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Frankenstein Dialectical Journal: A Deep Dive into Shelley's Masterpiece
Introduction:
Unleashing the monstrous power of Mary Shelley's Frankenstein requires more than just a casual read. To truly grapple with its complex themes of creation, ambition, and responsibility, a dialectical journal is an invaluable tool. This post provides a comprehensive guide to creating a compelling and insightful Frankenstein dialectical journal, complete with tips, examples, and a structured approach to help you unlock the novel's hidden depths. We'll explore effective strategies for analyzing key passages, formulating insightful responses, and transforming your journal into a powerful learning tool that will boost your understanding and impress your educators. Get ready to dissect Shelley's masterpiece and elevate your critical thinking skills!
What is a Dialectical Journal?
A dialectical journal isn't just another reading log; it's a dynamic conversation between you and the text. It involves selecting key passages from Frankenstein and engaging in a thoughtful dialogue by responding to them. This response is not simply summarization; it delves into the implications, themes, and literary devices employed by Shelley. Think of it as a sophisticated form of annotation that takes your understanding to the next level.
Choosing Key Passages for Your Frankenstein Dialectical Journal:
Selecting the right passages is crucial. Don't simply choose random excerpts. Focus on:
Significant Events: Moments that drive the plot or reveal character development.
Thematic Passages: Sections that explore key themes like ambition, isolation, revenge, or the nature of humanity.
Figurative Language: Identify powerful metaphors, similes, and imagery that enhance Shelley's storytelling.
Character Development: Moments that illuminate Victor's, the creature's, or other characters' motivations and transformations.
Philosophical Arguments: Passages that raise ethical questions or present contrasting viewpoints.
Crafting Effective Responses: Moving Beyond Summary:
Your responses should go beyond simple plot summaries. Instead, aim for insightful analysis that demonstrates your comprehension and critical thinking skills. Consider these approaches:
Connecting to Personal Experiences: Relate the passage to your own life, experiences, or observations. How does it resonate with you?
Exploring Literary Devices: Analyze the use of literary techniques like foreshadowing, symbolism, or irony. How do they enhance the meaning of the passage?
Connecting to Themes: Explicitly link the passage to broader themes present in the novel. How does this passage contribute to the overall message?
Analyzing Character Motivation: Discuss the characters' motivations and actions. What are their goals? What are the consequences of their choices?
Considering Different Interpretations: Acknowledge multiple perspectives and consider alternative interpretations of the passage.
Example Entries for Your Frankenstein Dialectical Journal:
Here are examples demonstrating different approaches:
Passage: "I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart." (Victor Frankenstein)
Response: This passage perfectly captures Victor's overwhelming disappointment and terror after his creation. His ambition, initially a driving force, is replaced by revulsion. This mirrors the dangers of unchecked ambition, a recurring theme throughout the novel. I've experienced similar feelings after pursuing a goal intensely only to realize the negative consequences. The "breathless horror" is incredibly vivid and emphasizes Victor's overwhelming emotional state.
Passage: "Did I request thee, Maker, from my clay / To mould me Man, did I solicit thee / From darkness to promote me?" (The Creature)
Response: This powerful quote from the creature demonstrates his sense of injustice and abandonment. He questions the morality of his creation and highlights the responsibility of the creator. The use of iambic pentameter and the elevated language elevate the creature's plea, suggesting a profound philosophical depth to his suffering. This passage connects to the theme of responsibility and the consequences of playing God.
Structuring Your Frankenstein Dialectical Journal:
For optimal organization, consider the following structure:
Clearly labelled sections: Separate each entry with clear headings indicating chapter and page number.
Neat and organized presentation: Maintain a consistent format for both the passage and your response.
Use of different colors or fonts (optional): Visually distinguish between the passage and your analysis.
Consistent tone: Maintain a thoughtful and analytical tone throughout your journal.
Conclusion:
Creating a Frankenstein dialectical journal is a powerful way to engage deeply with Shelley's masterpiece. By thoughtfully selecting key passages and crafting insightful responses, you'll develop a richer understanding of the novel's complex themes, characters, and literary techniques. This process will not only enhance your comprehension but also sharpen your critical thinking and analytical skills. Remember, the goal is to have a meaningful conversation with the text, a conversation that unfolds over time as your understanding deepens.
FAQs:
1. Can I use a digital dialectical journal? Absolutely! Many digital tools and note-taking apps can be adapted for this purpose.
2. How many entries should I have? The number of entries depends on the length of the assignment and your reading pace. Aim for a thorough analysis covering key themes and events.
3. What if I struggle to find something to write about a passage? Re-read the passage carefully. Consider its context within the broader narrative, its implications for the characters, and its connection to overarching themes.
4. Is there a specific grading rubric for dialectical journals? Grading rubrics vary, but generally assess comprehension, critical analysis, insightful responses, and organization. Check your instructor's guidelines.
