MACHINE AS A METAPHOR IN SCIENCE FICTION WITH

REFERENCE TO FRANKENSTEIN AND THE TIME MACHINE

A TERM PAPER SUBMITTED TO

DEPARTMENT OF ENGLISH, SHRI J.N.M.P.G. COLLEGE, LUCKNOW.

FOR

THE PARTIAL FULFILMENT OF THE REQUIREMENTS

(Paper-Summer Internship, Semester-III)

FOR THE

MASTER’S DEGREE IN ENGLISH

SUPERVISOR: SUBMITTED BY:

(Prof. Sudheer Chandra Hajela) ANUSHKA AWASTHI
Roll NO: 2310401300006

UNIVERSITY OF LUCKNOW

2024-25
 December 2024-25

DEPARTMENT OF ENGLISH
UNIVERSITY OF LUCKNOW

DECLARATION

I hereby declare that the term paper entitled “MACHINE AS A METAPHOR IN SCIENCE
FICTION WITH REFERENCE TO FRANKENSTEIN THE TIME MACHINE ” submitted
by Anushka Awasthi to Prof. Sudheer Chandra Hajela the Department of English and Modern
European Languages, Lucknow in partial fulfilment of the requirements for the award of the
degree of Master of Arts-English is a record of Bonafide work carried out by me. I further
declare the work reported in this report has not been submitted and will not be submitted,
either in part or in full, for the award of any other degree or diploma of this institute or of any
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ANUSHKA AWASTHI
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 MACHINE AS A METAPHOR IN SCIENCE FICTION WITH
REFERENCE TO FRANKENSTEIN AND THE TIME MACHINE
ABSTRACT
Frankenstein or The Modern Prometheus opens with a series of letters from Robert Walton to
his sister Margaret Saville in England. Walton describes his preparations for, and
embarkation on, exploration of sea voyage toward the north pole. The trip begins easily
enough, but the ship and crew are soon bogged down by impassable ice. As they wait for
more-favorable conditions, they spy a hulking man on a dogsled speeding across the ice. The
next day, another dogsled appears, this time beside the ship, bearing a haggard but
gentlemanly European. A lonely Walton takes in the freezing traveler and nurses him back to
health, finding the newcomer to be an intelligent, welcome companion, despite his
concerning bouts of gloom. Encouraged by their growing friendship, the newcomer agrees to
spill his tale of woe to Walton, who makes it his duty to record the story. The newcomer—
Victor Frankenstein—goes on to tell his life story, beginning with his distinguished ancestry
and the circumstances under which his father and mother came to be married. Victor is the
firstborn of a wealthy Swiss family, and he describes an childhood. He had two brothers,
Ernest and William, and a sister by adoption, Elizabeth, who was a dear friend to Victor and a
natural choice for his future wife. His best friend, Henry Clerval, who spent nearly all his
time with the Frankenstein family, was the son of a local merchant. In his youth, Frankenstein
was set to travel to pursue an interest in natural science at the town’s university, but his
departure was delayed by the death of his mother from. Once in Ingolstadt, Frankenstein
impressed his professors with his intensive work ethic. During this unrelenting period of
study, Frankenstein unraveled the mysteries of life and death. He then set his mind to
animating a creature in a human likeness, on a gargantuan [Link] frenetic pursuit of this
goal left no room for thought of his family or even his own health. He plundered graves and
morgues with a dispassionate eye, seeing only components for his future creation, and
heartlessly employed for his experiments On the other side there is another novel The Time
TravelerA group of men, including the narrator, is listening to the Time Traveler discuss his
theory that time is the fourth dimension. The Time Traveler produces a miniature time
machine and makes it disappear into thin air. The next week, the guests return, to find their
host stumbling in, looking disheveled and tired. They sit down after dinner, and the Time
Traveler begins his story. The Time Traveler makes several more stops. In a distant time, he
stops on a beach where he is attacked by giant crabs. The bloated red sun sits motionless in
the sky. He then travels thirty million years into the future. The air is very thin, and the only
sign of life is a black blob with tentacles. He sees a planet eclipse the sun. He then returns,
exhausted, to the present time. The next day, he leaves again, but never returns.
KEYWORDS
Wretch, monster, creature, demon, devil, friends Machine
INTRODUCTION

