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Characteristics of monsters in literature
Monsters in modern culture
Monsters in modern culture
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Human's infatuation with monsters bind the works on the English 23 syllabus into one common theme: monsters. Monsters have stood the test of time, and their stories continue to be one of the most common themes in fictional literature. All of the short stories and books assigned to English 23 are full of monsters: Michael Crichton's Eaters of the Dead, John Gardner's Grendel, The Fellowship of the Ring by J.R.R. Tolkien, Harry Potter and the Sorcerer's Stone by J.K. Rowling, and Mary Shelly's Frankenstein all have some sort of monster intertwined within their plots. A short story not listed on the syllabus that could very well fit the "monster" criteria for English 23 is "The Sea Raiders" by H. G. Wells. The common definition of a monster is "an imaginary or legendary creature...that combines parts from various animal or human forms" or "a creature having a strange or frightening appearance" ("Monster"). Monsters do not have to be legendary or imaginary to be a monster though; they just need to be different from what humans consider normal: they need to be strange. The strange is menacing because it looms in the future of man. Wells masterfully transforms some of man's oldest terrors- the fear of darkness, monstrous beasts, giants and ogres- into an evolutionary perspective that is supposed to be reinforced by Darwinian biology (Suvin 24). Basically, Wells intends for the monsters he creates to be believable through his use of extensive detail. The only catalyst needed to turn a seemingly ordinary creature into a "monster" is for it to assert some sort of threat toward man. This means any living thing that is new or unusual can become a monster if it attacks, hurts, or kills someone, even in self-defense or through biological p... ... middle of paper ... ...Cited "Monster." Dictionary.com. 2000. The American Heritage Dictionary of the American Language, Fourth Edition. Houghton Miller Co. 11 Jan 2003 http://dictionary.reference.com/search?q=monster. Murray, Brian. H. G. Wells. New York: The Continuum Publishing Company, 1990. Suvin, Darko. "Wells as the Turning Point of the SF Tradition." Critical Essays on H. G. Wells. Ed. John Huntington. Boston: G. K. Hall and Co., 1991. Wells, H. G. "The Sea Raiders." The Famous Short Stories of H. G. Wells. New York: The Literary Guild of America, 1937. 410-420. "Wells, H. G. (Herbert George), 1866-1946." Literature Online. 2002. 21 Jan 2003 http://lion.chadwyck.com/lion_ref_ref/fulltext?action=bybioid&id=2923&link=biog.
Much of the initial appeal of monster stories comes from the fact that they, like their twisted
Monsters are symbols and representations of a culture. They exist because of certain places or feelings of a time period. Monsters are “an embodiment of a certain cultural moment”. Author of Grendel, John Gardner, and author of Frankenstein, Mary Shelley, both create a monster to represent something larger than itself in order to have the reader reflect on their “fears, desires, anxiety, and fantasy” in society, which is explained in Jefferey Cohen's Monster Culture (Seven Theses). The latest trend in monster media, zombies, also fit into Cohen's theses on what a monster is.
" American Literature 58.2 (May 1986): 181-202. Wright, Richard. A.
Throughout history we see monsters taking many different shapes and sizes. Whether it be a ghoul in the midst of a cold nightly stroll or a mass genocide, monsters are lurking everywhere and our perception of what monsters truly are, is enhancing their growth as a force with which to be reckoned. Fear of the unknown is seen throughout time, but as humans progress we are finding that things we once were afraid of we are less frightening than they once were. Monsters can evoke fear in their targeted victims rather than physically harm their victims. For instance, every year a new horror film is released with the next scary beast, but why do we call something a monster even if we know it is not real? Even certain people and creatures are classified as monsters, but are they really monsters, or do their actions speak of monstrous doings? In his article and book chapter Monsters and the Moral Imagination and chapter 5 of On Monsters, Stephen Asma suggests that monstrosity, as we know it, is on the rise as humans progress, and how we perceive monsters can often define monstrosities in itself, providing evidence as to why monster cultures are on the rise, and showing how human progress has evolved our perception of how we think on the topic that is monsters.
