The Destruction Of Innocence In Mary Shelley's Frankenstein

any better, he went for it.  He was then met by a mob of angry villagers,

As people gain new experiences different losses of innocence come along with that, this is shown in Mary Shelley’s Frankenstein. Throughout the book innocence plays a big role in the characterization of Frankenstein, the monster and most of the other characters in the book. But, as tragedies in the book occur they also symbolize losses of innocence in both the monster and Frankenstein. As these losses of innocence occur the reader begins to realize that each of them also seems to symbolize another loss of innocence but one that is just under the surface of literal meanings. One of the common double losses of innocence is all of the deaths that occur in the book. While examining the characterization and the deaths of Elizabeth and Justine, the reader comes to realize that all of those deaths symbolize the loss of innocence. Through these deaths, it is shown that Frankenstein and the monster continued to lose their innocence until it is nonexistent.

Beauty is an incredibly subjective thing; what might seem appealing to one’s eyes may be horrendously ugly in the eyes of another. However, the status of “beautiful” or “ugly” can be assigned rather objectively when art is examined from the perspectives of different philosophies. The beliefs and values of different philosophies can be used to find meaning and beauty in various art forms, allowing for a more straightforward determination of beauty. Because of the many layers of meaning most paintings entail, they are a perfect example of an art form that can be analyzed by numerous philosophical viewpoints to find meaning and beauty, and Ma Yuan’s painting Walking on a Mountain Path in Spring, which comes from the Song dynasty of Chinese and depicts a sole figure standing in a natural surrounding, is no exception. Ma Yuan’s painting is beautiful because it represents the ultimate achievements for the Buddhist, Daoist, and Confucian philosophies.

This emphasis illuminates how weighty perspective is when determining perceived masterpieces across cultures. She does so by tactfully offering Cameron’s comparison of the Lega’s material distinctions with European (p. 24). Hypothetically, a nation located in a place devoid of rocks may find a lump of coal to be the most artistically valued piece in the community while foreign appraisers may overlook, or even overestimate, its importance. Had history been different, so would

Nonetheless, when the unnatural desires fail it results in a state of remorse. Victor admits this when after William and Justine’s death. “Should I by my base desertion leave them exposed and unprotected to the malice of the fiend whom I had let loose among them at these moments I wept bitterly and wished that peace would revisit my mind only that I might afford them consolation and happiness. But that could not be. Remorse extinguished every hope” (87). Victor expected that when he was creating life he was doing a service to his the world and academia, he instead unleashed a monster. His experiment failed and had killed his brother which caused his sister to be executed. He admits that because of this failure had stripped his away his peace

“I think everything in life is art. What you do, how you dress, the way you love someone, and how you talk. Your smile and your personality, what you believe in, and all your dreams. The way you drink your tea, how you decorate your home, or party; your grocery list, the food you make, how your writing looks, and the way you feel. Life is art.” – Helena Bonham Carter. Everything I seem to appreciate I note that one way or another I end up relating whatever it is that stimulates my mind to art always. I’m constantly thinking in my mind how the smallest of things can drastically change the appearance of things, the way they make you feel and communicate essentially. One word in which you can observe me saying nearly in every sentence is the word “aesthetic”. The word “aesthetic” lacks usage and is absent in the vocabulary of various people I have spoken to throughout my life, by no means am I suggesting for the word to be clichéd, but it is note-worthy to say that it is definitely under used.

Concentrated study of aesthetics is a luxury that inspires gratitude and carries with it the singular regret of not being able to solely focus on it. As philosophers expose their opinions, one’s own philosophy of art surfaces alongside them. First, creativity need not be distinguished from fine art as this detracts from the goal of fine art to contribute to humanity. Second, mechanical and technological systems and patterns lie outside the realm of fine art as they fail to inspire or connect to the soul. Another paramount requirement of artwork is the prick of the observer in one way or another in order to evoke emotion. Last, uniqueness also finds its way into one’s personal philosophy as art must persuade the observer to consider a new action

Last week’s readings and documentary Becoming Human, set out to show us a broad overview of the evolutionary steps and misfires that lead us to modern mankind, while defining the unique form of abstract art is. This week we explore the beginnings of its expression. Francesco d’Errico and Christopher S.

Kant has a particular separation between free and accessory of what a certain thing is; a design that pleases a night club may not be appropriate in a senior home. With so many types of art forms, we are hardly able to ignore them and become disinterested, eventually curiosity will take its course.

There are many similarities and oppositions in regard to Hume and Kant’s theories on aesthetic experiences of the beautiful. Perhaps the main dispute between these two philosophers would be how exactly beauty is defined. According to Hume, beauty is defined by a group of experts within the area of interest. Kant states beauty only arises when an object is universally regarded as such. However, an essential agreement between Kant and Hume would be beauty is overall not subjective, but more so objective in that, when making a judgement about beauty, one must have no bias about the object in question. In this paper, I will further dissect these two arguments as well as other key similarities and oppositions.

To further explain, if a person views something that is beautiful and that is all he is capable of understanding, the objects physical beauty, then he does not understand the ultimate truth behind that object and its beauty it possesses drawing to a personal opinion of that object. Thus, an opinion is simply an incomplete truth. An opinion is not necessarily wrong in its idea, rather it is simply not a complete idea or understanding. To be a complete idea and understanding, the idea must be universal. This is a key to philosophical thought.

Visual aesthetics and the capacity of assigning different degrees of beauty is widely accepted as a human trait, and was acquired after the divergence of human and ape lineages (Cela-Conde et al. 2004, 1). The desire to create art, or add aesthetics to an object that doesn’t require it to be useful,

As we know it for the most part, visual art today completely differs from the kinds that had been made before the twentieth century in an indirect way. Realistic depictions of the reality surrounding us has basically surrendered its place for endeavors to truly pass on the craftsman's internal world straightforwardly through the assorted variety of colors, shapes, and the means of visual depiction, which is generally significant. In this manner, the inquiry emerges: in what capacity would it be advisable for one to truly assess bits of present day workmanship given that customary criteria of evaluation do not make a difference for this situation? Unlike traditional art, where one can make judgments and accusations about an artist’s skills, composition, and the scene. Present day art ought to explicitly be assessed in a somewhat unique way.

Beauty and ugliness play different roles in aesthetics, despite their relationship to one another. Aesthetics can be described as the science of beauty and ugliness (Langfeld, 1920). Historically, ugliness has been seen as an aesthetic predicate, the contradictory of the beautiful. This essay will discuss the meaning of ugliness in visual art, by using various psychological views, to truly understand what it means to aesthetically experience ugliness.

Art is fathomless. It is an ocean that stretches beyond line of sight, that digs trenches in the darkness where none can follow, that drives through the earth and pulls it into its ebb and flow. There is no shortage of expression, and while “purists” and prescriptivists may exist on