BackgroundAdvances in biomedicine can substantially change human life. However, progress is not always followed by ethical reflection on its consequences or scientists’ responsibility for their creations. The humanities can help health sciences students learn to critically analyse these issues; in particular, literature can aid discussions about ethical principles in biomedical research. Mary Shelley’sFrankenstein; or, the modern Prometheus(1818) is an example of a classic novel presenting complex scenarios that could be used to stimulate discussion.Main textWithin the framework of the 200th (...) anniversary of the novel, we searched PubMed to identify works that explore and discuss its value in teaching health sciences. Our search yielded 56 articles, but only two of these reported empirical findings. Our analysis of these articles identified three main approaches to usingFrankensteinin teaching health sciences: discussing the relationship between literature and science, analysing ethical issues in biomedical research, and examining the importance of empathy and compassion in healthcare and research. After a critical discussion of the articles, we propose usingFrankensteinas a teaching tool to prompt students to critically analyse ethical aspects of scientific and technological progress, the need for compassion and empathy in medical research, and scientists’ responsibility for their discoveries.ConclusionFrankensteincan help students reflect on the personal and social limits of science, the connection between curiosity and scientific progress, and scientists’ responsibilities. Its potential usefulness in teaching derives from the interconnectedness of science, ethics, and compassion.Frankensteincan be a useful tool for analysing bioethical issues related to scientific and technological advances, such as artificial intelligence, genetic engineering, and cloning. Empirical studies measuring learning outcomes are necessary to confirm the usefulness of this approach. (shrink)

We argued in Part 1 of this series that because all living systems are extremely far‐from‐equilibrium dynamic confections of matter, they must necessarily be driven to that state by the conversion of chemically specific external disequilibria into specific internal disequilibria. Such conversions require task‐specific macromolecular engines. We here argue that the same is not only true of life at its emergence; it is the enabling cause of that emergence; although here the external driving disequilibria, and the conversion engines needed must (...) have been abiotic. We argue further that the initial step in life's emergence can only create an extremely simple non‐equilibrium “seed” from which all the complexity of life must then develop. We assert that this complexity develops incrementally and progressively, each step tested for value added “in flight.” And we make the case that only the submarine alkaline hydrothermal vent (AHV) model has the potential to satisfy these requirements. (shrink)

Richly researched, the book explores how creativity has been invoked in arenas as varied as Enlightenment debates over the nature of the cognition, Victorian-era intelligence research, the Cold War technology race, contemporary education, and even modern electoral politics. Along the way, the book turns to a set of art works from mobile steampunk sculptures to bicentennial adaptations of Frankenstein to a musical about the US Presidential election that ask how our ideas about creativity are bound up with those of (...) self-fulfillment, responsibility, and the individual, and how these might seduce us into joining a worldview and even a set of social imperatives that we might otherwise find troubling. The Creativity Complex traces the history of how creativity has come to mean the things it now does, and explores the ethical implications of how we use this term today for both the arts and for the social world more broadly. (shrink)

One of the most recent and original adaptations of Mary Wollstonecraft (Godwin) Shelley's Frankenstein; or, The Modern Prometheus (1818) is the ballet version choreographed by Liam Scarlett and performed by the Royal Ballet in 2016 and the San Francisco Ballet in 2017 and 2018. What emerges from this translation is an economical, emotionally wrenching, and visually elegant drama of family tragedy from which we can draw a cautionary tale about contemporary bioethical dilemmas in family making that new and forthcoming (...) biomedical technologies present. This performance of bodies interacting suggests the need for an ethics of acceptance and recognition as people navigate complex familial relationships involving procreative liberty, questions of moral personhood, and parental obligation. In the Frankenstein ballet, the narrative genre of dance—what I'll call “story in the flesh”—invites viewers to identify with the characters and enter into the complexity of interpersonal relations. The ballet becomes a compelling testimony about possible unintended outcomes set in motion by well‐intended fallible humans like themselves. (shrink)