5. Can I use secondary sources to inform my responses? While primary engagement with the text is crucial, referencing secondary sources (criticism, biographical information) can add depth to your analysis, but always cite your sources properly.
| frankenstein dialectical journal: Frankenstein (Annotated and Illustrated) Volume Mary Shelley, 2020-02-27 Mary Shelley began writing Frankenstein when she was only eighteen. At once a Gothic thriller, a passionate romance, and a cautionary tale about the dangers of science, Frankenstein tells the story of committed science student Victor Frankenstein. Obsessed with discovering the cause of generation and life and bestowing animation upon lifeless matter, Frankenstein assembles a human being from stolen body parts but; upon bringing it to life, he recoils in horror at the creature's hideousness. Tormented by isolation and loneliness, the once-innocent creature turns to evil and unleashes a campaign of murderous revenge against his creator, Frankenstein.Frankenstein, an instant bestseller and an important ancestor of both the horror and science fiction genres, not only tells a terrifying story, but also raises profound, disturbing questions about the very nature of life and the place of humankind within the cosmos: What does it mean to be human? What responsibilities do we have to each other? How far can we go in tampering with Nature? In our age, filled with news of organ donation genetic engineering, and bio-terrorism, these questions are more relevant than ever. |
| frankenstein dialectical journal: Nothing But the Truth Avi, 1991 A ninth-grader's suspension for singing The Star-Spangled Banner during homeroom becomes a national news story. |
| frankenstein dialectical journal: Representing Capital Fredric Jameson, 2014-01-07 Representing Capital, Fredric Jameson’s first book-length engagement with Marx’s magnum opus, is a unique work of scholarship that records the progression of Marx’s thought as if it were a musical score. The textual landscape that emerges is the setting for paradoxes and contradictions that struggle toward resolution, giving rise to new antinomies and a new forward movement. These immense segments overlap each other to combine and develop on new levels in the same way that capital itself does, stumbling against obstacles that it overcomes by progressive expansions, which are in themselves so many leaps into the unknown. |
| frankenstein dialectical journal: Teach Me to Forget Erica M. Chapman, 2019-07-30 Ellery’s grief over the loss of her younger sister is pushing her down a dark path in this heartwrenching story of loss and the journey to hope that’s perfect for fans of Girl in Pieces and All the Bright Places. Ellery doesn’t want to live anymore. She’s unable to bear the pain of losing her younger sister to a car accident she blames herself for, or face the rest of her broken family. So, she’s made a plan—bought the gun, arranged for her funeral, and picked the day. Everything has fallen into place. Then, on the day she intends to take her own life, she meets Colter, a boy who recognizes her desperation and becomes determined to stop her. Ellery won’t be swayed so easily, but as she struggles with her hopelessness it becomes clear Colter has good reasons for his vigilance—deep, personal reasons. And whether Ellery likes it or not, he can’t let go. |
| frankenstein dialectical journal: Frankenstein Shelley, Mary, 2023-01-11 Frankenstein is a novel by Mary Shelley. It was first published in 1818. Ever since its publication, the story of Frankenstein has remained brightly in the imagination of the readers and literary circles across the countries. In the novel, an English explorer in the Arctic, who assists Victor Frankenstein on the final leg of his chase, tells the story. As a talented young medical student, Frankenstein strikes upon the secret of endowing life to the dead. He becomes obsessed with the idea that he might make a man. The Outcome is a miserable and an outcast who seeks murderous revenge for his condition. Frankenstein pursues him when the creature flees. It is at this juncture t that Frankenstein meets the explorer and recounts his story, dying soon after. Although it has been adapted into films numerous times, they failed to effectively convey the stark horror and philosophical vision of the novel. Shelley's novel is a combination of Gothic horror story and science fiction. |
| frankenstein dialectical journal: Gris Grimly's Frankenstein Mary Shelley, 2013-08-27 Retells, in graphic novel format, Mary Shelley's classic tale of a monster, assembled by a scientist from parts of dead bodies, who develops a mind of his own as he learns to loathe himself and hate his creator. |
| frankenstein dialectical journal: The Cambridge Companion to `Frankenstein' Andrew Smith, 2016-08-25 Sixteen original essays by leading scholars on Mary Shelley's novel provide an introduction to Frankenstein and its various critical contexts. |
| frankenstein dialectical journal: Black Frankenstein Elizabeth Young, 2008-08-10 For all the scholarship devoted to Mary Shelley's English novel Frankenstein, there has been surprisingly little attention paid to its role in American culture, and virtually none to its racial resonances in the United States. In Black Frankenstein, Elizabeth Young identifies and interprets the figure of a black American Frankenstein monster as it appears with surprising frequency throughout nineteenth- and twentieth-century U.S. culture, in fiction, film, essays, oratory, painting, and other media, and in works by both whites and African Americans. Black Frankenstein stories, Young argues, effect four kinds of racial critique: they humanize the slave; they explain, if not justify, black violence; they condemn the slaveowner; and they expose the instability of white power. The black Frankenstein's monster has served as a powerful metaphor for reinforcing racial hierarchy—and as an even more powerful metaphor for shaping anti-racist critique. Illuminating the power of parody and reappropriation, Black Frankenstein tells the story of a metaphor that continues to matter to literature, culture, aesthetics, and politics. |
| frankenstein dialectical journal: Killer Pizza Greg Taylor, 2009-05-26 Pizza you'll die for! Toby McGill dreams of becoming a world-famous chef, but up until now, his only experience has been watching the Food Network. When Toby lands a summer job at Killer Pizza, where pies like The Monstrosity and The Frankensausage are on the menu, things seem perfect. His coworkers, Annabel and Strobe, are cool, and Toby loves being part of a team. But none of them are prepared for what's really going on at Killer Pizza: It's a front for a monster-hunting organization! Learning to cook pizzas is one thing, but killing hideously terrifying monsters? That's a whole other story. Still, if Toby quits Killer Pizza, will monsters take over his town? Greg Taylor's Killer Pizza is a humorous and fast-paced read that R.L. Stine calls a hot slice of horror that I couldn't put down! |
