Dangerous Knowledge in Frankenstein by Mary Shelley

Frankenstein is a book written by Mary Shelley in 1818, that is revolved around a under privileged scientist named Victor Frankenstein who manages to create a unnatural human-like being. The story was written when Shelley was in her late teen age years, and was published when she was just twenty years old. Frankenstein is filled with several different elements of the Gothic and Romantic Movement of British literature, and is considered to be one of the earliest forms of science fiction. Frankenstein is a very complicated and complex story that challenges different ethics and morals on the apparent theme of dangerous knowledge. With the mysterious experiment that Dr. Victor Frankenstein conducted, Shelly causes her reader to ultimately ask†¦show more content†¦Pg. 62). The letters with in the preface tell the story of Walton and his sister, and reveals that both he and his sister both put themselves in harm’s way simply to be the first to gain knowledge. The novel show s that sometimes the actions you take do not necessarily give you the outcomes that you want. This is shown in chapter four when Dr. Frankenstein was first conducing his experiment and becomes extremely obsessed with the lust to create life. Dr. Frankenstein ultimately removes all of his personal relationships and isolates himself from people who care about him. â€Å"For this I had deprived myself of rest and health. I had desired it with an ardor that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.†(Chapter 5, pg. 42) It is clear that Dr. Frankenstein dislikes the monster he just created and notices that he does not make something that is beautiful but more on something that’s is monstrous. Increasingly, Shelly makes a point by giving the reader a sort of â€Å"warning† on the aspect of wanting knowledge too much She makes the effort by making Dr. Frankenstein a example for the magnitude of gaining dangerous knowledge. â€Å"A flash of lightning illuminated the object andShow MoreRelatedMary Shelley s Frankenstein And The Modern Prometheus1342 Words   |  6 Pageswritten. But there is no doubt in the connection of the Greek God Prometheus and Mary Shelley’s Frankenstein, as the title of the book states: Frankenstein, or the modern Prometheus. Shelley made sure that the readers knew that Frankenstein is to be seen as the modern Prometheus, and all things in her book connect Frankenstein to the Greek God that shaped Humanity. In this essay is stated that Frankenstein is indeed as Shelley meant, the modern Prometheus. Reasoning behind this is of how Frankenstein’sRead MoreVictor Frankenstein: Epic Hero Essay1093 Words   |  5 Pages the zombie era is truly coming to life, and it is easy to figure out where this idea originated. The historic book Frankenstein: The Modern Prometheus by Mary Shelley describes a man who creates a creat ure out of dead body parts of humans. Although this monster was meant for good purposes, it eventually leads to destruction including multiple murders. However, Victor Frankenstein can actually be determined as a hero by the ways in which he fits within the interpretation of an epic hero. GregoryRead MoreEssay on Frankenstein798 Words   |  4 PagesFrankenstein In the novel ‘Frankenstein’ Mary Shelley Portrays a Monster. The view of the monster is hideous. In the beginning he was childlike, kind and helpful but with the time he gains knowledge he becomes miserable. Mary Shelley writes about the monster to express her views about knowledge and the changes it can bring. In the 19th century with the industrial revolution there were negative effects. At the time there was a lot of development in Science and technology causing peopleRead MoreEssay on The Historical Perspective in Mary Shelleys Frankenstein1040 Words   |  5 PagesPerspective in Mary Shelleys Frankenstein Mary Shelleys Frankenstein is an early product of the modern Western world. Written during the Romantic movement of the early 19th century, the book provides insight into issues that are pertinent today. Similar to Johann Wolfgang von Goethes Faust, Shelleys Frankenstein concerns individuals aspirations and what results when those aspirations are attained irresponsibly. While Mary Shelley (then Mary Godwin) wrote Frankenstein in 1816 she wasRead MoreWarning Of The Dangers Of Science Or Suggestion That The Human1309 Words   |  6 PagesMatthew Tripp Susan Sibbach English IV 11 December, 2015 Frankenstein: warning of the dangers of science or suggestion that the human quest for knowledge is a noble undertaking? Human societies have come a long way from the time of hunting and gathering. Self-sufficient and possessing high capacity for questioning what systems are currently in place, and the astonishingly unique ability to discover solutions for problems; humankind is truly one of a kind. This distinctive quality grants humanityRead MoreThe Romantic Era Of Mary Shelley s Frankenstein1502 Words   |  7 Pagesthe romantic ear took over the styles of novels. This was a time of disagreement and confusion over principles and aesthetics; there were many philosophies, agendas, and points of interest that competed in all types of literature. Frankenstein, written by Mary Shelley, is a work from the Romantic Era, and you can see some characteristics of this era in her novel. Romanticism was an era where the individual became more important than society. Instead of the rules and norms of society being theRead More The Concepts Of Knowledge And Happiness In Mary Shelleys Frankenstein1001 Words   |  5 Pagesleast by my