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
In order to scare us, books, movies, and television shows will take the most ordinary things and make it into a monster. For instance, the movie IT takes a clown and turns it into
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.
Peter Brooks' essay "What Is a Monster" tackles many complex ideas within Mary Shelley's Frankenstein, and the main concept that is the title of the essay itself. What is the definition of a monster, or to be monstrous? Is a monster the classic representation we know, green skin, neck bolts, grunting and groaning? A cartoon wishing to deliver sugary cereal? or someone we dislike so greatly their qualities invade our language and affect our interpretation of their image and physical being? Brooks' essay approaches this question by using Shelley's narrative structure to examine how language, not nature, is mainly accountable for creating the idea of the monstrous body.
Monsters are the physical embodiment of fear. Monsters are the physical embodiment due to a wide variety of reasons. The most important being: Monsters’ apparent invulnerability/incredible strength, represent the bad part of society, most often look ugly, represent evil/nightmares itself, are intelligent, and some deviate from the norms are the reasons why monsters are the physical embodiment of fear. Monsters’ incredible characteristics are what strike fear into the hearts of others. In many myths, monsters are a weakness to societies. For instance, the heroes of Rome fight these monsters in order to overcome them which is the symbolic overcoming of weakness by the community. The fear monsters represent is primarily human fear as monsters are generally on good terms with animals and human fear is far deeper than animal fear.
According to Merriam Webster’s dictionary, a monster is a “strange or horrible imaginary creature”. But monsters don’t necessarily need to be fictional; even humans can be monsters. The only thing that distinguishes us from fictional monsters are our appearances, human-monsters are hard to detect. Therefore, it’s easy to treat people based on their appearances since the human mind gets deceived by looks.
Monsters can come in various physical forms, but all monsters share the same evil mentality. A Monster is a being that harms and puts fear within people. Mary Shelley’s Frankenstein is a prime example of how appearance does not determine whether a creature is a monster or not. In the story, Victor Frankenstein tries to change nature by creating a super human being. The being appears to be a monster. Victor becomes so obsessed with his creation and then rejects it. Victor is the real monster because of his desire for power, lack of respect for nature, and his stubbornness.
We live in a world where creatures have abilities that can blow our minds, however we are ignorant of this. We live in a world where a constant power struggle is occurring between these secret species, a struggle that most human beings have no inclination of. We live in a world where people who know the truth are sworn to secrecy, and those proclaim this truth are considered crazy and locked away; to be sane is to be ignorant. Well, that is what I would love to be true. In actuality, I am fascinated with the topic of monsters; I love them all: lycanthropes, Frankenstein’s monster, witches, fae, necromancers, zombies, demons, mummies, and my favorite: vampires. This fetish has been manifested in the movies I view, the televisions shows I watch, and the books I read. When my obsession with reading is crossed with my obsession with monsters the result is a bookshelf containing more vampire novels than most people would consider healthy. I have discovered that every vampire novel varies vastly; no two books are ever alike. For example, the Twilight Series, the Anita Blake Series and the Vampire Chronicles Series have different legends and lore, different relationships between vampires and society, and different genres, theme, and purpose; this array of novels display most clearly the range of audience for vampire genre can cater.
Monsters are supposed to teach us something. To warn us against some human flaw. From the Windigo of eastern Native American cultures, to the dragons of western Europe they all provide some sort of lesson, something to be learned. Maybe that is why so many of them are so similar. One popular theme is what happens when man goes against the will of God.
Frankenstein shows that what looks like a monster in appearance my not be and what looks normal on appearance may be a monster. While a scary ugly creature may look like a monster a true monster is formed from within and is scene through actions. Along with this knowledge is power and power has the ability to make monsters. The pursuit to know more is a never ending road that leads to lies, secretes, and monstrosity. “How much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow,” while knowledge is boundless and beautiful an excess of anything can create a monster.
Partington, John. "H. G. Wells." Encyclopedia of Science, Technology, and Ethics. Ed. Carl Mitcham. Detroit: Macmillan Reference USA, 2005. Biography in Context. Web. 21 Nov. 2013.