Recent work has shown that memory for various types of information associated with social targets (impressions based on behaviours and political ideology) influences decisions to approach or avoid those same targets. The current study was intended to better understand the extent that memory for other types of details associated with targets (beliefs and behaviours) affects subsequent approach/avoidance decisions. In this investigation, participants formed impressions of social targets represented by a picture and a sentence (a belief in Experiment 1; either a (...) belief or behaviour in Experiment 2). Later, memory for the impressions and sentences associated with each target was tested. Finally, participants decided whether they would want to approach or avoid each target. Results demonstrated that accurate memory strongly influenced approach/avoidance decisions for targets associated with different types of information (beliefs; behaviours), although there was no difference in the effect of memory between beliefs and behaviours. Overall, results suggest an important role of memory in decisions to approach or avoid others. (shrink)

The construct of the self is important in the domain of memory research. Recent work has shown that person memory is influenced by similarity of social targets to the self. The current experiments investigate self-similarity as defined by traits and political ideology to better understand how memory for social targets is organised. Across three experiments, participants formed positive or negative impressions based on each target’s picture, a trait-implying behavior (Experiments 1 & 2), and/or political ideology (conservative/liberal label in Experiment 2; (...) political-ideological belief statements in Experiment 3) followed by a memory test. Results showed a self-similarity effect dependent on valence in Experiment 1, but not in Experiments 2 or 3 when participants processed ideological information associated with targets. These results suggest that self-similarity has an effect on memory for social targets, but that ideological information disrupts self-focused processing of others, suggesting that ideological information also has a powerful influence on what people remember about others (i.e. social targets). (shrink)

After 50 years, the fields of artificial intelligence and robotics capture the imagination of the general public while, at the same time, engendering a great deal of fear and skepticism. Isaac Asimov recognized this deep-seated misconception of technology and created the Three Laws of Robotics. The first part of this paper examines the underlying fear of intelligent robots, revisits Asimov’s response, and reports on some current opinions on the use of the Three Laws by practitioners. Finally, an argument against robotic (...) rebellion is made along with a call for personal responsibility and suggestions for implementing safety constraints in intelligent robots. (shrink)

The character of the current controversy over geneticallymodified (GM) agriculture, typified by protesters' use of emotivesymbolism, has been largely inspired by the Green movement'snon-governmental organizations and political parties. This articleexplores the deeper philosophical and spiritual motivations of the Greenmovement, to inquire why it is implacably opposed to GM agriculture. TheGreen movement's anti-capitalism, exemplified by the hate-symbol statusof Monsanto as the company pioneering GM crops, is viewed within thewider context of alienation in the modern era. A complex of meanings isseen (...) in Frankenstein as the focal symbol of GM protests, includingperceptions of risk, fears of the remixing of living identities seen ingenetic engineering, and resentment at the spiritual nihilism of thereduction of life to the digital code of DNA. By contrast, RobertGoodin's Green Theory of Value, which postulates the deep psychologicalimportance of nature in locating the self in a meaningful context largerthan ourselves, can explain the power of the Green symbol of thethreatened environment, Gaia. The advent of GM agriculture seems toimply that capitalism and technology can now enframe nature itself,leaving a world devoid of natural myth or meaning, with no escape fromthe alienation and nihilism of modernity. The central question posed forprotagonists of the GM debate is whether their agenda is based on thesepowerful but mythical conceptions of the environment, or whetherpreservation of the real environment is their primary ethic. (shrink)

Innovation processes are extremely complex and opaque, which makes it tough or even impossible to govern them. Innovators lack control of large parts of these developments and lack of foreknowledge about the possible consequences of emerging technologies. Because of these features some scholars have argued that innovation processes should be structurally reformed and the agent-centered model of responsibility for innovation should be dismissed altogether. In the present article it will be argued that such a structural idea of responsible research (...) and innovation presumes rational agents who can be motivated by reasons. Instead of dismissing the agent-centered approach to responsibility for innovation processes a virtue ethical approach will be developed. Virtues should be considered as the intellectual and moral dispositions presumed for good decision making. It will be shown that creativity and eagerness are creditable character traits that have a distinct positive value for managing the opaqueness of innovation processes. Such traits are mandatory for change and betterment. Furthermore, it will be argued that the notion of responsibility of innovators should not be understood merely as means for constraining them but also as a tool to perpetuate their integrity and happiness. Through discussing the captivating examples of Steve Jobs and the protagonist of Mary Shelley’s Frankenstein it will be shown how to apply this virtue ethical framework for innovators in practice. (shrink)

