毕业论文课题相关文献综述

1. Introduction

Mary Wollstonecraft Shelley ( August 30th, 1797February 1st, 1851) was an English novelist, short story writer, dramatist, essayist, biographer, andtravel writer, best known for herGothic novelFrankenstein: or, The Modern Prometheus(1818). She also edited and promoted the works of her husband, theRomantic poetand philosopherPercy Bysshe Shelley. Recent scholarship has yielded a more comprehensive view of Mary Shelleys achievements. Scholars have shown increasing interest in her literary output, particularly in her novels, which include the historical novels Valperga(1823) and Perkin Warbeck(1830), the apocalyptic novel The Last Man (1826), and her final two novels, Lodore(1835) and Falkner(1837). Studies of her lesser-known works such as the travel book Rambles in Germany and Italy(1844) and the biographical articles Dionysius Lardner's Cabinet Cyclopaedia(1829-1846) support the growing view that Mary Shelley remained a political radical throughout her life.

Her best-known novel Frankenstein is about eccentric scientist Victor Frankenstein, who creates a grotesque creature in an unorthodox scientific experiment. Shelley started writing the story when she was eighteen, and the novel was published when she was twenty. The first edition was published anonymously in London in 1818. Shelley's name appears on the second edition, published in France in 1823.

Shelley had traveled through Europe in 1814, journeying along the river Rhine in Germany with a stop in Gernsheim which is just 17 km away from Frankenstein Castle, where two centuries before an alchemist was engaged in experiments. Later, she traveled in the region of Geneva (Switzerland)where much of the story takes placeand the topics of galvanism and other similar occult ideas were themes of conversation among her companions, particularly her lover and future husband, Percy Shelley. Mary, Percy, Lord Byron, and John Polidori decided to have a competition to see who could write the best horror story. After thinking for days, Shelley dreamt about a scientist who created life and was horrified by what he had made; her dream later evolved into the story within the novel.

Frankenstein is infused with elements of the Gothic novel and the Romantic movement and is also considered to be one of the earliest examples of science fiction. Brian Aldiss has argued that it should be considered the first true science fiction story, because unlike in previous stories with fantastical elements resembling those of later science fiction, the central character "makes a deliberate decision" and "turns to modern experiments in the laboratory" to achieve fantastic results. It has had a considerable influence across literature and popular culture and spawned a complete genre of horror stories, films, and plays.

Since publication of the novel, the name "Frankenstein" is often used to refer to the monster itself, as is done in the stage adaptation by Peggy Webling. This usage is sometimes considered erroneous, but usage commentators regard the monster sense of "Frankenstein" as well-established and an acceptable usage.

Literature Review

1.1 some theories about Alienation

Frankenstein enjoys a high prestige in the world. Although it was written a long time age, in recent years it has aroused1 the interest of many scholars.

There are a great many essays on this famous book. Karl Marx's theory of alienation describes the social alienation (German: Entfremdung, 'estrangement') of people from aspects of their human nature (Gattungswesen, species-essence) as a consequence of living in a society stratified into social classes; Marx had earlier expressed the Entfremdung theory in the Economic and Philosophic Manuscripts of 1844 (1927). Philosophically, the Entfremdung theory relies upon The Essence of Christianity (1841), by Ludwig Feuerbach, which argues that the supernatural idea of God has alienated the natural characteristics of the human being. Moreover, in The Ego and its Own (1845), Max Stirner extends the Feuerbach analysis by arguing that even the idea of humanity is an alienating concept for the individual man and woman to intellectually consider; Marx and Engels responded to these philosophic propositions in The German Ideology (1845).

Alienation is the systemic result of living in a socially stratified society, because being a mechanistic part of a social class alienates a person from his and her humanity. The theoretic basis of alienation within the capitalist mode of production is that the worker invariably loses the ability to determine his or her life and destiny, when deprived of the right to think (conceive) of himself as the director of his actions; to determine the character of said actions; to define their relationship with other people; and to own the things and use the value of the goods and services, produced with their labour. Although the worker is an autonomous, self-realized human being, as an economic entity, he or she is directed to goals and diverted to activities that are dictated by the bourgeoisie, who own the means of production, in order to extract from the worker the maximum amount of surplus value, in the course of business competition among industrialists.

In the 17th century, Hugo Grotius put forward the concept that everyone has 'sovereign authority' over themselves but that they could alienate that natural right to the common good, an early social contract theory. In the 18th century, Hutcheson introduced a distinction between alienable and unalienable rights in the legal sense of the term. Rousseau published influential works on the same theme, and is also seen as having popularized a more psychological-social concept relating to alienation from a state of nature due to the expansion of civil society or the nation state.

In the same century a law of Alienation of affection was introduced for men to seek compensation from other men accused of taking away 'their' woman.

In the history of literature, the German Romantics appear to be the first group of writers and poets in whose work the concept of alienation is regularly found. Around the start of the 19th century, Hegel popularized a Christian (Lutheran) and Idealist philosophy of alienation. He used German terms in partially different senses, referring to a psychological state and an objective process, and in general posited that the self was an historical and social creation, which becomes alienated from itself via a perceived objective world, but can become de-alienated again when that world is seen as just another aspect of the self-consciousness, which may be achieved by self-sacrifice to the common good.

