在論文中，我主張維克多‧法蘭克斯坦是位活在維多莉亞時期 這極為重視婚姻及家庭生活並恐同社會下的一名同性戀者，而這異 性戀價值觀為準的社會使維克多承受過大的壓力，並使他創造出另 一個自我─怪物，進而犯下所有小說中的謀殺案，當然也包括最後 他因過度絕望而自殺。 於論述過程，首先藉由小說和電影改編來檢視怪物的形象和型 體。如此一來，也證明怪物本真實存在的觀點。接下來透過小說本 身對於維克多和怪物形體許多模糊不清的敘述，以及小說和電影呈 現維克多和怪物語言使用的重疊性進一步證實法蘭克斯坦和怪物實 為單一個體。 於結論中，我闡述小說中謀殺案的動機是出於維克多長期壓抑 其同性戀的結果，於此，我主張在維多莉亞時期，維克多‧法蘭克 斯坦為一名單一異性戀價值觀的受害者，同時也是犯下所有謀殺案 的兇手。 The thesis provides a queer reading of Mary Shelley’s well known novel Frankenstein or the Modern Prometheus by scrutinizing the text and the comparison among the film adaptations, including Frankenstein (1910), Bride of Frankenstein (1935), Mary Shelley’s Frankenstein (1994), The Frankenstein Theory (2013), I, Frankenstein (2014), and the latest film adaptation Victor Frankenstein (2015). In the thesis, I argue that Victor Frankenstein is a homosexual living in the Victorian era when the homophobic society vastly values domestic life and marriage. The heteronormative society distresses Victor so much that he creates the monster as his alter ego and commits all the murders, including killing himself due to desperation in the end. To make such claim, I examine the monster representation and physiognomy first to present how the novel and film adaptations construct the image of the monster. In so doing, I also prove the common belief on the monster’s physical existence. Then I move forward to examine some ambiguous passages describing Victor and the monster both in the novel and film adaptations. Not only the physiognomy but also does the overlapping language use of Victor and the monster enable us to conclude that Victor and the monster is in fact the same unity. Finally, I explain the murder cases based upon Victor’s homosexuality which has been repressed to a certain extent until he could not bear it anymore and commits the crime. Victor Frankenstein, as I contend, is both a victim and murderer in the Victorian era.
