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gothic literature stephen king
gothic literature and culture
concept of sex and sex and sexuality in literature
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Monsters have always been depicted as some atrocious beings that were created to inflict fear into whoever it could, in anyway possible. Monsters vary from culture to culture but never do they vary in the havoc they wreak and the fear they inflict in some. Three authors have shown a more advanced definition of what society sees as a monster.Three greatly written novels “Parasites and Perverts: An Introduction to Gothic Monstrosity” “Gothic Realities: The Impact of Horror Fiction on Modern Culture” “Civilized Vampires versus Savage Werewolves: Race and Ethnicity in the Twilight series” show clearly the theories in novels that depict others as the monster.
Excerpts from three books, written by three magnificent novelists, show how sexuality, race, physical appearance, etc. play a major role in writing that are often times overlooked or downplayed, but are put in the the novel to show a bigger picture of what people define as a monster. In Judith Halberstam excerpt “Parasites and Perverts: An Introduction to Gothic Monstrosity” Halberstam argues that “ Nineteenth century literary tradition is a Gothic tradition and that this has everything to do with the changing technology of subjectivity that Foucault describes” (Halberstam,1991,p.125). In the excerpt from “Gothic Realities: The Impact of Horror Fiction on Modern Culture” L. Anderson Cooper expresses the formula of how “MONSTER=HOMOSEXUAL”(Cooper,2010,p.141). He tells how the homosexual is expected to be reversed with the popular heterosexual. In the final excerpt of “Civilized Vampires versus Savage Werewolves: Race and Ethnicity in the Twilight series” Natalie Wilson show readers about the white privilege. White (vampires) is associated with “ civility, beauty, and intellect...
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...bout the black male aggression towards white female bodies” (Halberstam,1991,p.127). Through Wilson’s excerpt you can see that even with the white equating to evil (vampires killing humans for blood) that they are still idolized and wealthy. In the excerpts you see that no matter the situation the fairer skinned people will always be overpraise while the darker skinned people will be seen as the enemy, the one to go against.
Overall these three excerpts did well with analyzing what a true monster is viewed as in todays society. Not they are scary and less like us, but that they are just like us and live among us and go through everyday life living among us. The way that a monster is depicted through the media is a surefire way to keep minority groups oppressed through physical attributes , sexuality and race being portrayed as something monstrous and nothing more .
“The only motive that there was was to completely control a person… and keep them with me as long as possible, even if it meant just keeping a part of them.” Using this statement, Jeffrey Dahmer offers his insight about what made him the cruel, demented being people have known him to be for the last 25 years. Many questions still remain, however. How do we, in society, define the term “monster”? What makes a monster? What shapes our perceptions of monsters, and how do these perceptions change over time? Several centuries passed between the time of Grendel from the epic poem, Beowulf, and the Milwaukee Monster, Jeffrey Dahmer, for instance. Grendel is a creation of the Anglo-Saxons, whose culture
Ever thought of where monsters come from? Do they just appear in our world, or are they procreated by fellow monsters, maybe, created by humans and their desires. During the renaissance and romantic era, a belief roamed around consisting of the idea that any child not resembling their original procreators was considered deformed, therefore also considered a “monster.” Many factors were considered to affect a child’s resemblance to their progenitors, such as women imagination, and desires, absolutely crossing of the role of paternity in the creation process. Although she succeeds in providing many good examples of women’s imagination being a primal factor in procreation, Marie-Helene Huet, in her essay, “ Introduction To Monstrous Imagination,”
A monster is a group that doesn’t obey common societal rules or regulations and is often viewed as an oddity of our society, according to Jeffrey Cohen’s Monster Culture. When the dominant part of our society trusts in an idea or holds something to be legitimate, the monsters dependably trust the inverse. Monster’s have the aspects to think outside the common societal norm. Monsters represent the ideas of our society that we are fearful to contemplate further into that it is something outside of our nature. Monsters cause us to contemplate a societal perspective that we wouldn't ordinarily think as our own. Monsters challenge our basic perspective and encourage us to think deeper into the common themes of our society. Finally, Monsters incite
The gothic novel Frankenstein by Mary Shelley highlights the idea that the real monsters of the world are humans and society, and that most traits that most humans despise are actually within all of us. Frankenstein shows that any human can be so corrupt as to be a “monster”, and that beings society considers repulsive and evil can be human at heart. Shelley exposes human faults such as hubris and irresponsibility through the main character of the novel Victor Frankenstein, who creates a living being and refuses to care for it, sending it into the unwelcoming hands of society. Victors irresponsible actions lead to many deaths and events. As the novel progresses, Dr. Victor Frankenstein and the Monster he creates become more and more similar
Monsters have been depicted in different ways throughout history, but scholars like Jeffrey Jerome Cohen have been able to dissect how monsters are viewed by culture along with examining the various functions that monsters serve in horror fiction and films. His theses cover a broad expanse of interpretations, ranging from topics as different as how monsters represent cultural and societal conflicts to how they fascinate us. Stories like Peter Crowther’s “Ghosts with Teeth” make the reader reflect on a different type of monster, one that constantly undermines our societal and cultural expectations through taking the form of a human. Crowther’s story is profitably interpreted through Jerome Cohen’s “Seven Theses” about monsters, suggesting that “Ghosts with Teeth” is more than the horror story seen at face value.