| frankenstein dialectical journal: Isaac's Storm Erik Larson, 2000-07-11 From the bestselling author of The Devil in the White City, here is the true story of the deadliest hurricane in history. National Bestseller September 8, 1900, began innocently in the seaside town of Galveston, Texas. Even Isaac Cline, resident meteorologist for the U.S. Weather Bureau failed to grasp the true meaning of the strange deep-sea swells and peculiar winds that greeted the city that morning. Mere hours later, Galveston found itself submerged in a monster hurricane that completely destroyed the town and killed over six thousand people in what remains the greatest natural disaster in American history--and Isaac Cline found himself the victim of a devastating personal tragedy. Using Cline's own telegrams, letters, and reports, the testimony of scores of survivors, and our latest understanding of the science of hurricanes, Erik Larson builds a chronicle of one man's heroic struggle and fatal miscalculation in the face of a storm of unimaginable magnitude. Riveting, powerful, and unbearably suspenseful, Isaac's Storm is the story of what can happen when human arrogance meets the great uncontrollable force of nature. |
| frankenstein dialectical journal: Hillbilly Elegy J. D. Vance, 2016-06-28 NEW YORK TIMES BESTSELLER A riveting book.—The Wall Street Journal Essential reading.—David Brooks, New York Times From a former marine and Yale Law School graduate, a powerful account of growing up in a poor Rust Belt town that offers a broader, probing look at the struggles of America’s white working class Hillbilly Elegy is a passionate and personal analysis of a culture in crisis—that of white working-class Americans. The decline of this group, a demographic of our country that has been slowly disintegrating over forty years, has been reported on with growing frequency and alarm, but has never before been written about as searingly from the inside. J. D. Vance tells the true story of what a social, regional, and class decline feels like when you were born with it hung around your neck. The Vance family story begins hopefully in postwar America. J. D.’s grandparents were “dirt poor and in love,” and moved north from Kentucky’s Appalachia region to Ohio in the hopes of escaping the dreadful poverty around them. They raised a middle-class family, and eventually their grandchild (the author) would graduate from Yale Law School, a conventional marker of their success in achieving generational upward mobility. But as the family saga of Hillbilly Elegy plays out, we learn that this is only the short, superficial version. Vance’s grandparents, aunt, uncle, sister, and, most of all, his mother, struggled profoundly with the demands of their new middle-class life, and were never able to fully escape the legacy of abuse, alcoholism, poverty, and trauma so characteristic of their part of America. Vance piercingly shows how he himself still carries around the demons of their chaotic family history. A deeply moving memoir with its share of humor and vividly colorful figures, Hillbilly Elegy is the story of how upward mobility really feels. And it is an urgent and troubling meditation on the loss of the American dream for a large segment of this country. |
| frankenstein dialectical journal: The Surprising Effects of Sympathy David Marshall, 1988 Through readings of works by Marivaux, Diderot, Rousseau, and Mary Shelley, David Marshall provides a new interpretation of the eighteenth-century preoccupation with theatricality and sympathy. Sympathy is seen not as an instance of sensibility or natural benevolence but rather as an aesthetic and epistemological problem that must be understood in relation to the problem of theatricality. Placing novels in the context of eighteenth-century writing about theater, fiction, and painting, Marshall argues that an unusual variety of authors and texts were concerned with the possibility of entering into someone else's thoughts and feelings. He shows how key eighteenth-century works reflect on the problem of how to move, touch, and secure the sympathy of readers and beholders in the realm of both art and life. Marshall discusses the demands placed upon novels to achieve certain effects, the ambivalence of writers and readers about those effects, and the ways in which these texts can be read as philosophical meditations on the differences and analogies between the experiences of reading a novel, watching a play, beholding a painting, and witnessing the spectacle of someone suffering. The Surprising Effects of Sympathy traces the interaction of sympathy and theater and the artistic and philosophical problems that these terms represent in dialogues about aesthetics, moral philosophy, epistemology, psychology, autobiography, the novel, and society. |
| frankenstein dialectical journal: Dracula Bram Stoker, 1982-04-12 String garlic by the window and hang a cross around your neck! The most powerful vampire of all time returns in our Stepping Stone Classic adaption of the original tale by Bran Stoker. Follow Johnathan Harker, Mina Harker, and Dr. Abraham van Helsing as they discover the true nature of evil. Their battle to destroy Count Dracula takes them from the crags of his castle to the streets of London... and back again. |
| frankenstein dialectical journal: Klara and the Sun Kazuo Ishiguro, 2021-03-02 NEW YORK TIMES BESTSELLER LONGLISTED FOR THE 2021 BOOKER PRIZE NAMED A BEST BOOK OF THE YEAR BY THE NEW YORK TIMES, THE GLOBE AND MAIL, THE GUARDIAN, ESQUIRE, VOGUE, TIME, THE WASHINGTON POST, THE TIMES (UK), VULTURE, THE ECONOMIST, NPR, AND BOOKRIOT ON PRESIDENT OBAMA’S SUMMER 2021 READING LIST The magnificent new novel from Nobel laureate Kazuo Ishiguro--author of Never Let Me Go and the Booker Prize-winning The Remains of the Day. “The Sun always has ways to reach us.” From her place in the store, Klara, an Artificial Friend with outstanding observational qualities, watches carefully the behaviour of those who come in to browse, and of those who pass in the street outside. She remains hopeful a customer will soon choose her, but when the possibility emerges that her circumstances may change forever, Klara is warned not to invest too much in the promises of humans. In Klara and the Sun, Kazuo Ishiguro looks at our rapidly changing modern world through the eyes of an unforgettable narrator to explore a fundamental question: what does it mean to love? |