example, how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow† (Shelley 60). In Mary Shelley’s Frankenstein, she expresses her beliefs regarding the danger of pursuing happiness through the attainment of knowledge, because true happiness is found in the emotional connections established between people. The pursuit of knowledge is not necessarily an evilRead MoreThe Dangerous Pursuit Of Knowledge1617 Words   |  7 Pages2322 20 January 2017 The Dangerous Pursuit of Knowledge Many people would argue that knowledge is power, but can too much knowledge be dangerous? How much is too much? Throughout history, the human race has had struggles with â€Å"too much knowledge† or going to extreme lengths to gain such knowledge. Is the everlasting quest to know something really worth it? In today’s generation, there is constantly new inventions of technology and theories of science. But maybe knowledge is starting to ruin people’sRead MoreFrankenstein Vensor Frankenstein And The Modern Prometheus And Victor Frankenstein1031 Words   |  5 Pagesnamed Prometheus stole fire from the gods and put it in the clay to make man. Like in the Greek Mythology, Mary Shelley has Victor Frankenstein steal life from nature. As Mary Shelley states in the title of her book Frankenstein, or the Modern Prometheus, she parallels Victor Frankenstein to the Titan Prometheus. As Mary Shelley states in Frankenstein the pursuit of unknown knowledge is dangerous. â₠¬Å" So much has been done†¦ I will pioneer a new way, explain unknown powers, and unfold to the world theRead MoreShelley s Views Of The Dangers Of Knowledge1679 Words   |  7 Pagesdangers of knowledge contained in her novel Frankenstein â€Å"You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes not be a serpent to sting you, as mine had been,† this fragment of Victor Frankenstein’s conversations with Robert Walton exemplifies Mary Shelley’s views of the dangers of knowledge, in her novel, â€Å"Frankenstein; or, The Modern Prometheus,† where main characters Robert Walton and Victor Frankenstein ruthlessly peruse knowledge. The theme

What Are Canadas Legislative Assemblies

In Canada, a legislative assembly is the body of people elected in each province and territory to create and pass laws.  The  legislature of a province or territory is made up of a  legislative assembly  along with the lieutenant governor. Canadas Constitution originally gave broader powers to the federal government, but over time, the provinces and territories were assigned more responsibilities. Legislative assemblies are assigned powers in generally all matters of a merely local or private Nature in the Province, according to the Constitution. These include property rights, civil rights, and the sale of public lands. Different Names for Legislative Assemblies Seven of Canadas  10  provinces,  and its three  territories  style their legislatures as  legislative  assemblies. While most provinces and territories in Canada use the term legislative assembly, in the provinces of Nova Scotia and  Newfoundland and Labrador,  legislatures are called the House of Assembly. In Quebec, it is called the National Assembly. Though many legislative assemblies in Canada originally had upper and lower chambers, all now are unicameral,  consisting of one chamber or house. How Bills Move Through the Assemblies Bills are required to move through a formal first reading, then a second reading where members can then debate the bill. It then gets a detailed review by committee, where it is examined thoroughly and witnesses can be called. Amendments can be added at this stage.  Once the bill has been voted out of committee it goes back to the full assembly for a third reading, after which it is voted on. If it passes, it goes to the lieutenant governor, who can accept or reject it. Representation by Legislators Representation can range widely. For instance, one member of the legislative assembly in Prince Edward Island represents about 5,000 constituents, while a member of the assembly of Ontario represents more than 120,000, according to figures compiled by a regional councilor. Most, however, are somewhere between those extremes. Party Makeup of  Legislative Assemblies The combined number of seats in Canadian legislative assemblies is 768. As of May 2019, the party makeup of legislative assembly seats consisted of the Progressive Conservative Party of Canada (22 percent), the Liberal Party of Canada (19 percent), the New Democratic Party (18 percent), and 10 parties, independents and vacant seats making up the remaining 41 percent. The oldest legislative assembly in Canada is Nova Scotia House of Assembly, established in 1758. Other Commonwealth countries with states or territories that use the legislative assembly structure include  India, Australia, and Malaysia.   How Territorial Assemblies Differ Territorial assemblies work differently than their provincial counterparts. In the provinces, assembly members run for office by party membership. Each province has a premiere, who is a member of the party with the largest number of elected officials. But in the Northwest Territories and Nanavut, members run without party affiliation in what is known as a consensus government. They then elect a speaker and a premier from among these independent members. They also elect cabinet ministers. While Yukon is also a territory, it elects its members by parties the same as provinces. The three territories dont have the control over the sale and management of federal land that provinces do. They also cannot borrow money without permission of a governor in council.

