Now that you have completed Mary Shelley’s Frankenstein, you are in a good position to consider what critics have written about the novel. You will need a total of two critiques (also known as critical analysis essays) for this assignment.
First, use the selection of links below to locate a critical analysis essay written about the 1818 version of Mary Shelley’s novel. You may focus most of your attention on this first critique. If the author of your critique is not specified, focus on the publication of the critique.
Choose from among these sources:
Romantic Circle’s Critiques:
Professor Naomi Hetherington’s critique
The questions in the study guides should have helped you evaluate this criticism in your head. Now it’s time to write it down!
Your evaluation may go more smoothly if you approach the guiding questions in this order:
Evaluate the critic/author:
Who wrote the criticism you read? What credentials does the author have? (If you are using a valid source, you should be able to find these easily)
Find the thesis of the article:
What is the thesis of the critical article you’ve chosen? What point does the author want to make about Frankenstein?
Evaluate the thesis:
Do you agree with this thesis? Why or why not? We’ve covered many ideas in the study guides. Can you find points within the guides that support your agreement or disagreement with the critical writer(s)? Look for new supporting information rather than revisiting the same ones the critics have chosen.
Evaluate the support:
Whether you agree or disagree with the thesis, does the critic provide sufficient research from the text and outside references to make a strong case? What does the article have for support from the text or outside sources? In your opinion, what makes these references valid? Do you feel the author uses this support properly?
Next, locate a second critique about the novel that includes ideas somewhat similar (genre classification, for instance) to any of the discussions you have in your essay. The second critique can either support or refute any of the claims in your paper. The objective of this portion of the essay is to further support your opinion of the primary critic’s thesis or support. Therefore, for example, if you choose a secondary article that refutes any of your claims, you will need to counteract those ideas to bring the focus of your essay back in alignment with your essay’s thesis (your personal opinion of how the primary critic is either correct or incorrect in his or her thesis claim and/or how the first critic is either effective or ineffective in his or her support). Every discussion in this essay should ultimately support the claim you make in your thesis.
For instance, if the first critic argues that Shelley’s writing is juvenile, and if you agree, does the second critic also support this thesis? How so? If the second critic does not support your assessment of the first critic’s thesis, what evidence can you use from the text to argue that the second critic is incorrect? Consider another example: if the first critic believes the novel is autobiographical, and if you disagree, does the second critic help you argue your own view of the first critic’s thesis? If so, how? Perhaps the second critic disagrees with your view and feels the novel is autobiographical– if that’s the case, be prepared to use evidence from the text to refute the second critic’s thesis and support your own argument. Using two critiques in this way will allow you to create a polished, comprehensive Evaluation Essay that allows you to connect your own ideas to those of seasoned critics.
In addition to addressing each of the evaluative components above, develop your essay so it has a clear introduction, body, and conclusion. You must include an evaluative thesis statement in both the introduction and the conclusion. Ensure that each of your claims is supported with valid evidence from the literary criticism you have chosen; the novel, Frankenstein; and/or the study guides.
Using proper MLA style, insert parenthetical citations for all borrowed information in addition to a Works Cited page for Frankenstein and your chosen literary critiques; you are not required to cite the study guides if you use them.
Helpful Hints: For a thesis statement, try answering a question like: How and how well does this piece of criticism state and support its argument regarding Frankenstein?
You might use these as possible guidelines in crafting your thesis statement:
(Critic, aka author of the critique) uses (add critic title) to (add an adjective to describe the effectiveness of the argument such as “adequately” or “inadequately”) argue that (add critic’s thesis) by (explain why and/or include your support).
(Critic)’s (add critique title) (add an adjective to describe the effectiveness of the argument such as “adequately” or “inadequately”) argue that (add critic’s thesis) because (explain why and/or include your support).
More specific thesis examples:
John Smith uses “Frankenstein Critique Essay” to adequately argue that Victor’s mother created the first monster by coddling Victor as a boy.
John Smith’s “Frankenstein Critique Essay” does not effectively argue that Victor’s mother created the first monster because the novel Frankenstein too strongly supports inherent good or bad, which means nurturing roles cannot be held responsible.