Mary Shelley’s Frankenstein, first published anonymously in 1818, has received great praise
throughout the years and it still is very well known and significant to this day. In her novel,
Shelley unfolds the story of a series of repercussions caused by an overly ambitious young
scientist named Victor Frankenstein and his making of a creature from dead human body
parts. However, it is not simply Shelley’s use of the extraordinary that makes her novel so
compelling but “her use of it in a more philosophical and refined use of the supernatural in
works of fiction, is proper to that class in which the laws of nature are represented as altered”
To fully comprehend the text, it is crucial to recognize its hidden themes and criticisms.
Although there are many different interpretations of this novel, its correct interpretation
becomes much clearer upon performing a close reading of the text and taking into
consideration the context in which it was written. Mary Shelley, in her
novel Frankenstein presents the single-minded pursuit of knowledge and the desire for power
as a problem that brings many consequences. The novel chronicles “the devastating
consequences for an inventor and those he loves of his utter failure to anticipate the harm that
can result from raw, unchecked scientific curiosity” (Johnston 200). To help readers better
understand and interpret Mary Shelley's Frankenstein; or The Modern Prometheus, an
archive, which contains invaluable materials pertinent to the text has been created. The
archive is composed of visual elements from sources that heavily influenced the writing,
including Greek mythology, John Milton’s Paradise Lost, and the sublime. By analyzing the
meaning of such sources and their significance to the text, it becomes clear that Shelley’s text
is a warning against hubris and crossing boundaries without taking into consideration all the
possible repercussions. As we can see the both novels are somewhere connected with the
word machine The Time Machine is an 1895 dystopian post-apocalyptic science fiction
novella by H.G Wells about a Victorian scientist known as the time traveler who travel
approximately 802,701 years into the future .The work is generally credited with the
popularity of the concept of time travel by using a vehicle or device to travel purposely and
selectively forward or backward through time . The term ‘The time machine’, coined by
wells, is now almost universally used to refer to such a vehicle or device.
FRANKENSTEIN REVIEW LITERATURE

Mary Shelley’s Frankenstein falls under two different genres of literature: Gothic novel and
science fiction. This profound sorrow and personal tragedy resonate throughout her work
adding layers of emotional depth to the narrative. Despite the pervasive sadness,
“Frankenstein” doesn't overshadow the beauty within its pages. The book has the power to
make anyone fall in love with literature. A literature review for an essay on Frankenstein by
Mary Shelley might include the following topics: Frankenstein is considered a gothic novel
and is often called the first science fiction novel. The novel explores themes such as the
dangers of technology, the consequences of snap judgments, and the importance of familial
responsibility. The novel uses a variety of literary devices, including foreshowing,
symbolism, irony, allusions, and personification. The novel uses a framing narrative, with
Walton’s letters to his sister, followed by Victor’s story, and then the monster’s story.
Frankenstein is considered to have had a significant impact on society, helping to create a
new genre and making space for female author.