Around the same time, Pinel was popularizing a new understanding of mental alienation, particularly through his 'medical-philosophical treatise'. He argued that people could be disturbed (alienated) by emotional states and social conditions, without necessarily having lost (become alienated from) their reason, as had generally been assumed. Hegel praised Pinel for his 'moral treatment' approach, and developed related theories. Nevertheless, as Foucault would later write, '...in an obscure, shared origin, the 'alienation' of physicians and the 'alienation' of philosophers started to take shape - two configurations in which man in any case corrupts his truth, but between which, after Hegel, the nineteenth century stopped seeing any trace of resemblance.'

Two camps formed following Hegel, the 'young' or 'left' Hegelians who developed his philosophy to support innovations in politics or religion, and the 'old' or 'right' Hegelians who took his philosophy in a politically and religiously conservative direction. The former camp has had a more lasting influence and, among them, Feuerbach differed from Hegel in arguing that worship of God is itself a form of alienation, because it projects human qualities on to an external idea, rather than realising them as part of the self.

Alienation is most often represented in literature as the psychological isolation of an individual from society or community. In a volume of Bloom's Literary Themes, Shakespeare's Hamlet is described as the 'supreme literary portrait' of alienation, while noting that some may argue for Achilles in the Iliad. In addition, Bartleby, the Scrivener is introduced as a perfect example because so many senses of alienation are present. Other literary works described as dealing with the theme of alienation are: The Bell Jar, Black Boy, Brave New World, The Catcher in the Rye, The Chosen, Dubliners, Fahrenheit 451, Invisible Man, Mrs Dalloway, Notes from Underground, One Flew Over the Cuckoo's Nest, The Strange Case of Dr Jekyll and Mr Hyde, The Stranger and The Myth of Sisyphus, The Trial, Waiting for Godot, The Waste Land, and Young Goodman Brown. Contemporary British works noted for their perspective on alienation include The Child in Time, London Fields, Trainspotting, and Regeneration.

Fromm's most popular book was The Art of Loving, an international bestseller first published in 1956, which recapitulated and complemented the theoretical principles of human nature found in Escape from Freedom and Man for Himselfprinciples which were revisited in many of Fromm's other major works. It is also an answer to alienation given by Fromm. Fromm believed that freedom was an aspect of human nature that we either embrace or escape. He observed that embracing our freedom of will was healthy, whereas escaping freedom through the use of escape mechanisms was the root of psychological conflicts. Fromm outlined three of the most common escape mechanisms: automaton conformity, authoritarianism, and destructiveness. Automaton conformity is changing one's ideal self to conform to a perception of society's preferred type of personality, losing one's true self in the process. Automaton conformity displaces the burden of choice from self to society. Authoritarianism is giving control of oneself to another. By submitting one's freedom to someone else, this act removes the freedom of choice almost entirely. Lastly, destructiveness is any process which attempts to eliminate others or the world as a whole, all to escape freedom. Fromm said that "the destruction of the world is the last, almost desperate attempt to save myself from being crushed by it".

1.2 achievements of some related works

There are also some scholars studying the themes of the work in other ways. Badalamenti, Anthony F(2006) mainly analyses the writing intentions of Mary Shelley in Why Did Mary Shelley Write Frankenstein?Hogsette, David S. studies Frankenstein in a new perspective called Metaphysica Intersections. He considers it as Mary Shelleys Theistic Investigation of Scientific Materialism and Transgressive Autonomy. Lunsford, Lars thinks Shelleys Frankenstein in the aspect of the Devaluation of Life.

Frankenstein has been both well received and disregarded since its anonymous publication in 1818. Critical reviews of that time demonstrate these two views. The Belle Assemblee described the novel as "very bold fiction". The Quarterly Review stated that "the author has the power of both conception and language". Sir Walter Scott, writing in Blackwood's Edinburgh Magazine congratulated "the author's original genius and happy power of expression", although he is less convinced about the way in which the monster gains knowledge about the world and language. The Edinburgh Magazine and Literary Miscellany hoped to see "more productions from this author".

Author Stephen King considers Frankenstein's monster (along with Dracula and the Werewolf) to be an archetype of numerous horrific creations that followed in literature, film, and television, in a role he refers to as "The Thing Without A Name." He considers such contemporary creations as the 1951 film The Thing from Another World and The Incredible Hulk as examples of similar monstrosities that have followed in its wake. He views the book as "a Shakespearean tragedy" and argues: "its classical unity is broken only by the author's uncertainty as to where the fatal flaw liesis it in Victor's hubris (usurping a power that belongs only to God) or in his failure to take responsibility for his creation after endowing it with the life-spark?

Frankenstein discussed controversial topics and touched on religious ideas. Victor Frankenstein plays God when he creates a new being. Frankenstein deals with Christian and metaphysical themes. The importance of Paradise Lost and the creature's belief that it is "a true history" brings a religious tone to the novel.

This thesis will make an analysis of the alienation in Frankenstein and the effect they make so as to find out something important for us in the light of Karl Marx's theory of alienation.

Works Cited

Badalamenti, Anthony F. Why Did Mary Shelley Write Frankenstein? College Journal of Religion and Health 45 (2006): 419-439.