Published Paper Details:

Frankenstein, often hailed as the world's inaugural science fiction novel and uniquely crafted by a female author, has garnered acclaim for its captivating blend of gothic aesthetics, forward-thinking ideas, and masterful language. Published in 1818, the narrative serves as a cautionary tale, warning against audacious scientific experiments that disrupt the natural order. Moreover, it provides a critical examination of the prevailing male hegemony in realms such as life, literature, and art. Despite undergoing significant revisions in 1831, Mary Shelley's Frankenstein maintains its role as a potent critique, particularly directed at the idealistic pursuits of male-driven scientific endeavours and the marginalization of feminine creative power. The paper in question seeks to reevaluate the novel through the lens of an anti-utopia, asserting that the deliberately bleak and devoid-of-hope conclusion serves a purposeful narrative function. To support this claim, the paper delves into the historical context of the term "anti-utopia," drawing distinctions from its more commonly known counterpart, "dystopia." It aims to showcase how Frankenstein's concluding moments intentionally lack a sense of hope or alternative, suggesting that this narrative choice is not an oversight but a deliberate decision on Shelley's part. In building this argument, the paper will cite specific instances from the text, highlighting how the storyline evolves toward its eventual annihilate ending. It posits that within the context of the depicted circumstances, the bleak resolution emerges as the most logical and fitting solution to the problems presented in the narrative. Moreover, the paper will explore the idea that Mary Shelley's own shifting beliefs are reflected in the novel's conclusion, indicating a nuanced perspective on the consequences of unchecked scientific ambition and the imbalance of power between genders.