"Entre mythe, science et technique il existe une longue tradition de l'homme artificiel, des jaquemarts au Golem, de Frankenstein aux robots, comme si nous nous étions longuement complus, par le jeu des métaphores, à nous contempler dans le miroir de nos machines. Il en est résulté une philosophie mécaniste, de Descartes à La Mettrie qu'il faut bien évoquer. Avec la cybernétique et l'informatique, le vivant, l'esprit, la machine sont entrés dans des chevauchements beaucoup plus complexes qui ouvrent sur un (...) néo-mécanisme. Ce terme marque la volonté, au-delà de ce premier mécanisme, de penser la vie et l'intelligence artificielles, la bionique et le cyborg, l'avenir incertain de l'humain vers ce qu'il faudra peut-être appeler le post-humain. Il fallait pour cela un examen minutieux de toutes ces techniques nouvelles. La machine n'est plus seulement le support d'une vague analogie de la vie et de la pensée ; à travers l'homme réparé, augmenté par des prothèses de plus en plus intimement mêlées à la mécanique de l'organisme, elle vit, elle pense, elle raisonne. Nous assistons à la rencontre d'une pensée de l'homme-machine et de la machine humanisée, rencontre que cet ouvrage tente de penser." [Source : 4e de couv.]. (shrink)

My analysis takes as its point of departure the controversial assumption that contemporary ethical theories cannot capture adequately the ethical and social challenges of scientific and technological development. This assumption is rooted in the argument that classical ethical theory invariably addresses the issue of ethical responsibility in terms of whether and how intentional actions of individuals can be justified. Scientific and technological developments, however, have produced unintentional consequences and side-consequences. These consequences very often result from collective decisions concerning the way (...) we wish to organise our economies and society, rather than from individual actions. It has been apparent for a long time now that it is not sufficient to construct an ethics of science and technology on the basis of the image of a scientist who intentionally wants to create a Frankenstein. Thus, as a minimum we would require an ethical framework that addresses both the aspect of unintentional side consequences (rather than intentional actions) and the aspect of collective decisions (rather than individual decisions) with regard to complex societal systems, such as the operation of our economy. We do not have such a theory available. More disturbing than the principle shortcomings of ethical theory are the shortcomings of conventional ethical practice with respect to technological developments. Below I will suggest how four different developments can illustrate these shortcomings, which centre around the fact that individuals in our society can simply not be held fully accountable for their individual role within the context of scientific technological developments. I will call these shortcomings of a theory (and practice) of individual role responsibility. This may help us to reflect on robotics too, insofar as robots may be perceived as replacements for “roles”. From there, I will argue why we have to shift our attention to an ethics of knowledge assessment in the framework of deliberative procedures. (shrink)

My analysis takes as its point of departure the controversial assumption that contemporary ethical theories cannot capture adequately the ethical and social challenges of scientific and technological development. This assumption is rooted in the argument that classical ethical theory invariably addresses the issue of ethical responsibility in terms of whether and how intentional actions of individuals can be justified. Scientific and technological developments, however, have produced unintentional consequences and side-consequences. These consequences very often result from collective decisions concerning the way (...) we wish to organise our economies and society, rather than from individual actions. It has been apparent for a long time now that it is not sufficient to construct an ethics of science and technology on the basis of the image of a scientist who intentionally wants to create a Frankenstein. Thus, as a minimum we would require an ethical framework that addresses both the aspect of unintentional side consequences (rather than intentional actions) and the aspect of collective decisions (rather than individual decisions) with regard to complex societal systems, such as the operation of our economy. We do not have such a theory available. More disturbing than the principle shortcomings of ethical theory are the shortcomings of conventional ethical practice with respect to technological developments. Below I will suggest how four different developments can illustrate these shortcomings, which centre around the fact that individuals in our society can simply not be held fully accountable for their individual role within the context of scientific technological developments. I will call these shortcomings of a theory (and practice) of individual role responsibility. This may help us to reflect on robotics too, insofar as robots may be perceived as replacements for “roles”. From there, I will argue why we have to shift our attention to an ethics of knowledge assessment in the framework of deliberative procedures, elaborating on implications of these developments for the field of robotics. (shrink)