Examine THE RECENT DEVELOPMENTS IN THE WEST END MUSICAL SCENE; THIS SHOULD INCLUDE AN ANALYSIS OF THE 'Uber MUSICAL' MANIA, THE TREND TO CREATE NEW MUSICALS BASED ON EXISTING SONGS (SONG MIGRATION) AND STAGE TRANSFERS OF SUCCESSFUL FILMS. From Sophocles through William Shakespeare to Eminem, scholars have tried to utilize the rhythms of language to highlight the story they are trying to share. The pre-Caxton society depended on an oral convention to convey accounts of actuality and fiction. Societies spreading over the whole globe and all periods of development have naturally received melodic narrating; it is conspicuous in different structures even now – be it around an open air fire, at an inborn function, a downtown play area or on a West End organize. In this day and age, language and music are readily available. They are both quick. Also, they can be hitched in a second. Actually, music is many-sided. Most essayists will say the equivalent regarding language. Be that as it may, in a propelled minute they can conjoin and express something superb both sonically and phonetically. The demonstration of developing such a minute can be the final product of a lot less productive minutes – however there is consistently the opportunity that it could simply happen immediately. Our strategic personalities disclose to us that it simply is unimaginable; that we could always be unable to convey what needs be perfectly and smoothly in melodic structure. But then the impulse to attempt to do so has captured the vast majority, regardless of whether just for an immediately prematurely ended singular minute. So maybe here untruths the interest with musicals. They show 'life as we probably am aware it' joyfully living in a substitute reality – where music and language are simple bed accomplices and everything goes to limits. Or then again isn't that right? The West End is one of London's most well known vacation spots. It has assembled its notoriety, couple with New York's Broadway, as the business mecca of melodic theater. Las Vegas has the showgirls yet Broadway and the West End share the showtunes. For sure, while their personalities are unquestionably unmistakable, the connection between them is close; same sex twins instead of indistinguishable ones. Every ha their very own subtleties of conduct – the more youthful twin Broadway chases that bit all the more definitely for the following odd melodic hurricane; the more established West End plays rates yet plays them with substantial achievement. The term West End was initially begat as a land alternate way – a method for portraying a piece of London synonymous with theater. Since its initiation into London vernacular the expression 'West End' has changed to depict something meta-geological. While sometime in the distant past it just spoke to a real place, presently it additionally depicts the entryway to a concocted universe of excitement, fabulousness and appear. The West End may even now be the home of theater, however the sort of theater that it houses has turned out to be all around effectively classifiable. The postings don't lie. What's more, neither do they attempt to. The West End is an asylum for little thoughts done enormous; huge names, huge shows, huge displays, huge spending plans, huge dangers. The social and creative noteworthiness of theater as a work of art has not endured in the time since the West End theaters were built. Yet, the instantaneousness of opponent excitements, mainly TV and film, has without a doubt given so agreeable an option in contrast to the marginal theatregoing open that its fame has. Eventually, the open's association with theater has to some degree upset itself; when the amusement of the individuals, theater has turned out to be high-forehead, elitist, selective even. Or on the other hand so we are persuaded. Consistently the individuals depended with running the nation's performance centers are tucked away in endeavors to make theater progressively open. Nicholas Hytner at the National Theater has consolidated a sponsorship manage Travelex with the express reason for empowering its shows to be accessible to individuals for as meager as £10 a ticket. Dramatic yield is proceeding to broaden in new ways. The National Theater still creates the long-established works of art that will assuage their conventional supporters. In any case, they additionally welcomed outside organizations including Theater de Complicite, Improbable, Shunt and Kneehigh to co-build up their new work. Expressions Council subsidizing directs a specific measure of programming for in-house creating theaters all through the nation. It is difficult to compare the masterful worth of a proposed venture while it exists exclusively as a blueprint on a bit of paper. Be that as it may, it is simpler to evaluate the more prominent social import of a similar venture. In this manner the association in different nearby exceed activities including youngsters' theater and new composition projects fills copy needs. In any case, in doing so it risks wrestling a specific measure of control from the masterful executives, or if nothing else weakening the expectation of their work. Be that as it may, the West End isn't generally worried about any of this. The venues are exclusive