| frankenstein dialectical journal: The Unspoken Thomas Fahy, 2009-07-07 When one of the five remaining survivors of their defunct religious cult ends up dead from drowning, the rest begin to think that they too are being targeted in the way their powerful cult leader predicted so many years ago. Reprint. |
| frankenstein dialectical journal: The Book Thief Markus Zusak, 2007-12-18 #1 NEW YORK TIMES BESTSELLER • ONE OF TIME MAGAZINE’S 100 BEST YA BOOKS OF ALL TIME The extraordinary, beloved novel about the ability of books to feed the soul even in the darkest of times. When Death has a story to tell, you listen. It is 1939. Nazi Germany. The country is holding its breath. Death has never been busier, and will become busier still. Liesel Meminger is a foster girl living outside of Munich, who scratches out a meager existence for herself by stealing when she encounters something she can’t resist–books. With the help of her accordion-playing foster father, she learns to read and shares her stolen books with her neighbors during bombing raids as well as with the Jewish man hidden in her basement. In superbly crafted writing that burns with intensity, award-winning author Markus Zusak, author of I Am the Messenger, has given us one of the most enduring stories of our time. “The kind of book that can be life-changing.” —The New York Times “Deserves a place on the same shelf with The Diary of a Young Girl by Anne Frank.” —USA Today DON’T MISS BRIDGE OF CLAY, MARKUS ZUSAK’S FIRST NOVEL SINCE THE BOOK THIEF. |
| frankenstein dialectical journal: I Know Why the Caged Bird Sings Maya Angelou, 2010-07-21 Here is a book as joyous and painful, as mysterious and memorable, as childhood itself. I Know Why the Caged Bird Sings captures the longing of lonely children, the brute insult of bigotry, and the wonder of words that can make the world right. Maya Angelou’s debut memoir is a modern American classic beloved worldwide. Sent by their mother to live with their devout, self-sufficient grandmother in a small Southern town, Maya and her brother, Bailey, endure the ache of abandonment and the prejudice of the local “powhitetrash.” At eight years old and back at her mother’s side in St. Louis, Maya is attacked by a man many times her age—and has to live with the consequences for a lifetime. Years later, in San Francisco, Maya learns that love for herself, the kindness of others, her own strong spirit, and the ideas of great authors (“I met and fell in love with William Shakespeare”) will allow her to be free instead of imprisoned. Poetic and powerful, I Know Why the Caged Bird Sings will touch hearts and change minds for as long as people read. “I Know Why the Caged Bird Sings liberates the reader into life simply because Maya Angelou confronts her own life with such a moving wonder, such a luminous dignity.”—James Baldwin From the Paperback edition. |
| frankenstein dialectical journal: All that is Solid Melts Into Air Marshall Berman, 1983 The experience of modernization -- the dizzying social changes that swept millions of people into the capitalist world -- and modernism in art, literature and architecture are brilliantly integrated in this account. |
| frankenstein dialectical journal: The Medium Is the Monster Mark A. McCutcheon, 2018-04-21 Technology, a word that emerged historically first to denote the study of any art or technique, has come, in modernity, to describe advanced machines, industrial systems, and media. McCutcheon argues that it is Mary Shelley’s 1818 novel Frankenstein that effectively reinvented the meaning of the word for modern English. It was then Marshall McLuhan’s media theory and its adaptations in Canadian popular culture that popularized, even globalized, a Frankensteinian sense of technology. The Medium Is the Monster shows how we cannot talk about technology—that human-made monstrosity—today without conjuring Frankenstein, thanks in large part to its Canadian adaptations by pop culture icons such as David Cronenberg, William Gibson, Margaret Atwood, and Deadmau5. In the unexpected connections illustrated by The Medium Is the Monster, McCutcheon brings a fresh approach to studying adaptations, popular culture, and technology. |
| frankenstein dialectical journal: The Unbecoming of Mara Dyer Michelle Hodkin, 2011-09-27 Mara Dyer doesn’t know if she is crazy or haunted—all she knows is that everyone around her is dying in this suspenseful and “strong, inventive tale” (Kirkus Reviews). Mara Dyer doesn’t think life can get any stranger than waking up in a hospital with no memory of how she got there. It can. She believes there must be more to the accident she can’t remember that killed her friends and left her mysteriously unharmed. There is. She doesn’t believe that after everything she’s been through, she can fall in love. She’s wrong. After Mara survives the traumatizing accident at the old asylum, it makes sense that she has issues. She lost her best friend, her boyfriend, and her boyfriend’s sister, and as if that weren’t enough to cope with, her family moves to a new state in order to give her a fresh start. But that fresh start is quickly filled with hallucinations—or are they premonitions?—and then corpses, and the boundary between reality and nightmare is wavering. At school, there’s Noah, a devastatingly handsome charmer who seems determined to help Mara piece together what’s real, what’s imagined—and what’s very, very dangerous. This fast-paced psychological—or is it paranormal?—thriller will leave you breathless for its sequel, The Evolution of Mara Dyer. |
| frankenstein dialectical journal: The Catcher in the Rye J. D. Salinger, 2024-06-28 The Catcher in the Rye," written by J.D. Salinger and published in 1951, is a classic American novel that explores the themes of adolescence, alienation, and identity through the eyes of its protagonist, Holden Caulfield. The novel is set in the 1950s and follows Holden, a 16-year-old who has just been expelled from his prep school, Pencey Prep. Disillusioned with the world around him, Holden decides to leave Pencey early and spend a few days alone in New York City before returning home. Over the course of these days, Holden interacts with various people, including old friends, a former teacher, and strangers, all the while grappling with his feelings of loneliness and dissatisfaction. Holden is deeply troubled by the "phoniness" of the adult world and is haunted by the death of his younger brother, Allie, which has left a lasting impact on him. He fantasizes about being "the catcher in the rye," a guardian who saves children from losing their innocence by catching them before they fall off a cliff into adulthooda. The novel ends with Holden in a mental institution, where he is being treated for a nervous breakdown. He expresses some hope for the future, indicating a possible path to recovery.. |