For as long as mankind has been around the fascination of savage beasts were greatly integrated through its cultures. The concept of monsters has been used in many historical and ideological context to vilify what society deems abhorrent. Monsters serve as our own depictions of ourselves and the world around us. They challenge our cultural mores and force us to analyze what is within us. The reason why monsters are becoming increasingly popular is because it allows people to break out of social norms and immerse themselves into a world of immorality. Werewolves, in particular, we see are just like humans, facing the same issues we do. They are seeking love, affection, and acceptance, much like us. However, much of their approach may test our
In "Monster Culture," Cohen widely talks about and investigates monsters regarding the way of life from which they climb. Keeping up the formal tone of a scholastic, he battles that monster climb at the intersection of a society, where contrasts develop and nervousness increases. The beast is an exemplification of distinction of any quality, whether it be ideological, social, sexual, or racial, that rouses trepidation and instability in its inventors. The creature or monster is habitually an irritating half breed that challenges categorization its hybridism defies nature. Yet despite the fact that there are unreliable monsters, real individuals can get to be monsters as well. Keeping in mind the end goal to bring oddity under control, the individuals who submit to the standard code of the day bestow huge personalities to the individuals who don't. Nervousness is the thing that breeds them and characterizes their presence. In this manner placing the beginning of creatures, Cohen strives to uncover our way of life's qualities and inclinations. For the larger part of the article, the monster is just the subject of our examination, an extraordinary animal under our investigation.
Tragedy shows no discrimination and often strikes down on those undeserving of such turmoil. In Mary Shelley’s Frankenstein, a creature more repulsive than one can imagine is brought to life by a young scientist. Although this creature is horrifying in sight, he is gentle by nature. Unfortunately, the softer side of the creature is repeatedly overlooked and the so called “monster” is driven to a breaking point. Even though the Creature committed many crimes, Mary Shelley’s Creature was the tragic hero of this story because of his efforts rescue the life of a young girl and helping destitute cottagers.
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.
The definition of the Horror genre differs completely to the Gothic genre. This idea of how the Gothic novel transformed from various architectures based around impending castles and morality tales, to the idea of monsters, fear, and repugnance. Therefore, it is interesting to notice the change from how the genre has developed from arguably the 17th century to the 20th century, where vampires, werewolf’s, and other monsters are very popular with teen audiences especially.
Do you really understand what a monster is or who the monster is? A monster could be anything or anyone. People think that monsters are just supernatural creatures and ugly and huge, but that is not exactly true. Everyday people could be monsters and sometimes they are the worst types of monsters. When you read “Beowulf”, you could say that Beowulf, Grendel, and Grendel’s Mother were all monsters in some way.
Monsters and the Moral Imagination, written by Stephen Asma, presents many possible outcomes as to why monsters are the rise. Mr. Asma discusses why monster portrayals could be on the rise in movies, books, and stories throughout his subsection Monsters are on the Rise. Perhaps the rise is due to traumatic events in recent history such as the holocaust or the terroristic attacks of 9/11 in
Jeffery Cohen's first thesis states “the monster's body is a cultural body”. Monsters give meaning to culture. A monsters characteristics come from a culture's most deep-seated fears and fantasies. Monsters are metaphors and pure representative allegories. What a society chooses to make monstrous says a lot about that society’s people. Monsters help us express and find our darkest places, deepest fears, or creepiest thoughts. Monsters that scare us,vampires, zombies, witches, help us cope with what we dread most in life. Fear of the monstrous has brought communities and cultures together. Society is made up of different beliefs, ideas, and cultural actions. Within society there are always outcasts, people that do not fit into the norm or do not follow the status quo. Those people that do not fit in become monsters that are feared almost unanimously by the people who stick to the status quo.
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.
Monsters are hunted. The lore of their destruction is excessive, glowing, and dispersed. It is a crucial component of their mythology. There is no eluding the hunter, armed with the vampire stake and crosses and the werewolf’s silver bullet. But then it is the hunter whose tale it is to begin with. Beowulf cannot stay hidden forever, or he would not be Beowulf. Monstrosity relies, in this sense, on its exposition for its production, and it is in this superficial sense of vitality by revelation that two theorists of monstrosity concoct a fantastic world of ‘society’ to keep themselves at bay. Michael Uebel’s “Unthinking the Monster” and Mark Dorrian’s “On the Monstrous and Grotesque” represent similar though distinct theorizations of monstrosity in terms of otherness, difference, relation to self, and production in/by rhetoric. The articles consider the relation between monstrosity and the terms against which it is defined. Yet the pieces are also monsters, and the worlds they sing of are the ones they behold with rapt attention. It is their theorization of monstrosity that allows for the continuation of both insides and outsides in a way more immediate than their encapsulation of such a movement considers.