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A term referring to various aspects of Frankenstein
adjective Referring to any enterprise—a ‘Frankenstein’—that circumvents or expands beyond the mechanisms designed to control it
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All human beings were to be blamed for his endless anguish, lack of friends, and criminal deeds, because human beings, in general, and Victor Frankenstein, in particular, denied his rights to happiness and mutual love:
Frankenstein is, essentially, a Romantic and Gothic horror narrative, but, at the same time, the first important modern science fiction novel because the Monster is restored to life through scientific means rather than through supernatural, magic or occult ones.
Victor Frankenstein can be considered a Romantic hero, as such a character "is either a solitary dreamer, or an egocentric plagued by guilt and remorse, .
Although there always exists the implication that the main character is Doctor Victor Frankenstein (a Promethean figure trying to bring a gleam of hope for science / mankind, considered, at the same time, "God" / creator, innocent "being", rebel, Devil-like vindictive person)--the character who gives in fact the name of this well-known myth--, much more important is the Monster, "a ubiquitous symbol of menace, .
Thus, Frankenstein becomes the "true villain", because he acts without thinking, takes risks without considering the consequences, and brings death and misfortune to the innocent people around him while not directly suffering himself.
As a myth, Frankenstein is essentially a narrative about "our ambivalences concerning power, gender, and technology", a story of "masculine self-birthing (parthenogenesis) .
Frankenstein might be a "meditation on human education", a "fearful reflection on the shallowness of Enlightenment idealism", an experiment in protoscience fiction" as well as an "implicit commentary on the respective importance of the sexes in the construction of a balanced character" (Hughes 2010: 145).
Gothic in atmosphere, Frankenstein was a warning against "man's domination by the machines he was creating"; the evil, not inherent in the monster, was a "result of the attitude toward it" because although Mary Shelley believed in the "progress and the perfectability of man", she could not see that "the danger lay in the lack of proper feeling, a failing of charity and understanding.
The monster is "not simply an alter ego of Frankenstein, not simply the passionate returning of the repressed energies of a deranged individual mind"; he becomes "a private and public horror" with his "autonomous existence" manifested by his "eloquence, critical intelligence" as well as the "effects" he has on others.
The myth of Frankenstein was the starting point of numerous literary works.
Doctor Victor Frankenstein, now a merciless millionaire, lives in New Orleans as Victor Helios.
An interesting approach is that of Jean-Claude Carriere (1931-) who, as Benoit Becker, published six novels on the Frankenstein myth (Le Tour de Frankenstein / The Tower of Frankenstein, 1957; Le Pas de Frankenstein / The Step of Frankenstein, 1957; La Nuit de Frankenstein / The Night of Frankenstein, 1957; Le Sceau de Frankenstein / The Seal of Frankenstein, 1957; Frankenstein rode / Frankenstein Prowls, 1958; La Cave de Frankenstein / The Cellar of Frankenstein, 1959).