| frankenstein dialectical journal: Apotheosis Now Yanhao Huang, 2021-04-13 Many of us are starting to become tired of this game of life. We have been comparing and striving all our life. But no matter how much success we have achieved—we are still hollow and still have found nothing fulfilling. We don’t even know if happiness exists because it is no longer a living thing in our experience—it has become dead, as we only know it as a concept or memory. We have sought self-help advice, philosophies, and religious teachings to transform ourselves but have not gotten anywhere. We have made some superficial improvements—like adopting a new mindset—but our core remains the same. We are still competitive, still fearful, and we get disturbed all the time. The problem with all attempts at self-improvement is that we do not address the fundamental problem, which is: who is the “you” who needs to be improved? We do not see that the one who is making the improvement is the same one who needs to be improved. The more we try to improve, the more conflict we introduce, within and without. The more knowledge we stuff in our heads, the more we become trapped in a conceptual prison of reality. Inevitably, the more confused we get in life. The book guides the reader out of their distorted beliefs to experience reality beyond the mind. When the deeper intelligence is allowed to flourish without our mind's interference, then the game of life becomes effortless. |
| frankenstein dialectical journal: Infinite Distraction Dominic Pettman, 2016-01-11 It is often argued that contemporary media homogenize our thoughts and actions, without us being fully aware of the restrictions they impose. But what if the problem is not that we are all synchronized to the same motions or moments, but rather dispersed into countless different emotional micro-experiences? What if the effect of so-called social media is to calibrate the interactive spectacle so that we never fully feel the same way as other potential allies at the same time? While one person is fuming about economic injustice or climate change denial, another is giggling at a cute cat video. And, two hours late, vice versa. The nebulous indignation which constitutes the very fuel of true social change can be redirected safely around the network, avoiding any dangerous surges of radical activity. In this short and provocative book, Dominic Pettman examines the deliberate deployment of what he calls 'hypermodulation,' as a key strategy encoded into the contemporary media environment. His account challenges the various narratives that portray social media as a sinister space of synchronized attention, in which we are busily clicking ourselves to death. This critical reflection on the unprecedented power of the Internet requires us to rethink the potential for infinite distraction that our latest technologies now allow. |
| frankenstein dialectical journal: The Forbidden Experiment Roger Shattuck, 1994 A haunting account by an award-winning cultural historian that addresses still pertinent issues, such as nature vs. nurture, the acquisition of language in children, and the socialization of deaf and mute children. |
| frankenstein dialectical journal: The Handmaid's Tale Margaret Atwood, 2011-09-06 An instant classic and eerily prescient cultural phenomenon, from “the patron saint of feminist dystopian fiction” (New York Times). Now an award-winning Hulu series starring Elizabeth Moss. In this multi-award-winning, bestselling novel, Margaret Atwood has created a stunning Orwellian vision of the near future. This is the story of Offred, one of the unfortunate “Handmaids” under the new social order who have only one purpose: to breed. In Gilead, where women are prohibited from holding jobs, reading, and forming friendships, Offred’s persistent memories of life in the “time before” and her will to survive are acts of rebellion. Provocative, startling, prophetic, and with Margaret Atwood’s devastating irony, wit, and acute perceptive powers in full force, The Handmaid’s Tale is at once a mordant satire and a dire warning. |
| frankenstein dialectical journal: Film Language Christian Metz, 1991 A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinéma: langue ou langage?'—Geoffrey Nowell-Smith, Times Literary Supplement Modern film theory begins with Metz.—Constance Penley, coeditor of Camera Obscura Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a reference to the work of Christian Metz. . . . The first book to be written in this field, [Film Language] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument.—Stephen Heath, Screen |
| frankenstein dialectical journal: Topophrenia Robert T. Tally, Jr., 2018-11-09 What is our place in the world, and how do we inhabit, understand, and represent this place to others? Topophrenia gathers essays by Robert Tally that explore the relationship between space, place, and mapping, on the one hand, and literary criticism, history, and theory on the other. The book provides an introduction to spatial literary studies, exploring in detail the theory and practice of geocriticism, literary cartography, and the spatial humanities more generally. The spatial anxiety of disorientation and the need to know one's location, even if only subconsciously, is a deeply felt and shared human experience. Building on Yi Fu Tuan's topophilia (or love of place), Tally instead considers the notion of topophrenia as a simultaneous sense of place-consciousness coupled with a feeling of disorder, anxiety, and dis-ease. He argues that no effective geography could be complete without also incorporating an awareness of the lonely, loathsome, or frightening spaces that condition our understanding of that space. Tally considers the tension between the objective ordering of a space and the subjective ways in which narrative worlds are constructed. Narrative maps present a way of understanding that seems realistic but is completely figurative. So how can these maps be used to not only understand the real world but also to put up an alternative vision of what that world might otherwise be? From Tolkien to Cervantes, Borges to More, Topophrenia provides a clear and compelling explanation of how geocriticism, the spatial humanities, and literary cartography help us to narrate, represent, and understand our place in a constantly changing world. |
| frankenstein dialectical journal: Never Let Me Go Sachin Garg, 2012 |