TIME MACHINE REVIEW LITERATURE

The Time Machine is a social doom prophecy. The future is presented as a place where the
privileged have finally gotten a world where they can lead utterly carefree lives of leisure.
Unfortunately, the centuries of soft living have turned the rich into weak and stupid creatures.
Meanwhile, the working class has speculated into subterranean horrors that finally seek
revenge on their former masters. This is to serve as an extrapolation of what Wells surely saw
as a widening gulf between the rich and poor in Victorian England. Wells exaggerated the
difference between the Morlocks and Eloi to warn the well-to-do and the British government
that the social injustices of the day would prove ruinous if not corrected. Also, Wells warns
everybody that the attainment of our ideal world, one with no pressure or work, would
probably be fatal to humans. The Time Machine seems to compare favorably with
mainstream literature of its day. When compared with more modern novels, science fiction or
otherwise, parts of it seem a bit quaint and stuffy. Still, Wells was a good writer, and the
novel has a sense of wonder; it’s a fine adventure tale. On the surface, the circumstances and
science sound good, but they don’t hold up well if you know much about science. I accept the
idea of the time machine, since that fantasy is central to the story, but there are a few other
details that bothered me.
First, the Time Traveler describes the land as being devoid of fungi. The primary
decomposers in an ecosystem are fungi; without them, you can’t have a gorgeous landscape. I
guess Wells just didn’t want stinkhorns on his world. Also, the Eloi are described as being
disease-free. Perhaps science could get rid of parasites and viruses. But you can’t kill off the
bacteria; otherwise, the whole ecosystem goes down. No decomposition, no nitrogen fixation,
no plants … no Eloi. Since there must be bacteria, eventually you’ll have disease, since
bacteria mutate quickly and will occupy any ecological niche that they can get started in. The
behavior of the Morlocks rang a little false with me. They’re intelligent enough to run the
machines and lay a trap. Why didn’t they use weapons while trying to hunt the Time Traveler
down? Chimpanzees and even crows use primitive tools. Suppose Wells kept the Morlocks
unarmed so that the hero could get away; a party of armed Morlocks could have easily
brained him. Also, didn’t completely believe in the development of Morlock society. Don’t
think a working class, no matter how subjugated, could be kept down for so long. It only
takes one extremely able person to get a revolution going, and in the time frame the novel is
sure that the workers would have already rebelled successfully. Wells was accurate in
showing the evolutionary changes that could occur in several hundred thousand years’ time.
The physical changes to the Eloi were pretty good; one reads another prediction that humans
will get more androgynous and possibly smaller if automation progresses at its current pace.
However, one doubts the extent of their mental deterioration that they would have games and
sports, and that would have almost guaranteed that at least some of the Eloi would not have
been so small and weak. Humans love games; even in places where there is no literacy and no
ambition, The Time Machine was published after around 35 years of the presence of Charles
Darwin's well-known
work, The Origin of The Species. In this exemplary work of Darwin, he discusses the
development humankind has been through. “Thus, from the war of nature, from famine and
death, the most exalted object which we are capable of conceiving, namely, the production of
the higher animals, directly follows. There is grandeur in this view of life, with its several
powers, having been originally breathed into a few forms or into one; and this planet has
gone cycling on according to the fixed law of gravity, from so simple a beginning endless
forms most beautiful and most wonderful have been, and are being, evolved” (Darwin 217).
In his work Time Machine, Wells follows the setting of Darwin intently, which discusses
natural selection. However, the Eloi inthe Time Machine can be considered as the
descendants of the privileged society of the Victorian Age, yet it additionally connotes that
notwithstanding the entirety of their lavishness and well-off living style, which had made
them senseless and powerless, they have been consistently gone after by the Morlocks.
FRANKENSTEIN
Frankenstein; or, The Modern Prometheus is an 1818 Gothic novel written by English author
Mary Frankenstein tells the story of victor Frankenstein, a young scientist who creates
a sapient creature in an unorthodox scientific experiment. Shelley started writing the story
when she was 18, and the first edition was published anonymously in London on 1 January
1818, when she was 20. Her name first appeared in the second edition, which was published
in Paris in 1821. Shelley was inspired to write Frankenstein after imagining a scientist who
created life and was horrified by what he had made. Frankenstein is one of the best-known
works of Infused with elements of the Gothic novel and the Romantic movement, it has had
a considerable influence on literature and on popular culture, spawning a complete genre of
horror stories, films, and plays. Since the publication of the novel, the name "Frankenstein"
has often been used to refer to the [Link] is a frame story In this novel Robert
Walton an explorer tells how he has met victor Frankenstein in the arctic after earlier having
seen a gigantic figure crossing the ice. Victor tells of his childhood and his caring family
particularly of his love for his foster sister Elizabeth. His mother dies of fever just before he
leaves for study at university. While at university victor’s interest in science becomes an
obsession. Victor uses dead body to experiment on and create a monster made of body part he
is immediately disgusted by the thing he has created and abandons it victor brother William is
murdered and Justin Moritz a family servant is executed for it. however, victor believe the
monster is to blame after witnessing it at the scene of the murder. The monster and victor
meet on the glacier of montanvert in an alp the monster tells the story of how it has survived
and of the time it has spent becoming educated the monster asks victor to admit responsibility
for his action and shows some sympathy he also pleads with victor to build a female
companion victor agrees. He begins to construct the female creature but suddenly realising
the consequences of what he is doing he tears it to pieces the monster To escape its tragedy,
the Frankenstein’s go on vacation. Victor often hikes in the mountains, hoping to alleviate his
suffering with the beauty of nature. One day the monster appears, and despite Victor's curses
begs him incredibly eloquently to listen to its story. The monster describes his wretched life,
full of suffering and rejection solely because of his horrifying appearance. (The monster also
explains how he learned to read and speak so well.) The monster blames his rage on
humanity's inability to perceive his inner goodness and his resulting total isolation. It
demands that Victor, its creator who brought it into this wretched life, create a female
monster to give it the love that no human ever will. Victor refuses at first, but then agrees.
Back in Geneva, Victor's father expresses his wish that Victor marries Elizabeth. Victor says
he first must travel who has followed victor is engaged and in revenge kills victor best friend
Henry Clerval.. On the way to England, Victor meets up with Clerval. Soon, though, Victor
leaves Clerval at the house of a friend in Scotland and moves to a remote island to make his
second, female, monster. But one night Victor begins to worry that the female monster might
turn out more destructive than the first. At the same moment, Victor sees the first monster
watching him work through a window. The horrifying sight pushes Victor to destroy the
female monster. The monster vows revenge, warning Victor that it will "be with him on [his]
wedding night." Victor takes the remains of the female monster and dumps them in the ocean.
But when he returns to shore, he is accused of a murder that was committed that same night.
When Victor discovers that the victim is Clerval, he collapses and remains delusional for two
months. When he wakes his father has arrived, and he is cleared of the criminal charges
against him.
Victor returns with his father to Geneva and marries Elizabeth. But on his wedding night the
monster instead kills Elizabeth. Victor's father dies of grief soon thereafter. Now, all alone in
the world, Victor dedicates himself solely to seeking revenge against the monster. He tracks
the monster to the Arctic but becomes trapped on breaking ice and is rescued by Walton's
crew.
Walton writes another series of letters to his sister. He tells her about his failure to reach the
North Pole and to restore Victor, who died soon after his rescue. Walton's final letter
describes his discovery of the monster grieving over Victor's corpse. He accuses the monster
of having no remorse, but the monster says it has suffered more than anyone. With Victor
dead, the monster has its revenge and plans to end its own life.
THE TIME MACHINE

