Monstrous Actions Vs. Monstrous Appearance
Many people perceive monsters as anything grotesque or not looking like the norm. In the book On Monsters, written by Asma, he mentions an array of monsters. He states, “One aspect of the monster concept seems to be the breakdown of intelligibility. An action or a person or a thing is monstrous when it can’t be processed by our rationality, and also when we cannot readily relate to the emotional range involved” (Asma 10). Because our perception is blinded by appearance, we fail to see the truth behind a monster –their actions. Although people define a monster by their appearance, it’s their actions that give them their identity. For example, catastrophes are monsters because of all the devastation and destruction they cause. Asma implies, “Sometimes the monster is a display of God’s wrath” (Asma 13). The tsunami and earthquake of Japan, for example is a recent manifestation of God’s wrath. Because of this catastrophic monster, countless people lost their lives, homes, cars, and face strenuous work to clean and restore what was once there. God doesn’t just conjure up a catastrophe whenever he pleases; although sometimes people need reminder of his existence and power. These catastrophes are a reminder of just that –His existence and power. God is the creator of every living form in the world, but that doesn’t make him a monster. God isn’t the monster here, it’s his creations. Moreover, many people are monsters because of the pain and suffering they instill in another human being. Repeatedly in the media, we witness news about parents harming their own children and children harming their own parents. Medea, a character vividly described by Asma as a “monstrous mother,” is a prime example of the monstrous person. The tale of Medea is about a mother consumed by much hate and anger with her husband, Jason; for “cheating” on her by proposing to another woman in order to climb the political ladder. In the event of all her...
...II, Period 1
22 February 2011
“The Monster” Writing Assignment
It was a sunny day, the sky was bright blue and the clouds fluffy and white. The immense fields and the deep green grass surrounded a happy community. Children's laughter and happy chattering were the beautiful music that delighted the ears. But like any community, there are secrets that torture souls and change lives forever. In “The Monster” by Stephen Crane, we see how a community's true face is revealed and the people are turned into monsters. Based on a deeper understanding of the story, many facts denying that Henry was a monster, and details pointing to the townspeople being monsters, we can prove the validity of the statement, “The town, not Henry, were the monsters.”
In order to prove the validity of the statement, “The town, not Henry, were the monsters,” we have to comprehend the story and analyze the symbols. “The Monster” by Stephen Crane is an insightful portrayal of the negative consequences of mob mentality and small-town pettiness rooted in prejudice against people who are in a way different from the town. The title of the story itself has multiple meanings. The title refers to Henry Johnson who had a monstrous appearance after he risked his life to save his employer's young son from certain death. It also refers to “the town” seeing Dr. Trescott as a monster...
11 June 2013
Of Monsters and Men
The word “monster” can mean many things to different people. In general a monster is someone or something that terrifies a person. Some might think of monsters as imaginary or fake but in fact they are real. Monsters can be people who commit heinous crimes and transform themselves from being human into something much darker and sinister. In no place can we find more of this type of monster than in fiction. “The Cask of Amontillado” by Edgar Allen Poe is the perfect example of a monstrous character masked as a human being. Poe creates his Monster, Montresor, by portraying him as a cold and calculated murderer with an intelligence that makes him both devious and terrifying.
In this story Montresor has planned the murder of his friend or victim Fortunado quite brilliantly. He has every minute detail planned out in his head and some might say he has planned the perfect murder. The murder takes place during Carnival, a festival, where everyone is dressed up and drinking heavily. This allows Montresor to approach a dressed up Fortunado in costume and lead him to his house without anyone recognizing them, or even noticing them, as they are too busy drinking and partying. Montresor is very clever in how he both clears his house of prying eyes and creates his alibi. In the story Montresor recalls to himself,...
Jeffery Jerome Cohen writes in his essay Monster Culture (Seven Theses) that cultures can be understood by the monsters they have. Through seven theses, he argues for the importance of monsters and reaches a conclusion that monsters can define a culture. These creatures of the imagination are born from fears of the unknown and desires of the forbidden. They are the vampires and zombies, ghosts and goblins, dragons and demons that invade fantasy and fiction, dominating novels, films, and video games. They have grown to be an integral part of the media and common consciousness. Everyone has heard of and seen monsters in the media. Cohen’s first thesis, “The Monster’s Body is a Cultural Body,” argues that monsters are born out of a particular “time, a feeling, and a place” and exists as “pure culture” (Cohen). The monsters, being a product of its time, represent the views of the people of those times but they can also challenge the public view. So, they serve to reinterpret parts of the culture. People learn to see themselves differently through a monster’s eye. The monsters and what the views they represent linger in the mind of their creators and audience; the monsters become legend.
The novel I am Legend, by Richard Matheson, was published in 1954 during the Cold War when people viewed the world as a...