| frankenstein dialectical journal: Station Eleven Emily St. John Mandel, 2014-09-09 NOW A MAJOR TV SERIES Finalist for CBC Canada Reads 2023 Winner of the Toronto Book Award and the Arthur C. Clarke Award Finalist for the National Book Award, the PEN/Faulkner Award, and the Sunburst Award Longlisted for the Baileys Prize and for the Andrew Carnegie Medal for Excellence in Fiction A New York Times and Globe and Mail bestseller A Best Book of the Year in The Globe and Mail, The Washington Post, Entertainment Weekly, Kirkus Reviews, and Time magazine An audacious, darkly glittering novel about art, fame and ambition, set in the eerie days of civilization’s collapse Day One The Georgia Flu explodes over the surface of the earth like a neutron bomb. News reports put the mortality rate at over 99%. Week Two Civilization has crumbled. Year Twenty A band of actors and musicians, called the Travelling Symphony, move through the territories of a changed world, performing concerts and Shakespeare at the settlements that have formed. Twenty years after the pandemic, life feels relatively safe. But now a new danger looms, and it threatens the world every hopeful survivor has tried to rebuild. Moving backward and forward in time, from the glittering years just before the collapse to the strange and altered world that exists twenty years after, Station Eleven charts the unexpected twists of fate that connect six people: celebrated actor Arthur Leander; Jeevan, a bystander warned about the flu just in time; Arthur's first wife, Miranda; Arthur's oldest friend, Clark; Kirsten, an actress with the Travelling Symphony; and the mysterious and self-proclaimed prophet. Sometimes terrifying, sometimes tender, Station Eleven tells a story about the fragility of life, the relationships that sustain us, and the beauty of the world as we know it. |
| frankenstein dialectical journal: Lord of the Flies William Golding, 2012-09-20 A plane crashes on a desert island and the only survivors, a group of schoolboys, assemble on the beach and wait to be rescued. By day they inhabit a land of bright fantastic birds and dark blue seas, but at night their dreams are haunted by the image of a terrifying beast. As the boys' delicate sense of order fades, so their childish dreams are transformed into something more primitive, and their behaviour starts to take on a murderous, savage significance. First published in 1954, Lord of the Flies is one of the most celebrated and widely read of modern classics. Now fully revised and updated, this educational edition includes chapter summaries, comprehension questions, discussion points, classroom activities, a biographical profile of Golding, historical context relevant to the novel and an essay on Lord of the Flies by William Golding entitled 'Fable'. Aimed at Key Stage 3 and 4 students, it also includes a section on literary theory for advanced or A-level students. The educational edition encourages original and independent thinking while guiding the student through the text - ideal for use in the classroom and at home. |
| frankenstein dialectical journal: Albert Camus's The Stranger Harold Bloom, 2011 Camus's landmark novel traces the aftermath of a shocking crime and the man whose fate is sealed with one rash and foolhardy act. The Stranger presents readers with a new kind of protagonist, a man unable to transcend the tedium and inherent absurdity of everyday existence in a world indifferent to the struggles and strivings of its human denizens. This addition to the Bloom's Guides series features an annotated bibliography and a listing of works by the author for further reading. |
| frankenstein dialectical journal: The Digital Dialectic Peter Lunenfeld, 2000 How our visual and intellectual cultures are changed by the new interaction-based media and technologies. |
| frankenstein dialectical journal: Mary Shelley's Frankenstein Harold Bloom, 2013-09 Perhaps best recognized for the horror films it has spawned, 'Frankenstein,' written by 19-year-old Mary Shelley, was first published in 1818. 'Frankenstein' warns against the irresponsible use of science and technology and makes readers reconsider who the world's monsters really are and how society contributes to creating them. Ideal for research or general interest, this resource furnishes students with a collection of the most insightful critical essays available on this Gothic thriller, selected from a variety of literary sources.-- |
| frankenstein dialectical journal: Behind the Crisis Guglielmo Carchedi, 2010-12-17 Much has been written since Capital was first published, and more recently after the demise of the Soviet Union and the consequent triumph of neoliberalism, about the irrelevance, inconsistency, and obsoleteness of Marx. This has been attributed to his unworkable method of inquiry. This book goes against the current. It introduces the issues that are presently most hotly debated, it evaluates them, and it groups them into four headings, each one of them corresponding to a chapter. At the same time, it submits a new reading of Marx’s method of social research and on this basis it argues that Marx’s work offers a solid foundation upon which to further develop a multi-faceted theory of crises highly relevant for the contemporary world. |
| frankenstein dialectical journal: Women, Race, & Class Angela Y. Davis, 2011-06-29 From one of our most important scholars and civil rights activist icon, a powerful study of the women’s liberation movement and the tangled knot of oppression facing Black women. “Angela Davis is herself a woman of undeniable courage. She should be heard.”—The New York Times Angela Davis provides a powerful history of the social and political influence of whiteness and elitism in feminism, from abolitionist days to the present, and demonstrates how the racist and classist biases of its leaders inevitably hampered any collective ambitions. While Black women were aided by some activists like Sarah and Angelina Grimke and the suffrage cause found unwavering support in Frederick Douglass, many women played on the fears of white supremacists for political gain rather than take an intersectional approach to liberation. Here, Davis not only contextualizes the legacy and pitfalls of civil and women’s rights activists, but also discusses Communist women, the murder of Emmitt Till, and Margaret Sanger’s racism. Davis shows readers how the inequalities between Black and white women influence the contemporary issues of rape, reproductive freedom, housework and child care in this bold and indispensable work. |
| frankenstein dialectical journal: Nineteen Minutes Jodi Picoult, 2009-05-01 The startling and poignant story of the aftermath of a tragic high school shooting, from the bestselling author of My Sister's Keeperand The Pact.; |