The Time Machine is an 1895 dystopian post-apocalyptic science fiction novella by H. G.

Wells about a Victorian scientist known as the Time Traveller who travels approximately
802,701 years into the future. The work is generally credit Victor returns with his father to
Geneva, and marries Elizabeth. But on his wedding night, the monster instead kills Elizabeth.
Victor's father dies of grief soon thereafter. Now, all alone in the world, Victor dedicates.
Wells' universe in the novel is notably more savage and brutal. In his 1931 preface to the
book, Wells wrote that The Time Machine seemed "a very undergraduate performance to its
now mature writer, as he looks over it once more", though he states that "the writer feels no
remorse for this youthful effort". However, critics have praised the novella's handling of its
thematic concerns, with writing that the book was the most significant contribution to
understanding fragments with the novel how close he felt to the melancholy seeker after a
door that he once opened on to a luminous vision and could never find two feature films of
the same name, as well as two television versions and many comic book adaptations. It has
also indirectly inspired many more works of fiction in many media productions. The Time
Machine was reprinted in Two Complete Science-Adventure Books in
1951.A Victorian Englishman, identified only as the Time Traveller, tells his weekly dinner
guests that he has experimental verification of a machine that can travel through time. He
shows them what he says is a small model, and they watch it disappear. He says he has a big
machine nearly finished in his laboratory, in which a person could travel through time. At
dinner the following week, a weary, bedraggled Traveller recounts to his guests what he
experienced on his journey to the [Link] Time Machine is an excellent example of genres
that are interconnected. It is not just science fiction but also a dystopian novel. When the
Time Traveller initially arrives in the future after seeing Eloi's life, he fantasies about a
flawless utopian future. Still, he quickly discovers that this future is full of terrible secrets.
When Time Traveller encounters Morlocks, he learns its terrible side. It also includes
elements of adventure and tragedy. Time Traveller loses his buddy Weena from the future,
who was too close to him. In the new narrative, the Time Traveller goes into the future,
observing things moving in quick motion around him. He sees his house disappear and turn
into a lush garden. The Traveller stops in A.D. 802,701, and meets the Eloi, a society of
small, childlike humanoids. They live in small communities within large and futuristic yet
deteriorating buildings, and adhere to a fruit-based diet. His efforts to communicate with
them are hampered by their lack of curiosity or discipline. They appear happy and carefree
but fear the dark, particularly moonless nights. They give no response to nocturnal
disappearances, possibly because they are so afraid of them. After exploring the area around
the Eloi's residences, the Traveller reaches the top of a hill overlooking what was once
London and finds the ruins of what once was a metropolis. He concludes that the entire planet
became a garden, with little trace of human society or engineering from hundreds of
thousands of years prior, and at last been achieved. He also theorizes that intelligence springs
from necessity; with no real challenges facing the Eloi, they have lost the spirit, intelligence,
and physical fitness of humanity at its peak. Returning to the site where he arrived, the
Traveller finds his machine missing; he is confident that it at least has not traveled through
time, as he had removed its levers. Later, he encounters the Morlocks, who live in darkness
underground and surface only at night. Deducing that they must have taken his time machine,
he explores one of many "wells" that lead to the Morlocks' dwellings and discovers them
operating the machinery and industry that makes the above-ground paradise of the Eloi
possible. He realizes that the Morlocks control and feed upon the Eloi. The Traveller
speculates that the human race has diverged into two species: the favored aristocracy has
become the Eloi, and their mechanical servants have become the Morlocks. Meanwhile, he
rescues Eloi Weena from drowning, as none of the other Eloi take any notice of her plight.
The Traveller takes Weena with him on an expedition to "The Palace of Green Porcelain", a
distant structure which turns out to be a derelict museum. Here, the Traveller finds fresh
matches and fashions a crude weapon against Morlocks, whom he must fight to recover his
machine. He plans to take Weena back to his own time to save her from the horrors of the
