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Examples of monsters in literature
Examples of monsters in literature
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In the long history of the existence of fantasy literature, writers represent monsters as something opposite to the human being. The prior conflict of this genre is usually "man Vs monster." Several examples of science fiction seemingly portray antagonistic creatures yet they are depicted as being similar to humanity: the replicants in the film Bladerunner; the monster in Mary Shelley's Frankenstein; and the Borg in Star Trek. In each of these examples, the aforementioned "monster(s)" posses human-like characteristics (some, like the replicants in Bladerunner appear almost exactly human) yet are still "monsters," they are not quite human. Thus each of the human societies shuns and despises these creatures for what they are. The significance of the alignment of the monsters with ourselves is how the monsters are the personification of our ontology. The unconscious human mind is the content of what these works attempt to personify in the monster. As Donna Haraway said in her "Cyborg Manifesto," "we are all chimeras." The curious thing is that the protagonists in some of the works actually portray monster-like characteristics--a role reversal between the monster and the hero of the work: "We have found the enemy and he is us." The analogy of the monsters is actually depicted in each of the work's respective humans' thoughts and deeds. This also shows the authors' portrayal of the monster-like and thus human-like characteristics of the human unconscious and the conscious mind.
The role-reversal of an antagonistic monster and the human hero is never more blatant than in Mary Shelley's Frankenstein. In modern pop culture, the name of Frankenstein is often associated with the monster of the novel. Unkn...
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...w much do our genes control how we will live our lives? Our dependence on machines is one popular theme in science fiction including Star Trek. The Borg are cyborgs--completely dependent on their mechanical components to survive. In modern society, how much do we depend on machines to survive? The Borg reflects several aspects of our own human society and human self.
Donna Haraway says, "The cyborg is our ontology...The machine is us." Frankenstein's monster, the replicants, and Star Trek's Borg each is analogous to the monster within a subconscious or unrealized level within modern reality. The unconscious needs of modern technology, the uncertain amount of genetic programming within us, and the unknown about the human's unconscious mind are all objectives explored in the allegorical genre of science fiction as we explore the monster within.
Mary Shelley’s novel, Frankenstein, illustrates the Romantic idea of the sublime naturalworld as an emotional experience for the characters of the novel. Within the text, Shelleyutilizes an allusion to the John Milton’s biblical story, Paradise Lost, to make a parallel betweenthe characters. Within the passage, the monster compares himself, as well as his creator, Victor,to the characters Adam and Satan. He comes to realize that he is more similar to Satan;ultimately, leading him to his reign of terror and the revenge he wishes to impose on Victor. Themonster realizes that he is similar to Adam in Paradise Lost in that they both do not want to bealone. The monster also realizes that there is good in the world that is deeply contrasted with
The United States has a larger percent of its population incarcerated than any other country. America is responsible for a quarter of the world’s inmates, and its incarceration rate is growing exponentially. The expense generated by these overcrowded prisons cost the country a substantial amount of money every year. While people are incarcerated for a number of reasons, the country’s prisons are focused on punishment rather than reform, and the result is a misguided system that fails to rehabilitate criminals or discourage crime. The ineffectiveness of the United States’ criminal justice system is caused by mass incarceration of non-violent offenders, racial profiling, and a high rate of recidivism.
Most Americans have some idea of who Frankenstein is, as a result of the many Frankenstein movies. Contrary to popular belief Mary Shelley’s Frankenstein is a scientist, not a monster. The "monster" is not the inarticulate, rage-driven criminal depicted in the 1994 film version of the novel. Shelley’s original Frankenstein was misrepresented by this Kenneth branagh film, most likely to send a different message to the movie audience than Shelley’s novel shows to its readers. The conflicting messages of technologies deserve being dependent on its creator (address by Shelley) and poetic justice, or triumph over evil (showed by the movie) is best represented by the scene immediately preceding Frankenstein’s monster’s death.
Artificial Intelligence is very similar to Mary Shelly’s Frankenstein in that the underlying themes, questions asked, and moral issues raised are the same.
What is a monster, really? Is it really a Creature that has three eyes instead of two, with pus seeping out of every crevice in his face and an abnormally large form? Or is it someone with a mind so corrupt it rivals that of Satan? Mary Shelley’s Frankenstein is a story within a story that centers on the tale of a man with an immense thirst of knowledge and a fetish to imitate the Creator. Mary Shelley’s Frankenstein is a lot like the Greek mythological tale of the Greek God, Prometheus, and his brother, Epimetheus, who were assigned the task of creating man. The story captivates the theme of monstrosity. Mary Shelley wrote the novel in a form so the reader’s opinions never stray far from sympathy for the monster and apathy for Victor Frankenstein. The novel looks at “Monstrosity” and “Humanity” in a deeply analytical way.
