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Monsters in literature essay
Monsters in modern culture
Monsters in modern culture
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In this world, from a long time ago, monsters have appeared and presented around us in many telling story. In fact, monsters are considered as something which is abnormal, and usually accused of having the ability to threaten and destroy humanity. Perfectly, the film The Elephant Man emphasizes about John Merrick who has a disfigured appearance, and also is called a monster. Fortunately, Dr. Frederick Treves finds out about Merrick when he is wandering around the freak shows, and tries to examine and help Merrick come back to the real society. On the other hand, people have opportunities to observe and judge Merrick as a new phenomenon. In the connection to the same focus, Jeffery Cohen’s Monster Theory gives contentions about monsters and their influences to the real life and humanity in the relation to the film, especially the first thesis – Monster’s body is a cultural body, the sixth – Fear of the monster is really a kind of desire, and the seventh one – Monster stands at the threshold of becoming. Firstly, the 1st thesis of Cohen’s monster theory states that “monster’s body is a cultural body” (4). Truly, John Merrick is an unlucky man who was born with a deformed body and was forced to live as a disgusting freak in the 19th century Victorian, England. Undeniably, Merrick is called a monster because of his unusual appearance that can fear almost everyone. Next, it is also expressed that “the monster's body quite literally incorporates fear, desire, anxiety, and fantasy, giving them life and uncanny independence” (Cohen 4). Through the film the elephant man, we can see a different man inside the deformed outside who has a warm heart and an intelligence of a normal human. Despite the ugly look, he is a very friendly and ha... ... middle of paper ... ...ncess, Merrick really returns. Obviously, this is one of the most important marks of his coming back, a return to life, to humanity. Overall, the film The Elephant Man gives us a new aspect about “monster”, and how people think and react to this topic. Besides, Jeffery Cohen’s Monster Theory brings us a more scientific about monsters, and the effects of them in real life. In fact, thesis 1 – Monster’s body is the cultural body, thesis 6 – Fear of the monster is really a kind of desire, and the last one – Monster stands at the threshold of becoming have the significant relationships with the explanations of the life of John Merrick, and the society in which he lives. The argument about monsters will be continued all over again, but at least the film and the theory helps to introduce a much more different ways to look and recognize the real monsters in the real world.
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.
Asma, Stephen. On Monsters :An Unnatural History of Our Worst Fears. New York: Oxford University Press, 2009. Print.
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.
The narrow ways of men continue to put constraints on that which is acceptable and that which is different. Similarly, the things that are repulsive, scary, hideous and vile. Humans have a constant need to categorize things they do not understand, so they attach a label to everything. The Creature's father and creator Victor Frankenstein berthed him to life with out a name. This is possibly the saddest aspect of The Creature's character. Viewed this way a perspective on humans as compassionate and caring individuals is distorted to show people as cold and inconsiderate. Attempting to define difference, humans socially segregate distinction and inconsistency.
Mary Shelley’s Frankenstein is a nineteenth century literary work that delves into the world of science and the plausible outcomes of morally insensitive technological research. Although the novel brings to the forefront several issues about knowledge and sublime nature, the novel mostly explores the psychological and physical journey of two complex characters. While each character exhibits several interesting traits that range from passive and contemplative to rash and impulsive, their most attractive quality is their monstrosity. Their monstrosities, however, differ in the way each of the character’s act and respond to their environment. 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.
A monster is usually viewed to be a supernatural creature that humans judge based on looks and not necessarily on personality. In the novel, Frankenstein written by Mary Shelley, the monster is a creature Victor creates but abandons immediately because he is horrified by his own creation. Due to the monster’s appearance, society does not give the creature a chance to show his true self. Therefore, the monster faces an external conflict because of Frankenstein’s and society's rejection, making it difficult for him to blend into his new life. Victor creates the monster because of his unusual compulsion of aspiring to be like God. However, Victor does not know how to treat or be responsible for his creature. Victor Frankenstein is the true monster
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 ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
Monsters are towering, fierce beings best known for causing nightmares and battling heroes. Tales are told of their devastating power, but also of their agonizing defeats. Monsters are symbols of the inherent evil of human nature and of the dark truths of the natural world. Monsters are also challenges, tasks a hero must complete. Sometimes monsters are the ultimate measure of a hero’s worth, other times just another step in a hero’s journey. In the book Bulfinch’s Mythology, Thomas Bulfinch writes that “Monsters, in the language of mythology, were beings of unnatural proportions or parts, usually regarded with terror, as possessing immense strength and ferocity, which they employed for the injury and annoyance of men.” Although independent of what they represent, Monsters come in numerous builds and multiple figures, like humans.
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.
“Abhorred monster!” screams out Victor, In Frankenstein by Mary Wollstonecraft Shelley, passionately as he is confronted by the most detestable thing in his entire existence (Chapter 10). Thurston analytically states “A monster of vaguely anthropoid outline, but with an octopus-like head” while looking at a sculpture of Cthulhu. The word monster is used in both the above quotes, yet one is used as an insult about evilness, and the other is used as a descriptive word about the physical appearance. The same word is used two different times with different definitions bringing up the question of what makes something monstrous. Both Shelley’s Frankenstein and the Lovecraft stories feature monsters and help the reader better understand what a monster truly is. In some aspects, these authors’ definition of monster is the same, and in other ways the definition diverges.
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.
Marc Forster’s Monster’s Ball is a depiction of one man’s journey to overcome his lifelong ignorance, but this seems to be the film’s only accomplishment. The grisly drama attempts to address pressing racial issues, but instead it creates a monstrous web of unanswered questions and unfulfilled plotlines cleverly masked by brilliant acting and cinematic beauty.
The term monster according to a layman’s definition is a creature that cannot be control and causes a lot of distractions, the intention of a monster is to put fear in others to fulfill their desires. Literary, monster in any given piece is when someone or creature is endowed with power
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.