弗兰肯斯坦充满的时间观念。怪物的故事是思想研究。景观是Wordsworthian。拜伦和贝多芬的图像可以在探索概念检测，超越。同样，小说中的女性的表现是典型的时间。男人是探险家、科学家、旅行者，而女人则呆在家里，提供爱、稳定和同情。小说开始的时候，沃尔顿在家里给他的“亲爱的姐姐”写信，妻子是“我亲爱的，非常好的玛格丽特”，他感谢“所有的爱和善良”（第一卷，信I，18），而他问：“我不值得完成一些伟大的目标吗？””（同上，17）。他写道，该船的船长，他打算娶了一个俄罗斯小姐。他无私地释放她订婚时，她发现她爱上别人，但她的父亲坚持要因为财政原因，原来比赛。“她泪流满面，并把自己在他面前，求他饶恕她”（第一卷，信II，21）。她是完全受制于男性的权力，只有主人的慷慨救了她。“多么高尚的家伙啊！”（同上，21）。这样的事件只是反映了当时的情况。这是不可能的，玛丽·雪莱的目标在这一集是挑起叛乱。沃尔顿把他妹妹看作是母亲的形象。他的青春是你温柔的女性养育”下花”（同上，20）具有高雅文明的他。怪物明显缺乏。
美国纽约大学论文代写:充满的时间观念
Frankenstein is full of the ideas of its time. The monster’s story is a study in Rousseauism. The landscape is Wordsworthian. Byronic and Beethovenian images can be detected in the notion of exploring, going beyond. Similarly the presentation of women in the novel is typical of its time. Men are the explorers, the scientists, the travelers, while women stay at home and offer affection, stability and compassion. Walton at the beginning of the novel is writing letters to his “dear sister” at home, a wife, who is “my dear, excellent Margaret” and whom he thanks “for all your love and kindness” (Vol I, Letter I, 18), while he asks “do I not deserve to accomplish some great purpose?” (ibid, 17). He writes of the master of the ship, who had planned to marry a Russian lady. He selflessly released her from the engagement when she revealed that she loved someone else, but her father insisted on the original match for financial reasons. “She was bathed in tears, and, throwing herself at his feet, intreated him to spare her” (Vol I, Letter II, 21). She is entirely in thrall to male power, and only the generosity of the master saves her. “What a noble fellow!” (ibid, 21). Such episodes simply reflect the conditions of the time. It is unlikely that Mary Shelley’s aim in this episode was to stir rebellion. Walton sees his sister as a mother figure. His youth was spent “under your gentle and feminine fosterage” (ibid, 20) which has refined and civilized him. This the monster notably lacks.