Today, half of state prisoners are serving time for nonviolent crimes. Over half of federal prisoners are serving time for drug crimes. Mass incarceration seems to be extremely expensive and a waste of money. It is believed to be a massive failure. Increased punishments and jailing have been declining in effectiveness for more than thirty years. Violent crime rates fell by more than fifty percent between 1991 and 2013, while property crime declined by forty-six percent, according to FBI statistics. Yet between 1990 and 2009, the prison population in the U.S. more than doubled, jumping from 771,243 to over 1.6 million (Nadia Prupis, 2015). While jailing may have at first had a positive result on the crime rate, it has reached a point of being less and less worth all the effort. Income growth and an aging population each had a greater effect on the decline in national crime rates than jailing. Mass incarceration and tough-on-crime policies have had huge social and money-related consequences--from its eighty billion dollars per-year price tag to its many societal costs, including an increased risk of recidivism due to barbarous conditions in prison and a lack of after-release reintegration opportunities. The government needs to rethink their strategy and their policies that are bad
The monster of the novel is often misattributed with the name, “Frankenstein.” However, Victor Frankenstein can ultimately be considered the true monster of this tale. His obsession would lead to the corruption of his soul and the creation of two monsters—one himself, and the other, the creature. In attempting to take on the role of God, nature would become a monster to Victor and destroy his life. These elements of monstrosity in Frankenstein drive the meaning of its story.
In most novel and movies monsters are known to be evil, committing numerous crimes against humanity and are normally the ones that we don’t sympathize with. However, this novel carefully shows the reader that monsters can be good creatures, with a decent heart and act based on the actions of others. The novel shows how the monster should be pitied, rather than criticised. Mary Shelley's “Frankenstein” manages to create sympathy for the creature through speech, actions and mistreatment the creature suffers.
Mary Shelley’s novel Frankenstein expresses human nature specifically through the character of the “Creature” and his development. The Creature has an opportunity to explore his surroundings, and in doing so he learns that human nature is to run away from something so catastrophic in looks. The Creature discovers that he must limit himself in what he does due to the response of humans because of his deformities. I feel that Mary Shelley tries to depict human nature to running away from the abnormal, which results in alienation of the “abnormal.” Even today, people have a prejudice against someone or something that is abnormal, and these people will act differently towards this abnormality that is put in front of them. In the novel, Shelley seems to suggest a conception of humanity that is deeply influe...
Wilson, Rick. "The Growing Problems of the Prison System." American Friends Service Committee. American Friends Service Committee, 27 Nov. 2012. Web. 11 Apr. 2014. .
1) O’Connor, Flannery, A Good Man Is Hard to Find (Women Writers: Text & Contexts Series). Rutgers University Press, 1993.
Throughout Frankenstein, one assumes that Frankenstein’s creation is the true monster. While the creation’s actions are indeed monstrous, one must also realize that his creator, Victor Frankenstein, is also a villain. His inconsiderate and selfish acts as well as his passion for science result in the death of his friend and family members and ultimately in his own demise. Throughout the novel, Shelley investigates the idea of monstrosity. She makes the point that a monster does not have to be genuinely evil in order to be considered monstrous.
Since the original novel Frankenstein by Mary Shelley, to the multiple movie adaptations, the monster is almost always predicted as the monster of the story. It may be his physical appearance, from his tall, broad frame, to the signature screws in his neck. It may also be his unnatural upbringing and interpreted evil characteristics. We have grown to fear the monster, which ultimately, has masked the true monster, Dr. Frankenstein. With each coming movie, the good side of the monster is brought to light, while the real monster shows his true colors.
(OED). Yet, we as humans define ourselves not just on biological terms but socially and spiritually too. In Frankenstein the Monster, who by his very label and beginnings implies a perfect example of monstrosity, is, in fact, articulate and erect yet is still not considered human in the traditional sense. It is his eventual spiritual and social malformation that fully defines him as monstrous. Even as language plays a huge part in the definition of human, as taken from the OED, the narration, and thus language, in Frankenstein also helps to define the terms ‘monstrous’ and ‘human’.
A.I.: Artificial Intelligence is a Steven Spielberg science fiction drama film, which conveys the story of a younger generation robot, David, who yearns for his human mother’s love. David’s character stimulates the mind-body question. What is the connection between our “minds” and our bodies?