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.
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
2001 (Asma). A number of factors could be causing this rise; stress, anxiety and tra...
... middle of paper ...
...rs were and still are very active, but how we decide to define these monsters is changing. As our understanding of these monsters becomes clearer, our perception of the monsters will change. 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 of reasons 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.
Works Cited
Asma, Stephen. On Monsters :An Unnatural History of Our Worst Fears. New York: Oxford University Press, 2009. Print.
“Monsters and the Moral Imagination.” Stephen Asma. The Chronicle of Higher Education. Stephen Asma, n.d. Web. 5 Feb. 2014.
Monsters like Godzilla are important for humans who are coping with a fear of death. The use of monsters is to lessen the fear of that pending imminent threat and or distress of waiting for a catastrophe to happen. The symbolism in these films shows how humans see other humans as monstrous. They have no other way to represent that so they show it through huge threatening, bugs or monsters. In movies
When understanding monsters and their culture it is necessary to understand the “Seven Theses” authored by Jerry Jerome Cohen. We understand that monsters are the example of a cultural moment. They are used to warn us, and reveal to us. Monsters can have the ability to escape or disappear if necessary, we often read about them reappearing in other areas. Based off of the idea of monster withholding the ability to escape this leads us to having difficulty when trying to organize or group them. Monsters are also classified as boundary dwellers and avoid mobility. While we may spend a large amount of time trying to escape the fear of monsters they could also serve as something we desire. With that being said as far as we think we are pushing the monsters away they are said to always return. Cohen’s thesis introducing the idea that the monsters body is a cultural movement follows accordingly with the story of La Llorona and her struggle to fight the desire she holds for the man who breaks her heart, and acts as a guide to others as they avoid going down the same path.
... audience felt from his formless and vague drawings of monsters could also stem from the general fear of degeneration of the species arising from the turmoil and despair after being defeated in the Franco-Prussian War. For it is during such depressions that one looks backand questions the Origins and human nature. Hence, his monsters were an uncomfortable yet enlightening opposition to a time of obsession with the factual and graspable.
In “Monster Culture (Seven Theses)”, Jeffrey Jerome Cohen examines and defines monsters in seven related theses regarding their purpose, actions, and appearance. Cohen also uses monsters created in the media and evaluates their implication. One of the first theses discussed the fact that a monster’s body “incorporates fear, desire, anxiety, and fantasy” which in turn gives them independence. (Cohen 456) This independence derives from the monster’s freedom to free; the monster already has a fixed purpose. The monster knows what it is here for: to be feared, hated, desired, etc. Cohen then goes on to proclaim that a monster’s body is a “construct and a projection” that only exists to reveal and warn us about things to come; stating that the monster always signifies “something other than itself”. (Cohen 456) . Using Cohen’s theory on
Monsters are one of the most difficult things to define. They lack a black and white definition and as result they are open to many interpretations. Monsters are capable of imposing fear on certain groups of people, but not on others. In his story, “Beautiful Monsters,” Eric Puchner creates a scenario where unlikely groups of people are considered monsters. Similarly, Jonathan Swift’s satirical essay, “A Modest Proposal,” creates a variety of different monsters in one troubled society. Both pieces of literature, however, are not simply just descriptions of different monsters; instead their underlying themes serve as a message about how monstrosity is defined. Swift’s “A Modest Proposal” clearly supports Puchner’s message that monstrosity is a matter of perspective by exploiting the differences in society and how different people living in those societies are viewed.
Society is formed around monsters. Whether it is acknowledged or not, monsters shape the world’s perception – the world’s views on right and wrong. Without monsters, there would be no limits, bounds, or guidelines for the decent and indecent, the good and bad. Monsters, whatever their literal forms, are considered a stain on society – something “bad” to be covered up, cleaned up, or disposed of – like dirt.
A monster is, by definition, a creature that causes fear or physical harm. This term is applied to animals that evoke fear, human-animal hybrids, as well as people who do horrific or cruel things. In Monster of God Quammen talks about man-eaters and predators and how people interact with such monsters. In On Monsters, Asma discusses the psychology of humans becoming monsters and the creation of fictional monsters. Both Asma and Quammen agree that the role of monsters in our society is to humble humans, which Quammen shows through his discussion of monsters in religion, and Asma displays in the psychological reactions to monsters.
It is very difficult to make a set definition of what a monster is. Monsters may look frightening, have unnatural body proportions, or even a dark and evil aura. We often see monsters as ghosts, werewolves, vampires, or artificial creatures, but it is still hard to say exactly a monster is. I believe monstrosity is made within the eye of the beholder. “Monsters” are what you make of them. Most “monsters” are just different and unique and that’s what makes them monstrous- because they are different from what people perceive as normal. That is how Gregor is turned into a monster in The Metamorphosis.
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.
Monsters are too often overlooked as frivolous and a sign of weakness; a blemish in character, however, the true value of monsters and villains lies not with the monsters themselves but with the shift in values they invoke on a man’s identity as he copes with them. French poet Victor Hugo, a fan of monsters wrote “Adversity makes men and prosperity makes monsters”(Victor Hugo). The exteriorization of monsters and villains in literature, the Heroes Journey in particular, serves to challenge a man to become a better person; these monsters may take everything that matters to the man but, if at the end of the day he still stands, the monsters have fulfilled their purpose and have turned a man into hero. In The Odyssey and in the E:60 film about
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.
While doing my research I have come to see that there are monsters that can be categorized into four groups . Each corresponds to the progress we have made and the scientific fears of unknown worlds. First, the The beast of nature this would include BigFoot, Godzilla, and the LochNess monster. These are sightings of monsters still trying to have their existence proven till this day. They have been seen in the woods, lakes and created from natural disasters. Second the monster of science like Frankenstein for example, or the Transformers franchise is from technology an evolving science. Third, the monster the walks among us whom is generated by their own oppressed minds. This would be serial killers and a Mr. Hyde to our Dr. Jekyll, this monster is much like the extreme perpetrators I talked about previously. Fourth, the complex monster, like Dracula. Steven C. Herbert claims that Dracula "comes out of a pagan world and offers an alternative to ordinary Christianity with his promise of a blood feast that will confer immortality. He represents the fear
In this course, I’ve learned about the three sub-genres of horror. These three sub-genres are moral allegory, psychological horror, and the fantastic. The first sub-genre of horror, moral allegory, revolves around a rule being broken and the punishments for breaking the rule. There’s commonly a focus on the battle between good and evil, and there is often a supernatural evil involved. Commentary on our society is also common. The next sub-genre, psychological horror, capitalizes on deviant or abnormal human psychology. This abnormal creature creates the horror, whether through their actions or just by existing. The “monster” of the story is often a representation of an aspect of ourselves. This “monster” is not
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.
We went without new “monsters” for some time, before they began to be recycled, with twists. Instead monsters were humans without affect, without boundaries, without human feelings, psychopaths and sociopaths, killers without remorse, brutal murderers who fit in and appeared to be “normal”: the monster within (Think Hannibal Lector, the boy-next-door character in American Psycho, the female murderer in the 2003 film Monster, which is in part an ironic title. Charlize Theron won the best actress Oscar for her