| frankenstein dialectical journal: The Benjamin Files Fredric Jameson, 2020-11-03 The Benjamin Files offers a comprehensive new reading of all of Benjamin's major works and a great number of his shorter book reviews, notes and letters. Its premise is that Benjamin was an anti-philosophical, anti-systematic thinker whose conceptual interests also felt the gravitational pull of his vocation as a writer. What resulted was a coexistence or variety of language fields and thematic codes which overlapped and often seemed to contradict each other: a view which will allow us to clarify the much-debated tension in his works between the mystical or theological side of Benjamin and his political or historical inclination. The three-way tug of war over his heritage between adherents of his friends Scholem, Adorno and Brecht, can also be better grasped from this position, which gives the Brechtian standpoint more due than most influential academic studies. Benjamin's corpus is an anticipation of contemporary theory in the priority it gives language and representation over philosophical or conceptual unity; and its political motivations are clarified by attention to the omnipresence of History throughout his writing, from the shortest articles to the most ambitious projects. His explicit program - to transfer the crisis into the heart of language or, in other words, to detect class struggle at work in the most minute literary phenomena - requires the reader to translate the linguistic or representational literary issues that concerned him back into the omnipresent but often only implicitly political ones. But the latter are those of another era, to which we must gain access, to use one of Benjamin's favorite expressions. |
| frankenstein dialectical journal: The Frankenstein diaries Hubert Venables, 1976 |
| frankenstein dialectical journal: Ecocriticism and the Idea of Culture Helena Feder, 2016-04-29 Ecocriticism and the Idea of Culture: Biology and the Bildungsroman draws on work by Kinji Imanishi, Frans de Waal, and other biologists to create an interdisciplinary, materialist notion of culture for ecocritical analysis. In this timely intervention, Feder examines the humanist idea of culture by taking a fresh look at the stories it explicitly tells about itself. These stories fall into the genre of the Bildungsroman, the tale of individual acculturation that participates in the myth of its complete separation from and opposition to nature which, Feder argues, is culture’s own origin story. Moving from Voltaire’s Candide to Mary Shelley’s Frankenstein and from Virginia Woolf’s Orlando to Jamaica Kincaid’s Lucy, the book dramatizes humanism’s own awareness of the fallacy of this foundational binary. In the final chapters, Feder examines the discourse of animality at work in this narrative as a humanist fantasy about empathy, one that paradoxically excludes other animals from the ethical community to justify the continued domination of both human and nonhuman others. |
| frankenstein dialectical journal: Writing in Response Matthew Parfitt, 2012-02-01 Writing in Response is a flexible, brief rhetoric that offers a unique focus on the critical practices of experienced readers—analysis and reflection—the skills at the heart of academic writing. It helps students compose academic essays by showing how active reading and exploratory writing bring fresh ideas to light and how informal response is developed into polished, documented prose. Extensively class tested, Writing in Response emphasizes the key techniques common to reading, thinking, and writing throughout the humanities and social sciences by teaching students the value of a social, incremental, and recursive writing process. Read the preface. |
Frankenstein Dialectical Journal - 70 points - Bethlehem Area …
reate a dialectical journal for Frankenstein. Journal entries may be typed entries (12 point, Times New Roman) or. ERY neatly handwritten in blue or black ink. Each entry must have a passage …
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Dialectical Journal – a dialectical journal is a “discussion” with the text. You will be responsible for creating a total of 7 dialectical journals on the novel. See the directions for further information. …
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Dialectical Journal Frankenstein - exmon01.external.cshl.edu
Frankenstein stories, Young argues, effect four kinds of racial critique: they humanize the slave; they explain, if not justify, black violence; they condemn the slaveowner; and they expose the …
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What is a dialectical journal? According to the New Oxford American Dictionary, “dialectical” means “relating to the logical discussion of ideas and opinions.” As we read poetry, short …
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Creating a Frankenstein dialectical journal is a powerful way to engage deeply with Shelley's masterpiece. By thoughtfully selecting key passages and crafting insightful responses, you'll …
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AP Lit & Comp Dialectical Journal Instructions for the …
What is a dialectical journal? According to the New Oxford American Dictionary, “dialectical” means “relating to the logical discussion of ideas and opinions.”
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In Frankenstein’s Shadow: Myth, Monstrosity, and Nineteenth-Century Writing (2011), “it is an almost obligatory feature of the monsters in classical mythology that they should be composed …
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In my reading, Frankenstein warns of the outcome of neglect and abuse, of the shirking of responsibilities. They are the cause of the Monster’s evil. That mistreatment produces the …
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master-slave dialectic between Frankenstein and his Creature to understand their subjectivities. It will begin by contextualizing Frankenstein within the slavery debates of Shelley’s nineteenth …
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Frankenstein provides important philosophic insight into the nature of slav-ery. Well-established commentary regards Frankenstein as an exposition of the social ills of Shelley’s day. Under …
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The Limits of Discourse and the Ideology of Form
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Victor Frankenstein's transgressive autonomy, grounded in scientific materialism, results in a reductionism that ultimately leads to existential despair, individual crisis, and communal …
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(dialectical journal entries, micro essay, etc.) to their final piece. In a sense, the students are tracking the awareness of their writing ability in much the same way Charlie did as he progressed. Ask students to consider the strengths gained or developed from their module experience and which strategies impacted their growth.
