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Shelley, M. (1818). Frankenstein, or the Modern Prometheus. (Lit2Go ed.). Retrieved March 21, 2018, from

The subtitle to the novel Frankenstein is The Modern Prometheus

Berman, "Frankenstein; or, the Modern Narcissus"

First, we need to know what her novel is about, beside the obvious Frankenstein's 'monster'.

Prometheus
Frankenstein
Now that we've established who Prometheus is, what is Mary Shelley's novel about and what relation does it have to him?
Son Of A Titan
Prometheus and his brother were the sons
of a Titan.

Frankenstein; or, The Modern Prometheus | sandrarodas28

Frankenstein or The Modern Prometheus And The Psychology of Mary Shelley.
But in the novel, myth powers technology and not the other way around. Frankenstein shows us that aspiration and progress are indistinguishable from hubris – until something goes wrong, when suddenly we see all too clearly what was reasonable endeavour and what overreaching. By the time she wrote her classic, Mary was aware that the man she had married was an emotional and philosophical overreacher. For all his family wealth, Percy was often in debt. And his timing was staggeringly poor: even during her first pregnancy he had pressured 17-year-old Mary to sleep with his best friend in pursuit of free love, while his own long-running romantic involvement with Mary’s stepsister had started at the time of the couple’s elopement. Moreover, for a soi-disant writer, remarkably little of his work had been published; Mary spent a lot of time fair copying it to send to publishers.

 

Frankenstein, Or The Modern Prometheus - Prezi

There is an analogy, DavidKetterer notes, between the birth of the novel andFrankenstein's creation.
In short, although there are lots of differences between Shelley’s psychology and that of her characters in Frankenstein or The Modern Prometheus my aim is mainly to show the similarities.


Mary Shelley by writing Frankenstein or The Modern Prometheus, attempted to satisfy her hunger for recognition, gain approval and to satisfy her lack of self-confidence that lies behind the fear of not being accepted and stems from being repulsed by her father who raised her.


frankenstein or the modern prometheus 2 | Download …

But the monster, this timeFrankenstein, again eludes capture even as it sustains thepursuit.Other readings, like Mary Poovey's identification of the novel'scritique of male Romantic authorial assertiveness, suggest thatthe novel manifests some criticism of and resistance toauthorial projects.

frankenstein or the modern prometheus | Download …


The Modern Prometheus
Both titles of Mary Shelley's novel, "Frankenstein"
and "The Modern Prometheus" both relate to the character, Victor, not at all the monster he made.

Therefore, the answer lies within the two
characters, Victor and Prometheus.

Frankenstein or The Modern Prometheus And The …

But everything the teenage mother didn’t feel entitled to mention in Byron’s salon fuels her novel. Mary completed much of Frankenstein while living in Bath, at a time when Percy was often absent. It was a tempestuous year in which both her half-sister Fanny and Harriet Shelley killed themselves, her stepsister’s daughter with Byron was born, Mary got married and was pregnant for the third time. It’s no surprise the novel is so full of human insight and understanding: maternal anxieties about creating a perfect human; fears of ugliness, lovelessness and rejection; an analysis of what it is to be unmothered and alone in the world.

Frankenstein: The Immortal Life of a Novel | The …

RonaldPaulson and Lee Sterrenburg, both examining the relationshipbetween the novel and the effects of the French Revolution onpolitical debates in Britain, tend to ignore the variousrevolutions that traverse Frankenstein and thus replay thedesires for authority that are represented in and resisted bythe text-monster.

Define Frankenstein, or the Modern Prometheus

Clearly, neither is a precursor for Mary’s ambitious young doctor who wants to create the perfect human, but fails to do so. In fact, Frankenstein is one of the great novels of failure, taking its place somewhere between Cervantes’s rambling 17th-century masterpiece, Don Quixote (which Mary read while she was working on her novel) and Hemingway’s 1952 novella, The Old Man and the Sea. In both these books, though, failure is viewed with compassion, in the context of human dignity and ideals. Frankenstein, on the other hand, portrays it as the destructive result of overreaching. Mary’s portrait of failure as the dark heart of hubris is couched in terms so strong they seem almost religious. Sure enough, this idealistic young daughter of a former dissenting minister believed that right and wrong were a matter of fact, not just opinion.