Personal Reflection - 1467 Words

When thinking of class discussions and readings, I do not have difficulty separating my emotions from the content. For the most part, I have not experienced any reaction from a text that elicits a decisive reaction other than empathy. While reflecting on my everyday life, I realized I do have an experience that is a trigger for me. It evokes emotions out of me regardless of how minimal the interaction is. Recently, I have been having more physical and emotional reaction when I see a police officer or their vehicle. Growing up, I was always weary of police officers. I can remember my mother joking that my father was always afraid of police officers. I dismissed my weariness as I grew older because I assume I had such a blatant reaction†¦show more content†¦Lately, I have been hyper-aware of police officers and their vehicles. I have not had a particularly negative one to one interaction with officer but the possibility of what could occur continuously plays in my head. Whene ver I come across an officer, my immediate thought is what could go wrong, I no longer view them as a resource in a time of need. I think of them as possible threat to my safety. For instance, during my drive from Massachusetts to Florida, we got lost on the road and my sister suggested that we stopped and ask a cop for assistance. My immediate response to her was to say â€Å"do you want to die?†. The mere suggestion of approaching an officer made me anxious. I realized now that my choice of words as a response was harsh and definitely unnecessary. I remember raising my voice at her and had a whole scenario play through my head. I thought about approaching their vehicle and how they could automatically view me as threat based on my skin color. Although, I can recognized that my reaction was unwarranted but I would say the same thing again if anyone were to suggest that I seek out an officer for assistance. Another example of my anxiousness is whenever I see a police vehicle is either in front or behind me as Im driving, my heart immediately skips a beat. My heart will start racing and I will do a quick prayerShow MoreRelatedPersonal Reflection756 Words   |  4 PagesPersonal reflections are characterized as learning through experience in gaining new insights and changed perception of self and practices. Reflection can be a difficult experience without the support and guidance of an expert (Johns, 2004). This personal reflection presents an exciting opportunity for me to consider how successful my placement in the intermediate care has been in terms of my own personal learning. By reflecting on the positive aspects of the placement, I will be able to make senseRead MorePersonal Reflection And Development Plan1431 Words   |  6 PagesPersonal Reflection and Development Plan Reflective practice has helped many people to improve their learning. It is a valuable tool often used by healthcare and education providers to improve their approach to work by questioning their actions. Throughout my short time spent in Higher Education (HE) I have learned many new aspects of learning like different learning styles and models of reflection and this provides me with an opportunity to look back over these ideas and reflect. This will allowRead MoreReflection Of My Own Personal Development1637 Words   |  7 Pagesbeen established that reflection is a generic term for intellectual and effective activities, in which individuals examine their experiences, in order to develop new understanding and intrapersonal appreciation (Knowles, et al., 2006). Research in this field has advocated reflective practice as an approach to professional development which positively impacts coaching effectiveness (Cropley, et al., 2012). This reflective report shall discuss, analyse and ev aluate my own personal development throughoutRead MorePersonal Reflection Paper1371 Words   |  6 PagesThat is why Id like to take the time to explain a few important topics on invidious comparison and vicarious traumatization, such as; how to stop invidious comparison, identify strategies that I currently use to avoid vicarious traumatization in my personal life, how those strategies will help me avoid vicarious traumatization as a human service worker and what strategies I could develop to avoid it as well. I myself have compared myself to others at such a level that it did damage to my own self-esteemRead MorePsychology Personal Reflection Essay964 Words   |  4 PagesCemetery Visit Death comes to everyone human being living on the planet. I view death in two ways the first one is a long-lived life where the person enjoyed their life and die of natural causes. 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Gibbs reflective cycle (Gibbs, 1998) has been utilised as it illustrates a clear structure for the process of reflection. To conclude this reflection will draw together the themes which have emerged and highlight a clear action for future learning that will be used in order to enhance my future practice. Within my previous occupation as a health care assistant

