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Psychological construct of fear
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Monstrosity is the unknown. Monstrosity drives fears. Monstrosity is a word that people put their fears into. Monstrosity reveals that in human nature, people have a strange desire to fear. One way or another, everyone fears something, whether they know why or not.
A monster is a frightening creature, most of the time fictional or of the supernatural, but not invariably. In the passage “Our Monsters, Ourselves” by Timothy K.Beal, in paragraph six, he defines the Latin verb Monstrare as meaning “show” or “reveal”. Monsters indisputably show people what they are afraid of as human beings. In the same text by Timothy K. Beal, in paragraph eight, it states “...monsters undoubtedly reveals our desire to find a scapegoat for our fears and anxieties”
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People need something to blame the fear on, that way it seems more logical to why they fear it. Sometimes just watching their fears be destroyed in a movie or vanish in real life gives off a better feeling than just using a scapegoat to blame your feelings on. People like to watch their fears be destroyed as much as they like to create the fears. They take pleasure in finding closure in their fears in order to overcome the fear for a short period of time. Now, fear does not always have to a monster, or any object for that matter. A fear could very well be a feeling or a thought. in the passage, Frankenstein, by Mary Shelly, she tells about a scientist, Dr. Frankenstein who had failed at creating a beautiful creature, “...the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room…” Dr. Frankenstein could not comprehend what he had done, had created a monster. The scientist had failed as an inventor, and he was fearful of the feeling of failure. Monstrosity is more or less based on propaganda.
Humans fear monsters because society enjoys feeding the minds of the ones who do not know any better. Causing a spreading of societies opinion on what is suppose to be the guidelines for what is frightening and what is not. Society has spread the idea that whatever surpasses the line, created by them, of monstrosity needs to be cast out as monstrous or a monster. For example, the L’Ange du Foyer a surrealist painting by Max Ernst, the painting seems to be of a creature with few human like qualities. Angel of the Home, as it is known translated, has more horse like qualities, or monstrous if you will, something that is not normal to ones everyday life. To the naked eye, this painting looks frightening, demon-like, grotesque even. But when you look at the title, it implies that it should be an angel of some sort. This further conveys how things are not always how they seem to be because people do not take time to understand them. However, when an individual does not fully understand something they look for a more eminent power to understand it for them, then proceed to have the higher power tell them what to understand and believe, and that is how our society is based on propaganda. Minds are filled with the more popular opinion, and less of ones own beliefs because they no longer try to find a different solution. Another thing that surpasses the line of monstrosity would be what people look like, and “The Elephant Man” is a
prime example. In the text “Monsters & the Tyranny of Normality” by Douglas Allchin, it states, “His head was enormous and bulbous, his right arm and left leg inflated with pendulous folded tissue” People have a tendency to judge the outward appearance before they actually understand. They did not know, nor did they have any intention of understanding, about the Proteus syndrome that Joseph Merrick (The Elephant Man) had, they just thought he looked revolting therefore cast him out as a monster. Monstrosity reveals that human nature is easily frightened by what they do not understand, and that they are too idle to come up with their own definition so they go along what everyone else is believing. Human nature is easily manipulated by propaganda. People have had a feeling of fear since they were born, that is a feeling that everyone has, but not everyone knows what they fear until society tells them the baseline to what is frightening.
If someone had previous knowledge of a crime, are they just as guilty for not reporting that a crime was going to happen as the person(s) that actually perpetrated the crime? This question was a major point of discussion and the major driver of the plot in the book Monster by Walter Dean Myers. In this book, 16 year old Steve Harmon is being tried for felony murder for participating in a robbery perpetrated by James King, Bobo Evans, and Osvaldo Cruz that ended in the death a Alguinaldo Nesbitt. Although the jury found Harmon innocent in the end, the readers still learn that Steve knew that a robbery was going to happen. Also, scattered throughout the book were bits of evidence that alluded to Steve’s involvement in the robbery. Therefore,
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.
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.