future world. Because the tiring journey back to Weena's home is too much for them, they
stop in the forest for the night. They are eventually attacked by Morlocks, and Weena faints.
The Traveller escapes when a small fire he left behind them to repel the Morlocks turns into
forest firea; Weena and the Morlocks are lost in the blaze. The Morlocks open the Sphinx and
use the machine as bait to capture the distraught Traveller, not understanding that he can use
it to escape. He reattaches the levers before travelling further ahead to roughly 30 million
years from his own time. There, he sees some of the last living things on a dying Earth: crab-
like creatures wandering blood-red beaches chasing enormous butterflies, in a world covered
in lichenoid vegetation. He continues to make jumps forward through time, seeing Earth's
rotation cease and the sun grow larger, redder, and dimmer, and the world falling silent and
freezing as the last living things die out. The Origin of The Species. In this exemplary work
of Darwin, he discusses the development humankind
has been through. “Thus, from the war of nature, from famine and death, the most exalted
object which we are capable of conceiving, namely, the production of the higher animals,
directly follows. There is grandeur in this view of life, with its several powers, having been
originally breathed into a few forms or into one; and that, whilst this planet has gone cycling
on according to the fixed law of gravity, from so simple a beginning endless forms most
beautiful and most wonderful have been, and are being, evolved” (Darwin 217). In his work
Time Machine, Wells follows the setting of Darwin intently, which discusses natural
selection. However, the Eloi in the Time Machine can be considered as the descendants of the
privileged society of the Victorian Age, yet it additionally connotes that notwithstanding the
entirety of their lavishness and well-off living style, which handmade them senseless and
powerless, they have been consistently gone after by the Morlocks. Morlock’s attacks, and
the Morlocks' daily struggle for survival, Wells emphasizes that even the utopian goal will be
challenging to achieve without making the best use of technology and its service to all of
humanity. “It isa law of nature we overlook, that intellectual versatility is the compensation
for change, danger, and [Link] his book, Wells takes the positive, progression ist thoughts
of the end of the century, and gives his own interpretation of the future. Instead of an
advanced society, Wells gives his readers an image of our species on the decline, regressing
in intelligence and function. Through his book, Wells gives a warning that progression is not
always beneficial. At the end of the novella, Wells paints a picture of the Earth that is devoid
of man altogether, a depiction that embraces the ideas of geology, An animal perfectly in
harmony with its environment is a perfect mechanism. Nature never appeals to intelligence
until habit and instinct are useless. evolution, and natural selection. In both of these views,
the optimistic progression stand the pessimistic scientist, the view of human importance is
wrapped up in the concept of time. Studying the way temporality is depicted in Wells’ book
(obviously a main theme in a story about time traveling), we see that the book is not as one
sided as it initially appears; rather than completely supporting the view of humanity as
doomed to be lost and forgotten in the wide expanse of time, we see an under current to the
book that indicates the opposite. He finds out not too long later how wrong he is, that the
Eloiare essentially bred and kept alive by the Morlocks. Once he realizes this, heamends his
hypotheses until he has enough evidence to know he is correct. Eventually, Time Traveler
comes to a complete realization and theory about this future, supported by the evidence he
has witnessed. After he has completed this process of hypothesizing and revising he comes to
a complete understanding. It is not accidental that after this moment he finds the means to
leave the future he has been stranded in. Wells relies heavily on the ideas of science in the
19th centur Overwhelmed, he returns to his own time, arriving at the laboratory just three
hours after he originally left. He arrives late to his own dinner party, whereupon, after eating,
the Traveler relates his adventures to his disbelieving visitors, producing as evidence two
unusual white flowers Weena put in his pocket. The original narrator relates that he returned
to the Traveler’s house the next day, finding him preparing for another journey and promising
to return in a short time. After waiting for three years, however, the narrator says that the
Traveler has not returned.
METAPHOR AS A SCIENCE FICTION