and have minimal social commitment. West End theater is a famously flighty currency advertise. Cause a major achievement of yourself and you to can in the long run get it up – which is actually what Andrew Lloyd Webber and Cameron Mackintosh have wound up doing. Lloyd Webber's Really Useful Group are the owners of twelve of the capital's bigger theaters. By January 2006 Delfont Mackintosh will control another seven, and will have started developing the Sondheim Theater – the principal theater to be based on Shaftesbury Avenue since 1931. The long haul plan of Delfont Mackintosh is to restore and modernize theatreland. In any case, one can't resist the opportunity to feel that their outrageous makeover will be limited to the offices and format – and that the amusement will stay as conventional as ever. The melodic as-we-probably am aware it became out of the nineteenth Century convention of music corridor, which itself was the charlatan child of beverage and boisterousness. In the wake of expelling the liquor from tipsy singalongs, and migrating from the bar to theaters, the 1860s saw the prominence of the recently arrived music lobby go from smart thought to enormously well known stimulation. The lowering beginnings of the melodic can't resist the opportunity to uncover the core of the thought; it was conceived of mishap – of individuals trying to have unadulterated, unadulterated diversion. In that regard, it has nobody structure; nobody theory; without a doubt no genuine feeling of reasoning; no genuine feeling of direction other than fun, fun, fun! As the melodic was creating it was the bastion of famous music of the time. Through Gilbert and Sullivan, Irving Berlin, Bertolt Brecht and Kurt Weill and Cole Porter, the people behind melodic were the most respected lyricists at work in the Western world. Ten years into the post-war time there was a checked move. The 'melodic gauges' that made dry, wry and clever perceptions about upper white collar class were going to be bested by shake and roll. Furthermore, John Osbourne's 1956 'kitchen-sink-show' Look Back In Anger would have repercussions outside the universe of the well-made play. The introduction of transmittable media was just going to swell the measure of music being delivered. In the beginning of the remote radio, families assembled to tune in to the melodies of Ivor Novello or Noel Coward. By the mid-1960s numerous families had TVs in their receiving areas; radio communicates were a focused business; and air transport connections had made the world navigable for every one of the individuals who could manage the cost of it. Music was a product that could be sent from one side of the world to the next. What's more, in the slipstream of the music were simply the performers. Through TV and radio, lyricists and performers had a character. They progressed toward becoming symbols – the most commended individuals on earth. Furthermore, their music was not even close to the West End arrange. Just because since their beginning musicals were not utilizing the well known music of the time. Rock'n'roll was being held in melodic limbo by conventionalists miserable at its tasteless beliefs. While film was running as quick and far as it could with the idea of the film melodic, the stage was looking to convey minor departure from prior topics. Elvis Presley made various melodic movies – as did The Beatles. During the 1960s the West End was flooded with Broadway imports – the impact of Leonard Bernstein, Rodgers and Hammerstein, Lerner and Loewe and other transoceanic examples of overcoming adversity was weakening the honesty of the West End as the more seasoned sibling of the melodic. Yet, the hallucinogenic hints of that time were to make melodic inconsistencies; while a few writers played with the idea of shake, others weren't reluctant to plunge fast into its no-limit pit. After its enemy of Vietnam position and incorporation of gathering bareness caused shock on Broadway, Hair opened in the West End in 1968. From being the picked play area of unassuming moderates, the melodic was being politicized – and modernized. Inside five years, the 'Period of Aquarius' had been additionally promoted upon by Godspell, Oh Calcutta and even Jesus Christ Superstar – which demonstrated to be the establishment on which the new first light of the melodic would be fabricated. The present twin Godfathers of melodic structure for Broadway and the West End convey the brilliant light of days gone by; Stephen Sondheim speaks to his ancestors' interest with the odd, with Andrew Lloyd Webber never straying from the musically preservationist beat. There are different elements that direct the ongoing triumphs and disappointments in West End theater. Be that as it may, the beginning stage for each West End creation is cash – a reality flawlessly exhibited by the plot of one of the West End's most famous current preparations 'The Producers'. Basically, the entrepreneur first light that gobbled up free love has made cash the new driving man in melodic theater. Makers need huge thoughts and enormous tunes to enact for huge spending plans. So as opposed to attempting to anticipate what individuals may like and making a melodic story around it, the West End chose to diminish the ris>GET ANSWER