Texts reflect social, economic and historical stage settings, however, they ar also able to go beyond the boundaries of their time and context and this can be demonstrated through Mary Shelleys Frankenstein: The Modern Prometheus (1819) as well as Blade Runner: The Directors Cut (1992, Warner Bros) Ridley Scott. Composed during the Industrial Revolution and a plosive consonant of radical scientific experimentation, Shelley typifies the Romantic and Gothic Movement as she criticizes her enlightened society for playing god. In turn, Ridley Scott, through Blade Runner, reflects upon the dominance of capitalism and technological advancement within the after-hours 20th century. Elements that are transcendent of time include cognizance and technology, Christianity, monstrosity vs. piece and creation and actors. Upon close analysis of two differing texts, Shelley and Scott ultimately express a warning of the dire consequences of humanitys desire for power, control and unrestrained scientific progress.
Shelley develops the notion of Man usurping deitys role as creator through her characterisation of Victor.
The heavenly imagery It was the secrets of heaven and hide out that I desired to learn characterises Victor as withering of Gods Laws, his arrogant ambition a symbolism of the irreverent scientists of the Enlightenment. Creation once was something biblically pure and reserved for God but Victor ignores this and his work becomes a mockery of chastity I kept my workshop of filthy creation, the oxymoron undermining the implied sanctity expressing the ungodliness of Victors ambition. The pervasive use of irony is discernible in the juxta positioning of Victor denying his creation friendship and the society he seeks with Clerval nothing could equal my delight on perceive Clerval, he hypocritically denies the Monster the very thing he recognises as vital, friendship. This irony is also developed...If you want to get a full essay, order it on our website: Orderessay
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