The machine metaphor is a common way to describe how things work, including
organizations, living systems, and even [Link] a way to conceptualize and
understand how organizations (might) function. Three popular organizational metaphors are
the machine, the game, and the theater. The machine metaphor of organizations has been a
popular way of understanding how organizations work since the early 20th century. This
metaphor sees organizations as machines that operate in a predictable and efficient manner. It
highlights the importance of structure, roles, and responsibilities within organizations, and
how each part of the organization needs to work together in a coordinated and synchronized
manner to achieve the overall goals and objectives. The machine metaphor of organizations
also stresses the need for rules and procedures that govern how work is done within the
organization. These rules and procedures are designed to ensure that the work is done in a
standardized and predictable way, which is essential for achieving efficiency and
effectiveness. However, the emphasis on rules and procedures can sometimes lead to
bureaucracy, which can slow down decision-making processes and make it difficult to
innovate and adapt to changing circumstances. In addition to rules and procedures, the
machine metaphor also underscores the importance of feedback loops within organizations.
Feedback loops allow organizations to monitor their performance and adjust as needed to
improve efficiency and effectiveness. Just like a machine needs regular maintenance and
adjustments to keep it running smoothly, organizations need to monitor their performance
and make changes as necessary to stay competitive and achieve their goals. While the
machine metaphor has been a useful way of understanding organizations, it is not without its
limitations. The metaphor can sometimes lead to a focus on efficiency and predictability at
the expense of creativity, innovation, and flexibility. It can also lead to a view of employees
as interchangeable parts in the organizational machine, rather than as individuals with unique
skills, perspectives, and motivations. Some professionals might focus too much on making
sure everything runs according to the rules, which can make it hard to know who is
responsible for a particular decision or outcome. This can be a problem because sometimes
the rules and regulations can become too bureaucratic, which can get in the way of achieving
the organization's goals. When this happens, people within the organization may have to
ignore certain rules to keep things running smoothly. For example, simply having an
“Authority to Stop Work” policy in place does not guarantee workers will feel safe to stop
work in the event of an unsafe situation. Several factors, such as supervisor and colleague
support, clear safety rules, and fatigue management, can play a role in workers feeling
empowered to stop work when necessary. Organizations often try to find a balance between
formal and informal structures. When formal rules and expectations are put in place, informal
networks may develop to help people navigate the limitations of the formal system. People in
organizations have to decide whether to follow the formal rules closely or to take a more
informal approach. By separating formal and informal structures, organizations can be more
flexible and respond to the specific needs of their members. However, informal processes are
usually not suitable for public display as they may not align with the organization's values or
image. In comes the next metaphor…
Think of organizations like a theater performance. Just like actors on a stage, people in an
organization play different roles and have to present a certain image to their viewers. They
might dress a certain way, act a certain way, and speak in a certain way to control the
impression they make on others. Just like there is a front stage and a backstage in a theater,
there is also a public image and a private reality in an organization. Organizations often use
facades or external appearances to present a certain image to the public. For example, they
might say that safety is their top priority, even if their actual practices don't match up with
that statement. This is because organizations have to manage conflicting expectations from
different groups of people. They might want to make a profit, but also keep their workers
safe. To do this, they might use different languages or create specific roles for spokespersons
to manage these expectations. However, just having a facade isn't enough to effectively
manage an organization's image. They also need to have clear values, communication
strategies, and practices that match up with their public image. For example, if an
organization says that safety is their top priority, they need to have practices in place that
actually prioritize safety. Otherwise, there will be discrepancies between their public image
and their actual practices. For understanding those actual practices, another metaphor is better
suited...The game metaphor is often associated with competition and power struggles within
organizations, but there are also positive features to this metaphor. In the game metaphor,
organizations can be seen as dynamic and adaptive, with the ability to respond to changing
internal and external conditions. Game-playing within organizations can allow flexibility,
creativity, and innovation, as people and groups compete for resources and power. Effective
communication channels and processes are crucial in any organization, and the game
metaphor highlights the importance of understanding the implicit and unspoken rules that
govern how people interact within an organization. For example, culture change initiatives
may be met with cynicism and game-playing. By really understanding why these hidden
games are played, organizations can identify and address systemic issues. Balancing team-
oriented elements within an organization is also important, as social systems are inherently
unstable. The game metaphor highlights the importance of finding a balance between clarity
and uncertainty, which is essential for the health and success of an organization. While game-
playing can have negative consequences, it also allows for necessary power dynamics within
organizations and can lead to positive outcomes when understood and managed effectively.
In synthetic biology, to name but a few examples, single cell organisms are described as
“genetically engineered machines, intracellular molecular processes are “genetic circuits, and
genetically engineered organisms are referred to as “platform organisms” Obviously,
synthetic biology makes use of the metaphor of the machine and its variants, most notably its
information technology equivalent, the computer, as a central conceptual lens to describe,
explain and modify molecular intra- and intercellular processes. Applying machine
metaphors in order to describe and understand natural objects and processes is not a new
phenomenon. In the seventeenth century, the mechanical clock was used to this end, in the
eighteenth century the balance was an influential metaphor, in the nineteenth century the
steam engine metaphor appeared, and in the twentieth century and up totoday the computer,
the information processing machine, replaced these older machine metaphors. All these
machines are arte facts designed by humans, and their structural and material make-up serves
as a means to attain a predefined state of affairs and thus fulfills a specific purpose for
humans. Given the fact that living beings are not designed by humans, and their make-up,