The Direction of Medical Ethics The direction bioethics, and specifically medical ethics, will take in the next few years will be crucial. It is an emerging specialty that has attempted a great deal, that has many differing agendas, and that has its own identity crisis. Is it a subspecialty of clinical medicine? Is it a medical reform movement? Is it a consumer pro tection movement? Is it a branch of professional ethics? Is it a ra tionale for legal decisions and (...) agency regulations? Is it something physicians and ethical theorists do constructively together? Or is it a morally concentrated attack on high technology, with the prac titioners of scientific medicine and the medical ethicists in an adversarial role? Is it a conservative endeavor, exhibiting a Frankenstein syn drome in Medical Genetics ("this time, they have gone too far"), or a Clockwork Orange syndrome in Psychotherapy ("we have met hods to make you talk-walk-cry-kill")? Or does it suffer the afflic tion of overdependency on the informal fallacy of the Slippery Slope ("one step down this hill and we will never be able to stop") that remains an informal fallacy no matter how frequently it's used? Is it a restricted endeavor of analytic philosophy: what is the meaning of "disease," how is "justice" used in the allocation of medical resources, what constitutes "informed" or "consent?" Is it applied ethics, leading in clinical practice to some recommenda tion for therapeutic or preventive action? This incomplete list of questions indicates just how complex. (shrink)

Romantic sensibility and political necessity led Humphry Davy, Britain's most prominent scientist in the first quarter of the nineteenth century, to pantheism: nature worship, involving for him a fervent belief in the immortality of the soul. Rapt with a vision of sublimity, from mountain tops or balloons, men of science in succeeding generations also found in pantheism a reason for their vocation and a way of making sense of their world. It should be seen as an alternative both to active (...) participation in church life (like Faraday's) and to a gritty agnosticism (like Huxley's), indicating again how subtle and complex relationships were between science and religion in the nineteenth century. (shrink)

This paper examines why robots are so often presented as monstrous in the popular media, regardless of the intended applications of the robots themselves. The figure of the robot monster is examined in its historical and cultural specificity—that is, as a direct descendent of monsters that we have grown accustomed to since the nineteenth century: Frankenstein, Mr. Hyde, vampires, zombies, etc. Using the psychoanalytic notion of projection, these monsters are understood as representing human anxieties regarding the dehumanising tendencies of (...) science and reason, and regarding a perceived transformation in human nature over the last two hundred years. In analysing these anxieties, we can therefore gain insight into the fears—genuine or naïve—that the public harbours towards new advancements in technology; these insights can then inform those working with and designing living machines as to how their inventions might be received. (shrink)

This paper examines Edmund Husserl's assessment of the modern sciences and articulation of "the crisis of European Man" in terms of motifs from Mary Shelley's Frankenstein, interpreted in light of issues in Africana philosophy and feminist thought.

As one of the best known science narratives about the consequences of creating life, Mary Shelley’s Frankenstein; or, The Modern Prometheus is an enduring tale that people know and understand with an almost instinctive familiarity. It has become a myth reflecting people’s ambivalent feelings about emerging science: they are curious about science, but they are also afraid of what science can do to them. In this essay, we argue that the Frankenstein myth has evolved into a stigma attached (...) to scientists that focalizes the public’s as well as the scientific community’s negative reactions towards certain sciences and scientific practices. This stigma produces ambivalent reactions towards scientific artifacts and it leads to negative connotations because it implies that some sciences are dangerous and harmful. We argue that understanding the Frankenstein stigma can empower scientists by helping them revisit their own biases as well as responding effectively to people’s expectations for, and attitudes towards, scientists and scientific artifacts. Debunking the Frankenstein stigma could also allow scientists to reshape their professional identities so they can better show the public what ethical and moral values guide their research enterprises. (shrink)

Traces the depiction of biological science in mass media and how it has shaped public perceptions.