Intrigue at the (Royal) court Essay Example For Students

Intrigue at the (Royal) court Essay Alls quiet now on the behind-the-scenes front at Londons Royal Court Theatre, which means the Sloane Square playhouse can devote its attentions to its real function as Britains premier theatre for new writing. But it wasnt always thus, and who know how long the calm will last? The British press spent 1991 reporting all manner of courtly intrigue, and this year has already seen artistic director Max Stafford-Clark win his first-ever libel suit, against GQ magazine in Britain, for spreading defamatory comments about him. Personalities aside, the Chelsea venues plays have often made news. Everyone knows that this is where modern British drama is said to have begun in 1956 with John Osbornes Look Back in Anger, but the theatre was more recently the sight of a protracted row over Jim Allens purportedly anti-Semitic piece Pendition, which was withdrawn from a production in 1987; and John Guares Six Degrees of Separation this past June drew a local loony several nights running claiming the plays real-life story of Manhattan con artistry as his. ITS RARE ON AND OFF stage to find a theatre so consistently in the headlines, which may be a tribute of sorts to the esteem in which the Court has long been held. Still, do readers of the downmarket London tabloid the Daily Express even know what the Royal Court is? Perhaps not, but last year, that paper, like many others, knew a good story when it saw one, and Stafford-Clarks security of tenure was for a while the hottest showbiz story in town. The fact is that journalists want controversy, and most people in the British theatre are so uncontroversial, Stafford-Clark, 51, says now, looking back at the fierce debate engendered by his desire to prolong his leadership. Appointed in 1979, Stafford-Clark had already extended his contract once only to find that his desire for yet another extension was dividing the theatres ranks. Leading the pro faction were playwrights like Timberlake Wertenbaker, whose career has blossomed at the Court from The Grace of Mary Traverse through Our Countrys Good and Three Birds Alighting on a Field, her 1991 play which returns to the mainstage in November. The nay-sayers included Hani Kureishi, who was a Court dramatist some years before he found screenwriting and an Oscar nomination with My Beautiful Launderette; and Matthew Evans, chairman of the publishing house Faber and Faber and former head of the Royal Courts governing board, whose barbed comments in GQ prompted Stafford-Clarks lawsuit. The ultimate decision, when the board delivered it, seemed like a classic fudge: Stephen Daldry, 31-year-old artistic director of the tiny Gate Theatre in west Londons Notting Hill and winner of a special Olivier Award for that theatre in April, was appointed artistic director designate and would accede to the top job in October 1993. At that point, Stafford-Clark would become Daldrys deputy, with the proviso that Daldry could dispense with him altogether if he wished. On April 1, Daldry moved into the buildingto a desk adjoining Stafford-Clarksonly to find that it would be a while before the two men occupied the room simultaneously. Stafford-Clark had a prior engagement with the Royal Shakespeare Company in Stratford to direct Richard Bromes 1642 play, A Jovial Crew, adapted by the Courts literary associate, Stephen Jeffreys. And Daldry was off in the summer, rehearsing his Royal National Theatre debut Sept. 12 with an unexpected choiceJ.B. Priestleys wartime warhorse, An Inspector Calls. The National opening night arrived, and history, it can fairly be said, was made: Here, working on a scale heretofore unavailable to him in London, was Daldry exploding for full emotional and visual impact the fustiest of repertory stalwarts, bursting Priestleys play wide open to discover the Pirandello-ish masterwork that lay inside. No longer a domestic chamber piece about civic duty, Inspector Calls was played for visceral bravura, allowing Priestley his full weight both as a leftist agitator and theatrical renegade. Working with an extraordinary set by Ian MacNeil, Daldry turned the play inside out (often literally), placing the Birlings drawing room in a jewel box perched near the rear of the stage, while a charred, war-ravaged landscape occupied the front. The result was to cast Daldry immediately as a directorial subversive, which is no bad thing for an adventuresome cutting-edge theatre to have at its helm. .u783d48c012a42f0846237b52c0b1b797 , .u783d48c012a42f0846237b52c0b1b797 .postImageUrl , .u783d48c012a42f0846237b52c0b1b797 .centered-text-area { min-height: 80px; position: relative; } .u783d48c012a42f0846237b52c0b1b797 , .u783d48c012a42f0846237b52c0b1b797:hover , .u783d48c012a42f0846237b52c0b1b797:visited , .u783d48c012a42f0846237b52c0b1b797:active { border:0!important; } .u783d48c012a42f0846237b52c0b1b797 .clearfix:after { content: ""; display: table; clear: both; } .u783d48c012a42f0846237b52c0b1b797 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u783d48c012a42f0846237b52c0b1b797:active , .u783d48c012a42f0846237b52c0b1b797:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u783d48c012a42f0846237b52c0b1b797 .centered-text-area { width: 100%; position: relative ; } .u783d48c012a42f0846237b52c0b1b797 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u783d48c012a42f0846237b52c0b1b797 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u783d48c012a42f0846237b52c0b1b797 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u783d48c012a42f0846237b52c0b1b797:hover .ctaButton { background-color: #34495E!important; } .u783d48c012a42f0846237b52c0b1b797 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u783d48c012a42f0846237b52c0b1b797 .u783d48c012a42f0846237b52c0b1b797-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u783d48c012a42f0846237b52c0b1b797:after { content: ""; display: block; clear: both; } READ: American Theatre' marks 10th year EssayAlthough Daldry hasnt directed at the Court since his appointment (excepting a reading of Canadian writer Brad Frasers Unidentified Human Remains and the True Nature of Love), his influence can be felt in the choice of repertoire. While most Court shows are chosen by committee, its not difficult to tell which selection bears which artistic directors imprint. While Six Degrees might have materialized at the Court anyway, it probably wouldnt have arrived so speedilyand with the name of director Phyllida Lloyd, a Daldry chum, attached to itwithout Daldrys appointment. German dramatist Klaus Pohls Karate Billy Comes Home, seen in the Cour ts Theatre Upstairs studio space in April, was originally meant for the Gate until Daldry, and it, shifted homes. CONVERSELY, APRIL DE ANGELISS spiky but problematic Hush, seen on the main stage in August, was classic Stafford-Clark farea vaguely left-of-center lament for lost idealism written by a woman who had graduated from the 70-seat studio to the 397-seat mainstage. The Courtss similarly pungent but underwritten current entry, John Byrnes Colquhoun and Macbryde, about two London-based Scottish artists and lovers, represents a longstanding commission from a writer-designer whose most celebrated work, The Slab Boys Trilogy, began at the Court in 1978. Next years principal commissionsfrom Martin Crimp and Martin Sadofski, among othersare from writers with whom Stafford-Clark has sustained a relationship, a list which includes significantly more women (Wertenbaker, Clare McIntyre, the immensely gifted Winsome Pinnock) than are ever seen at the RSC or the National. Indeed, if Daldry has any catching up to do, its not in the field of directorial legerdemain but in forging ties with working write rs. What, then, is the Courts agenda? Undoubtedly to do the highest quality new work around, a task that may be more daunting than ever as competition for top-rank work mounts. Already, the Court has lost such writers as David Storey (In Celebration), Jim Cartwright (Road) and Alan Bennett (Kafkas Dick) to the National, where it is rumored that longtime Court devotee Caryl Churchills next play, The Striker, may end up as well. Under Richard Eyres guidance, the National is as hot right now as its possible to get, and its no secret that Six Degrees would have opened there also if Eyre had been fonder of the play. (As it was, the Theatre of Comedy, owners of the British rights, brought Guares play to the Court.) Elsewhere, the Almeida and the newly opened Donmar Warehouse offer significant competition, not to mention fringe houses like the Bush, Hampstead, and, yes, the Gate. ON THE CLASSIC FRONT, the Court has an equally free (if competitive) rein, and its been heartening to watch the theatres programming establish certain modern plays as outright classics. Last years revival of Churchills Top Girls, directed by Stafford-Clark, reasserted the timelessness and scope of a play originally seen as a product of its age, the early years of Margaret Thatchers 1980s. (Lesley Sharps delivery of the final word, frightening, was indeed that.) This winter, the Court mounted Brian Friels 1979 Faith Healer, directed by Joe Dowling, in a shattering evening that gave this difficult playa sequence of four monologues left to the audience to piece togetherits due. In January, Stafford-Clark will make a rare foray into Shakespeare to direct Tom Wilkinson, his onetime T.S. Eliot in Tom and Viv, in King Lear. It wasnt long ago that some thought Stafford-Clark to be exhibiting a Lear-like folly as he clung to a theatre from which it was perhaps best to move on. But he, like his audiences, knows that when a play works at the Court, theres nothing like it. Stafford-Clark may be tenacious; he and Daldrys greatest link is their recognizable ambition. But when it comes to acknowledging a good thing on your doorstep, he is, as Lear might have said, no fool.