according to evolutionary theory, cannot be explained by reference to a specific purpose it is
meant to fulfill, the widespread use of machine metaphors in modern science might come as a
surprise. At the same time, if one succeeded in explaining organisms or parts of organisms as
if they were designed to fulfill a specific purpose, this is to say that one succeeded in
identifying causal relations in organisms that allows for their purposeful redesign and
reengineering. In this sense, machine metaphors fit neatly into the modern concept of natural
sciences according to which if one understands an object, one should, in principle, be able to
build it, and successfully building an object counts as an experiment that supports the
theoretical hypotheses that went into its design.
Against this backdrop, the widespread use of machine metaphors in synthetic biology can
beseen as an expression of vigor with which synthetic biology introduces rational design and
building ideals into biology. The engineering methodology figures prominently in synthetic
biology’s multi-disciplinary background of research approaches. Biology, chemistry, physics,
IT and engineering are all part of this background, with engineering approaches occupying
center stage Engineering principles and approaches, such as designing, modularizing, and
standardizing suggest using the machine metaphor for its objects of intervention. In addition,
the machine metaphor fits neatly into a larger story of what synthetic biology is and what it is
aiming at. Following this story, synthetic biology constitutes the latest step along the line of
developing scientific bottom-up explanations of macro-objects and their behavior. At the
lowest level, physics analyzes the movement and structure of atoms by identifying and
analyzing subatomic structures and parts. At the next level, chemistry analyzes complex
molecules by scrutinizing the simpler molecules and atoms of which complex structures
consist of. At yet another level, living molecules, which is to say organisms, become the
objects of analysis. This is the realm of “analytic” molecular biology research, which traces
the behavior of organisms back to their inner molecular genetic structures. At each level,
analytic knowledge allows one to intervene technologically, alter the objects in question and
devise novel objects. This is the “synthetic” side of each analytic science. In chemistry, for
example, naturally occurring compounds such as sugar or vitamins can be produced
synthetically and, in addition, compounds not known from nature, such as plastics, can be
synthesized. Synthetic biology, it is expected, will lead to similar developments with regard
to organisms. This straightforward account of scientific progress, and the place of synthetic
biology within it, is closely connected to an ontological assumption. If explaining complex
molecules amounts to knowing the simple molecules contained within the complex structure,
and if explaining the function of an organism is tantamount to identifying and analyzing the
genetic structure of this organism, then it is obviously assumed that the functioning of a
complex object is the result of the laws and regularities governing the behavior of this
object’s parts. As a correlation, if one knows the parts of an object and their functions, one
can reliably predict the overall behavior of the object in question. This ontological
assumption is the link to the machine metaphor. With regard to machines, the very same
principles of part-whole relations and predictability are at work in reverse order. When one
designs and assembles a machine, the idea is to combine parts with reliable and predictable
functions in order to come up with a complex result that, in turn, and due to the reliability of
its parts, fulfills specific functions and purposes in reliable and predictable ways.
Consequentially, if what one does in synthetic biology is correctly captured by the account
given above, the objects of one’s research must be thought to share important ontological
aspects with those entities that one calls “machines”. If one transfers the relevant
characteristics of the machine paradigm to the realm of synthetic biology and single cell
organisms, this, then, is the resulting list: Firstly, the behavior of a single cell organism is to
be explained by reference to its molecular, genetic parts. Thus, single cell organisms can be
designed and can be built part by part. Secondly, designing and building an organism
entrenches a specific function in the organism. This function fulfills, from the perspective of
the designer, a specific purpose. Thirdly, the resulting organism’s behavior can be predicted
reliably given sufficient knowledge of its parts. The machine metaphor is ubiquitous. We can hear
it in everyday speech: “things are humming,” “well-oiled,” “on autopilot,” “firing on all cylinders,”
“re-engineering,” and “I’m just a cog in the wheel.” Viewing an organization as a machine shapes our
perceptions, expectations, and actions profoundly. We can design and operate machines to do exactly
what we want. Each part has a precise function which it carries out repetitively and without variation
resulting in reliable overall performance. To modify a machine’s function, we make a new blueprint
and build exactly according to specification. The machine does not participate; change comes only
from the engineers who expect and are expected to be in complete control of the design, management,
and results. Unexpected results imply culpability for deficiencies in design or execution. This is a
problematic way to view organization. Unlike machine parts, people think about their work Repetition
breeds boredom; we’re curious, stimulated by novelty, always tinkering. Managers working as
engineers do not notice this vast creative capacity of their “machine” or harness its ever- present
spontaneous experimentation. We dislike being told what to do, preferring to work more
autonomously9 and we tend to avoid change because it is often associated with uncomfortable
emotional responses such as fear and grief. 10 The machine model does not address these important
phenomena. Most problematic are the unrealistic expectations of control. Organizational work
is inevitably uncertain and unpredictable, yet not knowing what to do is seen as a deficiency,
giving rise to anxiety. When things do not go as planned, there is an implicit assumption that
someone screwed up metaphor in science is a genre of speculative fiction which typically
deals with imaginative and futuristic concept such as advanced science and technology, space
exploration, time travel, parallel universes and extraterrestrial life. It can explore science and
technology in different ways, such as human response to theoretical new advancements, or
the consequence science fiction is related to fantasy, horror and superhero science fiction and
contain many subgenres. It exact definition has long been disputed among authors, critics,
scholar and readers. Precedents for science fiction are argued to exist as far back as antiquity,
but the modern genre primarily arose in the 19th century and early 20th century when popular
writers began looking to technology progress and speculation. Mary Shelley’s Frankenstein,
written in 1818, is often credited as the first true science fiction novel. Science fiction has
come to influence not just literature but films, Tv and culture at large. Besides providing
entertainment it can also criticize present day society and explores alternative and inspire a
sense of wonder. ’As a science fiction entered popular culture writer and fans active in the
field came to associate the
CONCLUSION