Insanity: “doing the same thing over and over again and expecting different results” a quote by Albert Einstein that helps sum up humanity’s love for horror movies. People go see horror movies all the time, each time the graphics are clearer and more intense than the last. Are people expecting them to change? If not then why would anyone in their right mind, make a conscious decision to go see the next horror movie knowing what they know, understanding that someone will get stabbed, beaten, shot, or killed? Its simple humans crave them, we enjoy horror but why? In this essay Stephen Kings thesis “I think we’re all mentally ill; those of us outside the asylums only hide it a little bit better” (405). In that statement he provides a twisted example of “Why we crave Horror Movies” claiming it’s mainly because of our mental state. King explains there are many reasons for going to see them, he says we go to have fun, we go to dare the nightmare and we go to re-establish our since of normalcy. All of which I find are strong arguments were he states his case. With his use of urbane humor, he says “the potential lyncher is in almost all of us”(406). King uses practical wisdom to lead his audience to believe that without horror films, humans are all ticking time bombs set to explode from buildup of pathos, just waiting to become another “funny farm crazy” or “Jack the ripper” to some degree or another.
“When you say 'fear of the unknown', that is the definition of fear; fear is the unknown, fear is what you do not know, and it's genetically within us so that we feel safe. We feel scared of the woods because we're not familiar with it, and that keeps you safe.” – M. Night Shyamalan
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.
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.
Mary Shelley’s Frankenstein, or the Modern Prometheus, explores the monstrous and destructive affects of obsession, guilt, fate, and man’s attempt to control nature. Victor Frankenstein, the novel’s protagonist and antihero, attempts to transcend the barriers of scientific knowledge and application in creating a life. His determination in bringing to life a dead body consequently renders him ill, both mentally and physically. His endeavors alone consume all his time and effort until he becomes fixated on his success. The reason for his success is perhaps to be considered the greatest scientist ever known, but in his obsessive toil, he loses sight of the ethical motivation of science. His production would ultimately grieve him throughout his life, and the consequences of his undertaking would prove disastrous and deadly. Frankenstein illustrates the creation of a monster both literally and figuratively, and sheds light on the dangers of man’s desire to play God.
According to Merriam Webster’s dictionary, a monster is a “strange or horrible imaginary creature”. But monsters don’t necessarily need to be fictional; even humans can be monsters. The only thing that distinguishes us from fictional monsters are our appearances, human-monsters are hard to detect. Therefore, it’s easy to treat people based on their appearances since the human mind gets deceived by looks.
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.
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.
We live in a world where creatures have abilities that can blow our minds, however we are ignorant of this. We live in a world where a constant power struggle is occurring between these secret species, a struggle that most human beings have no inclination of. We live in a world where people who know the truth are sworn to secrecy, and those proclaim this truth are considered crazy and locked away; to be sane is to be ignorant. Well, that is what I would love to be true. In actuality, I am fascinated with the topic of monsters; I love them all: lycanthropes, Frankenstein’s monster, witches, fae, necromancers, zombies, demons, mummies, and my favorite: vampires. This fetish has been manifested in the movies I view, the televisions shows I watch, and the books I read. When my obsession with reading is crossed with my obsession with monsters the result is a bookshelf containing more vampire novels than most people would consider healthy. I have discovered that every vampire novel varies vastly; no two books are ever alike. For example, the Twilight Series, the Anita Blake Series and the Vampire Chronicles Series have different legends and lore, different relationships between vampires and society, and different genres, theme, and purpose; this array of novels display most clearly the range of audience for vampire genre can cater.
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.
Monstrosity is not just defined by disfigurement, but also by the actions and obsessions of man. Most, if not all, tales of monsters often came about as exaggerations of sins and immoral actions. Others see men who become too obsessed with the idea of overstepping their own humanity and playing God as monsters in society. Frankenstein and The Picture of Dorian Gray reflect this idea. While the painting and the creation mirror the monstrous nature and the sin Gray and Frankenstein enact throughout the course of each novel, both Dorian Gray and Victor Frankenstein are the true monsters.