (attraction, passivity, submissiveness, etc.). The unity sought by the myth on its acknowledged level is domestic harmony, the infusion of masculine strength into feminine passivity, the taming of masculine power by feminine submissiveness. Thus the myth regardsmarriage as the perfect state and the family as the perfect model of cultural unity. But the myth itself is flawed by a further division, of which the masculine/feminine division is actually a reflection: this is a division of the conscious, Sentimental myth from the largely unconscious Gothic myth. The Gothic, reversing the acknowledged direction of the myth (or carrying it full-circle to its inevitable conclusion), seeks the destruction of femininity by masculinity, the throwing off of feminine submissiveness by masculine violence. Thus it regards death(the "marriage" of murderer and victim) as the perfect state, and sterility, the blasted family, as the perfect model of unity.Mary Shelley's Frankenstein reflects both mythic divisions and their close interrelationship. Its hero seeks to establish his Sentimental masculinity and to achieve domestic unity, but in doing so creates the Gothic Monster who destroys the creator's beloved, his family, and finally drains life from the hero himself. Frankenstein, in form, themes, and characterization, reflects the ironies by which the Sentimental/Gothic myth is divided against itself, and shows the tragic consequences of its divisions.