To show how the case of Mary Shelley’s Victor Frankenstein brings light to the ethical and moral issues raised in Institutional Review Board protocols, we nest an imaginary IRB proposal dated August 1790 by Victor Frankenstein within a discussion of the importance and function of the IRB. Considering the world of science as would have appeared in 1790 when Victor was a student at Ingolstadt, we offer a schematic overview of a fecund moment when advances in comparative anatomy, (...) medical experimentation and theories of life involving animalcules and animal electricity sparked intensive debates about the basic principles of life and the relationship between body and soul. Constructing an IRB application based upon myriad speculations circulating up to 1790, we imagine how Victor would have drawn upon his contemporaries’ scientific work to justify the feasibility of his project, as well as how he might have outlined the ethical implications of his plan to animate life from “dead” tissues. In Mary Shelley’s Frankenstein, Victor failed to consider his creature’s autonomy, vulnerability, and welfare. In this IRB proposal, we show Victor facing those issues of justice and emphasize how the novel can be an important component in courses or workshops on research ethics. Had Victor Frankenstein had to submit an IRB proposal tragedy may have been averted, for he would have been compelled to consider the consequences of his experiment and acknowledge, if not fulfill, his concomitant responsibilities to the creature that he abandoned and left to fend for itself. (shrink)

This book is a philosophically sophisticated and scientifically well-informed discussion of the moral and social issues raised by genetically engineering animals, a powerful technology which has major implications for society. Unlike other books on this emotionally charged subject, the author attempts to inform, not inflame, the reader about the real problems society must address in order to manage this technology. Bernard Rollin is both a professor of philosophy, and physiology and biophysics, and writes from a uniquely well-informed perspective on this (...) topic. The style is non-technical and anecdotal and will ensure that the book can be used on a wide range of courses on bioethics, biotechnology, veterinary medicine and public policy. The book could also appeal to a general, non-academic reader with a serious interest in genetic engineering. (shrink)

Moral enhancement techniques modifying brain processes to produce improved moral conduct present us with new challenges for how we grapple with the ethical questions raised. John Shook (2012) argues that we should greet these developments with some measure of skepticism and cynicism regarding their success and desirability. This commentary considers further Shook’s scepticism. It is argued that the issue of “moral enhancement” raises questions about which view(s) may benefit and the problems this poses for societies characterized by the fact of (...) reasonable pluralism. More importantly, it is further argued that moral enhancement runs into greater difficulties where enhancement is thought to contribute to alleviating illegal behavior. This is because law and morality are related imperfectly and, therefore, improved moral sensitivity may not translate into less illegality. Thus, moral enhancement techniques may create moral Frankensteins that (a) may undermine the existence of reasonable pluralism in modern liberal societies and (b) may fail to better achieve lawful behavior. (shrink)

Often called the first of its kind, Frankenstein paved the way for science fiction writing. Its depiction of a then impossible scientific feat has in our time become possible and is essentially recognizable in what we now refer to as bioengineering, biomedicine, or biotechnology. The fiction of Frankenstein has as it were given way to scientific fact. Of more importance, however, is the challenge Mary Shelley’s novel presents to the ostensibly high-minded and well-intentioned hopes and promises of the (...) scientist/technologist. Finally, the fictional character, Victor Frankenstein, has come to serve as the poster child and whipping boy for all scientific and technological irresponsibility, so much so that thanks to him we are able to free ourselves and our scientists from any real responsibility, since none of us ever would or could be as monstrous as Frankenstein. (shrink)

Origin of life models based on “energized assemblages of building blocks” are untenable in principle. This is fundamentally a consequence of the fact that any living system is in a physical state that is extremely far from equilibrium, a condition it must itself build and sustain. This in turn requires that it carries out all of its molecular transformations–obligatorily those that convert, and thereby create, disequilibria–using case‐specific mechanochemical macromolecular machines. Mass‐action solution chemistry is quite unable to do this. We argue (...) in Part 2 of this series that this inherent dependence of life on disequilibria‐converting macromolecular machines is also an obligatory requirement for life at its emergence. Therefore, life must have been launched by the operation of abiotic macromolecular machines driven by abiotic, but specifically “life‐like”, disequilibria, coopted from mineral precipitates that are chemically and physically active. Models grounded in “chemistry‐in‐a‐bag” ideas, however energized, should not be considered. (shrink)

As we reread Mary Shelley's Frankenstein at two hundred years, it is evident that Victor Frankenstein is both a mad scientist (fevered, obsessive) and a bad scientist (secretive, hubristic, irresponsible). He's also not a very nice person. He's a narcissist, a liar, and a bad “parent.” But he is not genuinely evil. And yet when we reimagine him as evil—as an evil scientist and as an evil person—we can learn some important lessons about science and technology, our contemporary (...) society, and ourselves. (shrink)

