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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.
Oedipus lived his entire life in a dark shadow of ignorance, just like Nora. Oedipus' archetype of a tragic hero begins as an all-powerful, honorable king that believed he could solve any riddle, and acts rapidly on decisions. Oedipus lacked complete self knowledge, “I will speak out now as a stranger to the story, a stranger to the crime. If I’d been present then, there would have been no mystery, no long hunt without clue in hand” (Oe...
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.
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.
A monster can be characterized by an extreme deviation from the normal standards of society including an internal or external wickedness. In the case of Mary Shelley’s Creature, his appearance overwhelms those who lay eyes upon him. A mere glance can send a villager running for the hills. It was not until the Creature caught a glance of his own reflection that he understood why villagers were so afraid of him. The realization of his ghastly appearance began the monster’s journey into hopelessness. In Peter Brooks’ article he writes, “Self recognition as the ‘filthy type’ completes the mirror stage of the Monsters development.” (Brooks 377). Seeing oneself as ugly and slovenly can cast shadows on even the most compassionate of hearts.
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.
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
Who is the real monster within the boundaries of society? In the classic novel written by Mary Shelley, Frankenstein, the monster was characterized as an evil antagonist who has the murderous tendencies to annihilate the precious beings of mankind. However, the readers have yet to understand the victim underneath the distorted flesh and inhumane features since “the monster” was under the clutches of injustice because of the unreasonable ostracization, deplorable reason of creation, and unbearable misery.
Mary Shelley’s Frankenstein, a truly famous novel that has been revisited by many, as well as revised by the author in the many years since its original publication. Within this novel Shelley conveys the tragic fictional story of Victor Frankenstein and his monster that he thoughtlessly brought to life, as well as the lives of those affected by his hideous creation. Throughout the novel it is made quite apparent that the monster was not inherently evil, in fact the monster was quite benign, however through its interactions with society the monster is slowly shaped into a being that can truly be called just that, a monster. All of the aforementioned change to the monster are brought about in part by the societal standards of the time period
Mary Shelley’s Frankenstein or; The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif. Shelley also shows us, in Frankenstein, that although juxtaposing terms, the monstrous being everything human is not, they are also intertwined, in that you can not have one without the other. There is also an overwhelming desire to know the monstrous, if only temporarily and this calls into question the influence the monstrous has on the human definition.
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.
If someone were to ask people who Frankenstein is they would probably describe a tall, hideous monster with bolts sticking out of its neck. But long before movies reinvented their version of the monster, there was a novel by Mary Shelley entitled Frankenstein. In her novel, the monster is shown as child-like and uneducated. But what really makes someone a monster? Who is the true monster of Mary Shelley’s novel? Victor and the Creature present similarities and differences in their action and character throughout the novel.
Many timeless novels have impacts on our everyday culture, not only as a book, but also through music or movies. Many popular novels have multiple adaptations, which shape how we approach their interpretation, in ways we may never even notice. In some films, humans are depicted as monsters, whether through their actions, or through the thoughts of other beings. In these films we find issues with our own society, and in turn see ourselves as monsters, and look for ways we can change, for the better. One particular novel that influences this side of Hollywood is Mary Shelley's “Frankenstein”. The ways Frankenstein influences pop culture can be seen in science fiction films in which humans are depicted as monster, and “monsters” are seen as more humane beings, such as I, Robot, and Ender’s Game.
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.
Oedipus is depicted as a “marionette in the hands of a daemonic power”(pg150), but like all tragic hero’s he fights and struggles against fate even when the odds are against him. His most tragic flaw is his morality, as he struggles between the good and the evil of his life. The good is that he was pitied by the Shepard who saved him from death as a baby. The evil is his fate, where he is to kill his father and marry his mother. His hubris or excessive pride and self-righteousness are the lead causes to his downfall. Oedipus is a tragic hero who suffers the consequences of his immoral actions, and must learn from these mistakes. This Aristotelian theory of tragedy exists today, as an example of what happens when men and women that fall from high positions politically and socially.