Gay frankenstein
The Gothic genre is a notoriously gay genre. Writings about the wide-spanning lgbtq+ themes and narratives of the Gothic are so numerous that even a quick search will produce over 9.2 million results.
‘Frankenstein’ is no exception to this level of analysis, although some aspects of the novel have recieved greater press than others. The queerness of Frankenstein’s Monster has been explored broadly in art, television, fiction, gay theory, theories of alienation, feminist writings and personal essays. Shelley’s own bisexuality, however, has not been written about to the alike extent. Walton is also rarely looked at from a queer perspective, despite the persistent, homoerotic overtones of his narrative (which opens and closes Victor’s narrative).
There is much about the Monster that mirrors aspects of being lgbtq+ and/or trans in society. Some transsexual people might distinguish with the embodied descriptions of Frankenstein’s Monster when he laments being made of “horrid contrasts” and parts. The Monster gives voice to aspects of body dysmorphia, which can turn your body into something that feels alien, monstrous and treacherous. Qu
My curiosity about Frankenstein was confirmed when I left academia to become an activist. During this period, I entered therapy to deal with why I felt so persecuted inside, and was given an unpublished paper written in 1977 by Jungian-oriented psychologist Mitch Walker, “The Problem of Frankenstein” (now posted on www.uranianpsych.org), that analyzed Frankenstein as a gay care for story. Walker had an idea that an archetypal mind configuration—which he called the “double”—was at the heart of the felt human capacity for Accurate Love and self-realization—but only if gigantic “competitor” qualities were consciously wrestled with in a process that eventually revealed this inner twin to be a magical phallic partner and mediator between the ego-identity and the underworld of the psyche.
My growing sense that Frankenstein amounted to a canonical “gay” literary work on a par with Whitman’s Leaves of Grass and Oscar Wilde’s The Ballad of Reading Gaol was finally validated this year when I learned that queer historian John Lauritsen had published a new book, The Man Who Wrote Frankenstein. Lauritsen is known as a gay liberationist who co-authored, with David Thorstad, The First Homosexual Rights
Homosexuality in Frankenstein by Mary Shelley Research Paper
Introduction
The Victorian period is characterized by the paradox of a grand opening in community as well as a tremendous constraint. It is known as the time of change and social advances and the period of severe regard for the traditions. Under the reign of Queen Victoria, the Industrial Revolution came of age, blossomed, and brought sweeping change across the country and the world. Experience switched from a base primarily dictated by the land one owned to a social structure based on commerce and manufacturing (Greenblatt, 2005).
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In this switch, people living in these changing times began to question the status quo creating a great deal of social upheaval. Social class structures started to break down, and women, too, began to scrutinize their allotted place in society.
However, at the same time, these breaks from the traditions incited a response reaction in favor of more traditional social roles in other areas, such as the refutation of male sexual relationships to the extent that one could be sentenced to death for participa
Exploring The Inherent Lgbtq+ Undertones Of Mary Shelley's "Frankenstein"
Earlier this month, the National Theatre in London made its 2011 production of Frankenstein, adapted for the stage by Nick Dear and directed by Danny Boyle, available to stream for free via their YouTube page. There were two separate recordings of this play, one featuring Jonny Lee Miller as Victor Frankenstein and Benedict Cumberbatch as the Creature, and the other featuring the actors in swapped roles (Miller and Cumberbatch alternated the parts throughout the production’s run).
"Frankenstein" is a novel of many meanings. It is not only a distinctly queer work, but a feminist work, a perform of social critique and an examination of the human condition.
The motive behind this theatrical switcheroo is rooted in the themes of Mary Shelley’s classic novel and Dear’s adaptation: it highlights the dichotomy of these two supposedly different beings, the idea that they mirror each other in every way. As such, the line between gentleman and monster, between “good” and “evil,” is so thin, it's practically concealed. However, Dear chooses to punch up this aspect of Frankens