Theodore Roszak's compelling parable, The Memoirs of Elizabeth Frankenstein, provides an (eco)-feminist view of the “Night of the Living Dead Model” and suggests that only the equal union of “masculine” and “feminine” energies will help us resolve the current eco-crisis. This article further explores the consequences of the highly masculinized post-Enlightenment rationalism as demonstrated in Roszak's novel. Although this article agrees that there is a dangerous imbalance between natural/spiritual and scientific/rational viewpoints, it also stresses that the extreme genderification of (...) these energies is potentially problematic. (shrink)

In lieu of an abstract, here is the article's first paragraph: Mary Shelley’s Frankenstein has remained in print ever since it was published two hundred years ago this year, and has been the basis for innumerable adaptations. While most novels from so long ago have been forgotten, Shelley’s lives on. Why has it remained so popular? Perhaps, at least in part, it’s due to the philosophical themes it addresses: tampering with nature, the dereliction of duties, and the importance of (...) taking responsibility for one’s actions. The tale of a being born without a mother, written by a young woman whose own mother died a few days after giving birth to her, it is perhaps most of all an examination of the need for love in order to survive in a harsh and unforgiving world. It is also a cautionary tale of a man who achieves what he sought to do, only to have his creation turn on him and all he loves. (shrink)

Synthetic biology has emerged as one of the newest and promising areas of bio-technology. Issues typically associated to SB, notably in the media, like the idea of artificial life creation and “real” engineering of life also appear in many popular films. Drawing upon the analysis of 48 films, the article discusses how scientists applying technologies that can be related to SB are represented in these movies. It hereby discusses that traditional clichés of scientists in general tend to be sublated by (...) new stereotypical characterizations. These reflect real trends in bio-technological research such as SB, especially the increased relationship between science and industry. Frankenstein 2.0. looks less like the old, genius yet mad scientist, and follows a more entrepreneurial than academic spirit. (shrink)

This study uses evidence from the press and from the parliamentary record to examine the extent to which, and the ways in which, people involved in the public debate over laboratory experiments on human embryos in Britain during the 1980s drew on images from science fiction. It is shown that negative images from science fiction were used in the debate, but that these images could be transformed into resources for defending, as well as attacking, this form of scientific endeavor. It (...) is also shown that other fictional structures were present in the debate and that both sides relied heavily on fictional components to justify their competing appraisals of embryo research. (shrink)

Throughout Mary Shelley’s early life, she was exposed to numerous well-known and influential people regarding cultural, political, and socio-economic matters. As she began writing, these influences undoubtedly played a role in her narrative. Her novel, _Frankenstein_, written during the time of the first Industrial Revolution in Britain, was one such novel that exhibited her political and economic influences through science fiction. This article addresses many of those influences, including the introduction of the machine into manufacturing. It further addresses how (...) class='Hi'>Frankenstein’s Monster may have been one of the first created forms of artificial intelligence (AI). We further expound upon many economic concepts that have persisted through time and are relevant today given the faciliatory aspects, as well as the uncertainty, of AI. We relate these through the literary piece _Frankenstein_ to explore how a two-century-year-old tale provides a blueprint for understanding the conflict among humans and machines and provides a roadmap for harmonization in the past, present, and future. (shrink)

From the classic Frankenstein of 1931 to Matrix, which offers a version of the philosophical fable of the brain in a vat and on to Self/less, in which the consciousness of a dying tycoon is transferred to a younger man’s body, cinema has variously explored the relationship between personhood and the body by means of fictions concerning the brain and its contents.1 From the crude disembodied brains of 1950s B-movies to the neuroimaging visuals of 21st-century cyberpunk, these films localize (...) individuality essentially in the brain, and make personal identity transcend the body’s demise by transplanting the brain into other, typically younger or at least healthier bodies.... (shrink)