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Acces PDF Dialectical Journal Frankenstein books and textbooks, as well as extensive lecture notes, are available. Dialectical Journal Frankenstein Dialectical Journal : Frankenstein by Mary Shelley (20 Journal Entries) Chapter Quotes Notes Intro “I busied myself to think of a story, - a story to rival those which had excited us to this task.
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manner that parallels Hegel’s dialectical process. Frankenstein even takes the Hegelian master-slave dialectic to its zenith, the telos, in arriving at spiritual ... Berkeley Undergraduate Journal: Volume 24, Issue 3 113. Apotheosis Now David Christopher Shishido rst of which is to be the daemon: \when those muscles and joints were rendered ...
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dialectical-journal-frankenstein-pdf 2 Downloaded from www.app.makisms.com on 2024-06-23 by guest countries. In the novel, an English explorer in the Arctic, who assists Victor Frankenstein on the final leg of his chase, tells the story. As a talented young medical student, Frankenstein strikes upon the secret of endowing life to the dead. He ...
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2 Frankenstein Dialectical Journal Quotes 2021-11-16 Grendel's mother. Monstrous Imagination Balzer + Bray Living in a "perfect" world without social ills, a boy approaches the time when he will receive a life assignment from the Elders, but his selection …
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question and answer.” Think of your dialectical journal as a series of conversations with the texts we read during this course. The process is meant to help you develop a better understanding of the texts we read. Use your journal to incorporate your personal responses to the texts, your ideas about the themes we cover and our class discussions.
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Dialectical Journal Assignment with Chart . 9th Grade Pre-AP: The Essential Iliad by Homer (ISBN: 978-0872205420) Documents needed: The Essential Iliad Dialectical Journal Assignment with Chart . 10th Grade On-Level: The Time Machine by H.G. Wells . Documents needed: Summer Reading Assignment for English II . Summer Reading Dialectical Journal ...
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“The Necklace” Dialectical Journal: Application Directions: Match the conclusion with the correct quotation. Direct Quotation Evaluative Conclusion 1. “She wasn’t at all convinced. ‘No…There’s nothing more humiliating than to look poor among a lot of rich women” (30). A. Her behavior illustrates Mathilde’s vanity, as well as
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Dialectical Journal A dialectical journal shows your conversation with the text. It is used to question, make connections, and explore ideas you had as you read. Below is an example. Pre-AP ELA 7 through Pre-AP English II should have 12 entries. They will be evaluated on details and thoughtfulness. Quote from Text Commentary
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10th: World Literature (CP and Honors) Dialectical Journal Assignment (2015) The term “dialectic” means “using the process of question and answer to investigate the truth of a theory or opinion.” The “dialectic” was the method Socrates used to teach his students how to be actively engaged in the struggle to obtain meaning from
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Examples Of Dialectical Journal For Frankenstein Journal 1 Chapters 1-5 pages 25-52 The first five chapters are about Victor Frankenstein's early life and the years following up to his creation. In the first two chapters is about Victor's early childhood with Elizabeth and his parents; Alphonse and Caroline Frankenstein.
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Summer Reading Dialectical Journal Assignment The term “dialectic” means “using the process of question and answer to investigate the truth of a theory or opinion.” The dialectic was the method Socrates used to teach his students how to be actively engaged in the struggle to obtain meaning from an unfamiliar and challenging work.
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2 (6) RESPONSE page: Use the facing, opposite page or the RIGHT SIDE of the notebook pages (and consecutive pages onward) to reflect upon the passages. a. Raise questions about the beliefs and values implied in the text b. Give your personal reactions to the passage, the characters, the situation
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Examples Of Dialectical Journal For Frankenstein Journal 1 Chapters 1-5 pages 25-52 The first five chapters are about Victor Frankenstein's early life and the years following up to his creation. In the first two chapters is about Victor's early childhood with Elizabeth and his parents; Alphonse and Caroline Frankenstein.
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AP Lit & Comp – Dialectical Journal Instructions for the Independent Reading Project What is a dialectical journal? According to the New Oxford American Dictionary, “dialectical” means “relating to the logical discussion of ideas and opinions.” As we read poetry, short fiction, dramas and novels this year, you will
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Use the dialectical journal format to analyze books and articles. The process is meant to help you better understand various texts. Use your journal to incorporate your personal responses to the texts and ideas about their themes. It is a useful way to process what you’re reading, prepare for group discussions, and
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Frankenstein Review Questions: Chapter 6-12
ask Frankenstein to listen to his story? What do you think the creature wants from Frankenstein? Chapter 11 & 12 18. From whose point of view are chapters 11 and 12 told? 19. Summarize the creature’s experiences when he leaves Ingolstadt. How does he learn about fire? 20. What does the creature learn about humans? Why does he isolate himself? 21.
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Dialectical Journal A dialectical journal is a tool which helps provide you with the means to expand your analysis of literature. It is a written conversation with yourself about a piece of literature that encourages the habit of reflective questioning. You will use a double-entry form to examine
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dialectical journal entries (see instructions below). Dialectical Journals . The term “Dialectic” means “the art or practice of arriving at the truth by using conversation involving question and answer.” Think of your dialectical journal as a series of conversations with the texts we read during this course.
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Dialectical Journal Frankenstein
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