At the end of Frankenstein, Victor Frankenstein dies wishing that he could destroy the
Monster he created. The Monster visits Frankenstein’s body. He tells Walton that he regrets
the murders he has committed and that he intends to commit suicide. Frankenstein’s death
suggests that he has not learned much from his own story. He causes his final collapse by
trying to continue his pursuit of the Monster: “You may give up your purpose, but mine is
assigned to me by Heaven, and I dare not.” Frankenstein begins the story driven and
ambitious to create the Monster, and at the end of the novel he remains driven and ambitious
in his quest to destroy the Monster. With his final words, Frankenstein even takes back his
earlier warning about the dangers of too much ambition yet another may succeed. Rather than
learning from his mistakes, Frankenstein compounds one mistake after another, leading to his
death. This thesis shows that the message of the novel and of the Frankenstein myth is that
pursuit of knowledge and crossing of boundaries on its own is not inherently wrong and the
Shelley rather highlights the needs of a human behavior and responsibility of a scientist. He
regrets what he has done. While Frankenstein dies feeling disturbed that the Monster is still
alive, the Monster is reconciled to death: so much so that he intends to commit suicide. The
Monster’s decision to kill himself also confirms the importance of companionship. He
recognizes that with Frankenstein dead, he is alone in the world, and he believes that without
a companion there is no point in living. For some readers, the fact that the Monster grows and
changes while Frankenstein continues in his destructive behavior to the end suggests that
Frankenstein is the villain of the novel and bears ultimate responsibility for everything that
has happened. However, other readers have pointed out that Walton doesn’t see the Monster
kill himself. We know that the Monster is clever and persuasive: it’s possible that he
announces his intention to kill himself so that Walton won’t pursue him. The Time Traveler
leaves to find proof of his time travels but never returns. The narrator wonders where the
Time Traveler went and what happened to [Link] narrator guesses that the Time
Traveler may be with dinosaurs or primitive ancestors ormay in future. The novel reflects that
it’s important to live as if the time traveler’s story about the future of humanity isn't true. The
time traveler sees a natural integration of capitalism and evolution in human history. The
narrator finds solace in the idea that mankind didn’t lose kindness when it lost everything
else. The narrator ends the book on a note of slight optimism.
The Time Machine is without a doubt the trend-setter of all science fiction works, and it is
one of its masterpieces in science fiction.
WORK CITED AND CONSULTED

1. APA. Shelley, M.W. Frankenstein, or the modern Prometheus. Everyman’s Library.

Dystopian Literature:(London: Greenwood Press, 1994)
2. From April 1990, Eternity Comics published a three-issue miniseries adaptation of The
Time Machine, written by Bill Spangler and illustrated by John Ross — this was
collected as a trade paperback graphic novel in 1991.
3. Florescu, R.1996. In Search of Frankenstein. London; Robson Books Ltd.
4. Hammond, J [Link] H. G. Wells Companion,London: The Macmillan Press Ltd, 1979.
5. MLA. Shelley, Wollstonecraft Mary Frankenstein, or the Modern Prometheus.
6. Parminder Patrick, "History in the Science Fiction of H. G. Wells"
7. Shelley, M 2012 Frankenstein. London; Penguin group.
8. Shelley, Mary. Frankenstein or The Modern Prometheus. [Link]; Cox and
Wyman Ltd,1994.