As last year's 200th anniversary celebrations of the first publication of Mary Godwin Shelley's novel Frankenstein; or, The Modern Prometheus came to a close, it seemed there could be nothing that remained unsaid about the work and its enduring cultural influence. Academic conferences had begun two years earlier: in June 2016, the Brocher Foundation hosted one of the first international meetings to examine the importance of the novel for our time. The Brocher Foundation, situated in Hermance, Switzerland—just a few (...) miles along Lake Geneva from the Villa Diodati, the site in June 1816 of Mary Godwin's inspiration for her famous gothic tale—was the perfect place for such an event. Since... (shrink)

This paper describes how an ethics instructor might use Mary Shelley’s “Frankenstein” to teach Kant’s duty-based ethics. For example, themes like the lack of beneficence of Victor toward his creature and Victor’s uneven development of his talents can be used to introduce students to criticisms of Kant’s view that beneficence is an imperfect (or wide) duty or that we have an imperfect duty to cultivate, not only our scientific abilities, but also non-scientific ones. In addition, “Frankenstein” can be (...) used to consider Kant’s prohibition on making false promises, physically abusing one’s body, suicide, as well as Kant’s stance on the abuse of non-rational animals. (shrink)

Die literarische Figur des verrückten Wissenschaftlers ist heute vor allem über Filme bekannt. Tatsächlich hat Hollywood diese Figur, die auf Englisch mad scientist genannt wird, seit seinen Gründungstagen mit zahlreichen Filmen zu einem eigenen Genre entwickelt: Ein älterer Mann mit zerzaustem Haar, Laborkittel und Brille arbeitet besessen und einsam in seinem Labor an einer großen Erfindung, mit der er die ganze Welt verändern will. Typischerweise ist dieser Wissenschaftler entweder gutwillig und naiv, nur naiv oder skrupellos. Ist er gutwillig und naiv, (...) dann will er die Welt retten oder zum Besseren wenden; doch in seiner Besessenheit und Engstirnigkeit verkennt er die Welt und die große Erfindung entgleist ihm und wird zu einer Bedrohung der Welt, bis am Ende ein guter Held die Gefahr bannt und die Welt rettet. Falls er nur naiv ist, dann entreißt ein Böser ihm die Erfindung im entscheidenen Moment, um die Welt zu bedrohen, bis am Ende der Gute die Sache wieder ins Reine bringt. Ist er hingegen skrupelos, dann treibt ihn seine Besessenheit dazu, immer größere Opfer für sein Werk zu erbringen, nicht nur, indem er sich selber gesundheitlich und finanziell aufreibt, sondern auch, indem er die Gesundheit und das Leben von Unbeteiligten aufs Spiel setzt. Treibt er dies zu weit, ohne rechtzeitig Reue zu zeigen, dann muss er am Ende um der Gerechtigkeit willen sterben, in der Regel als Opfer seiner eigenen besessenen Forschertaten. Die Figur des verrückten Wissenschaftlers ist heute so einschlägig, dass sie das öffentliche Bild der Wissenschaft in der westlichen Welt entscheidend mitgeprägt hat. Das ärgert natürlich die Wissenschaftler, die darum heftigst auf Hollywood schimpfen. Doch Hollywood hat nur aufgegriffen, stereotypisch vereinfacht und bilderreich ausgemalt, was Schriftsteller des 19. Jahrhunderts in fast allen westlichen Ländern in Form von Romanen, Theaterstücken, Kurzgeschichten und Gedichten vorgebildet haben. Denn der verrückte Wissenschaftler ist tatsächlich eine literarische Erfindung des 19.. (shrink)

This paper aims to offer an innovative reading of Mary Shelley’s Frankenstein by reflecting on the cultural horizon that influenced the composition of the novel, namely the Naturphilosophie of the Romantic period, characterized by the interpenetration of matter and spirit, visible and invisible. Its major development occurred in German aesthetics of the 18th century, where the union of sensibility and imagination was harmonically realized through a special fusion of philosophy and literature. Thanks to this encounter, philosophy regained its link (...) with the universal and literature became capable of “telling” the invisible without falling into arbitrariness. From this theoretical perspective, the monster created by Shelley is not a creative failure, but something enormous that terrifies because it transcends both our sensitive faculty and our imaginative capacity. Monster is described here as the place of interaction between visible and invisible, which only the artist – by placing himself in the middle of this relationship – is able to narrate. (shrink)