...people pay attention to the romantic films or action films, they are surprised that main characters in these films have become to those monsters. The monster such as Vampire in scare movie emerges changed “person”: a distinguish quality, an unrivalled exterior and a preeminent superman which surpasses the image of thinking. For a simple story or films, if it includes the monster plots, it will have a strong appeal to the audiences. Nowadays,monster is to be a basic phenomenon in performing all aspects of life. More and more realities prove that the realization of monster and the catalog of monster have an enormous change. Monster is no longer to be viewed as a visual horror, but it always reflects the people’s doubt about high technology, international politics, war, gender, right and ethics on an even profounder level. Follow the timeline, every single event or every tide of history has an association with the changing monster concept. And it is not difficult to find that the changing is not an accident but a process which is related to the changing social psychology year after year. In short, monster is the product of people’s imagination, which is the most appropriate way to incarnate the circumstance of humane society.
Vampire is the most classic representation of Monster and the history of Vampire is similar with the...
...My first thought when I heard the term monster prior to taking “Exploration of the Humanities” was simply a scary, frightening, deformed creature. I had read books with monsters ranging from Dr. Jekyll and Mr. Hyde to 20,000 Leagues under the Sea. I had never thought about a monster in the context of its community, as an “other.” I had only thought of a monster in the context of its capability to instill fear. This semester my understanding of monsters has been challenged and has expanded significantly. Monsters are much more than terrifying. Oftentimes, the significance of monsters is what they teach us about our community.
My understanding of monsters first began to grow as I read about the monsters in Beowulf such as Grendel. Grendel is a physical personification of evil in his deformity and grotesqueness which is in line with my original definition. But Grendel was not just a physical threat to the community, he was a psychological threat. By destroying the dining hall, Heorot, Grendel threatens a sense of home and makes the familiar unfamiliar. My definition of monsters expanded to include a sense of psychological horror they are capable of instilling. This psychological horror undermines the people and threatens their security and sense of home. This is worse than the external terror I had originally...
...reposing(resting) many a noble asleep after supper sorrow heros sorrow the heros misery knew not.The monster of evil
Greedy and cruel tarried but little,
Fell and frantic, and forced from their slumbers
Thirty of thanemen; thence he departed
Leaping and laughing, his lair to return to,
With surfeit of slaughter sallying homeward.
The spirit accursed: too crushing that sorrow,
Too loathsome and lasting. Not longer he tarried
Morning-cry mighty. The man-ruler famous,
The long-worthy atheling, sat very woful,
Suffered great sorrow, sighed for his liegemen,
When they had seen the track of the hateful pursuer,
So ruled he and strongly strove aganist justiceLone against all men, till empty uptowered
The choicest of houses. Long was the season:
Twelve-winters' time torture suffered The friend of the Scyldings, every affliction,
Endless agony; hence it after became
Certainly known to the children of men
Sadly in measures, that long against Hrothgar
Grendel struggled:—his grudges he cherished,
Murderous malice, many a winter,
But one night after continued his slaughter
Shameless and shocking, shrinking but little
From malice and murder; they mastered him fully.
Reflection Question: What does Grendel have in common with the creatures from the Friday Night Fright Night clips? What do you think this says about the nature of monsters and fear?
...If you hear the word monster today a lot of different creatures and story’s come to your mind. But did you ever think about how monsters are created? Timothy K. Beal’s “Our Monsters, Ourselves” is arguing the idea of that we are creating the monsters in our life ourselves. He is using many rhetorical techniques to get the readers to not only agree, but also relate to what he is writing. Beal’s arguments are well organized and persuasive. The rhetorical techniques ethos, logos and pathos strongly represented in the text. In my opinion Beal is successfully arguing his main point. This because I can relate to what he is writing, but also because he is writing and presenting himself in a credible way.
The first rhetorical technique Beal is using it pathos. He is trying to get to the readers emotions. The text both begins and end on the subject of September 11. Beal states, “In the immediate wake of the September 11 tragedies, however, I wondered whether the monsters might go into hiding along with irony” (1). September 11 is something that easily gets people’s attention and most people are able to relate to. That day people made monsters out of the people behind the attack.
Beal also use ethos in his text. This is to seem credible. “Last spring I taught a new course called “Religion and Horror”” (2). In this sentence he is telling the readers that he knows a lot at about the subject,...
...death? Who is the real killer? One may argue that this question is meaningless because it is obvious that the nameless monster kills almost every character except victor’s mother, who died naturally. However, the real killer should not be just the one who kills people by his hand, but the one who causes the death of so many innocent people, fundamentally. In the novel, initially, the nameless creature is a really benevolent creature, but, with time went by, people’s discrimination gradually changed him to devil, who determined to revenge his creator by killing his beloved. Therefore, discrimination is the real killer.
First, examining how the six characters died may lead to insight for the questions on hand. Caroline Beaufort, Victor’s mother, dies of scarlet fever. William Frankenstein, Victor’s youngest brother, is strangled by monster in the woods outside Geneva. Justine Moritz, a young girl adopted into the Frankenstein household, is executed for William’s murder. Henry Clerval, victor’s boyhood friend and Elizabeth Lavenza, victor’s the wife, are strangled by the monster too. Alphonse Frankenstein, Victor’s father, is overcome with grief over the deaths of his close family members. The monster is, directly or indirectly, involved every time character dies except victor’s mother’s death. But why does he do this?
Is that because of his nature? No. The monster is virtuous at the beginning. “The...