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Ozdemir (2003) writes that it is likely the "illegitimate and premature motherhood / pregnancy of Shelley, possibly complicated by fear of death (her own and her future baby's), which anchored her existence for a time in the body and domesticity finds an echo in Paradise Lost in terms that evoke the monstrous otherness embedded within the very definition of femininity and nature as the site of fecundity: '"A Universe of death,... Where all life dies, death lives, and Nature breeds, / Perverse, all monstrous, all prodigious things' " (qtd. In Gilbert and Gubar, 1979: 227). Thirdly, the monster, like Eve, is marginalized within the narrative, which privileges Victor's voice, thereby reflecting the cultural silencing of woman." (p.1) Ozdemir writes that Shelley has an obsession in her writing of her own state of being an orphan as a child and the monster Frankenstein is also an orphan. According to Ozdemir "Constructed within the symbolic order and in relation to the otherness of woman, human identity requires the repression of femininity in society and culture. In this sense, the violence of the monster "marks the return of a repressed 'female principle'" necessary for the humanization of civilization." (2003)
Cavallaro, D (nd) Cyberspunk and Cyberculture: Science Fiction and the Work of William Gibson. Retrieved from: https://is.muni.cz/www/175193/25476916/Cyberpunk_and_Cyberculture__Science_Fiction_and_the_Work.txt
The work of Cavallaro (nd) states that the creature of Shelley's in her work "Frankenstein" is such that "…combines all the disturbing markers of austerity that Shelley's culture would have readily associated with the illegitimate members of society: foreigners, women, the disenfranchised, the poor and the disabled. Concurrently, the novel shows that true monstrosity does not lie with the creature's repulsive appearance but with power structures and institutions capable of transforming an initially benevolent being into an evil-doer." (p.1)