blade runner frankenstein thesis points

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In the elective Texts in Time students are required to undertake a comparative study of texts and context. One pair of texts involves the Mary Shelley’s Frankenstein, and the film Blade Runner directed by Ridley Scott. The two texts explore common themes despite a varied treatment that results from the authors’ different contexts. Frankenstein or the Modern Prometheus (1818) by Mary Shelley Frankenstein: Context By examining Shelley’s historical context we can see many of the key concerns of her time reflected in Frankenstein. Written during a time of great change and upheaval in Europe, it functions as a social commentary on the realities of the author’s context. Post-Enlightenment – Involved questioning of religion and the state. Promotion of science, knowledge and reason in the pursuit of inevitable progress, over superstition and religious dogma. Rise of Romanticism – Rejection of science and rationalism, embraced a return to the sublimity of untamed nature and emotional/aesthetic/personal experiences. Mary eloped with Romantic poet Percy Bysshe Shelley. Midst of the Industrial Revolution – A period of technological advancement where the manual labour based economy was replaced by one where the machine increased production > workers were devalued. Shift from rural to urban – growing numbers left the countryside to find work in city factories leading to growth of slums and poverty. Karl Marx later suggested (1844) that this resulted in the alienation of man from the means of production and thus from his alienation from his essential human nature. Post French revolution / War of American Independence – The traditional monarchy was overthrown and replaced with the values of democracy and equality. New industrial middle class; bourgeoisie, threatened once secure aristocracy and strict social hierarchy. Shelley’s father was William Godwin, the foremost English writer.
A) Donna Haraway states that Monsters have always defined the limits of community in Western imaginations (180). And yet, we are presented in this course with monsters that are little different from ourselves: the aliens that turn out to be government agents in Jose Chung's From Outer Space ; the Borg who could be read as a reflection of the Federation or as the evil double of Data; the serial killer in Clyde Bruckman's Final Repose who is as scripted as anyone else in the episode; Bladerunner's Replicants who are, as Tyrell states, more human than human ; and, of course, Victor Frankenstein's creature in Mary Shelley's novel. Discussing three works, explain why these examples of science fiction move away from the tendency (for example in fantasy) to represent monsters as the opposite of that which is human. What is significant about this alignment of monsters with ourselves? Things to note: 1) The response has a strong thesis, articulated from the start in an introductory paragraph. 2) The response has strong, well-articulated, and logical transitions between sentences and paragraphs. The argument seems to proceed inexorably from point to point. 3) The student is making powerful connections among the three texts s/he examines, interpreting any differences s/he identifies. 4) The student is providing interpretation of the text rather than mere paraphrase. The student has even made points that were not made in class. S/he is interpreting the text on his/her own and providing evidence to support his/her claims. 5) The student has provided strong quotations to support his/her points and has then gone on to analyze these quotations, suggesting their significance. In the long history of the existence of fantasy literature, writers represent monsters as something opposite to the human being. The prior conflict of this genre is usually man Vs monster. Several examples of.
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