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An essay on depiction of monsters in literature
Monsters in modern culture
Monsters in modern culture
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One of the many staples of horror fiction is the employment of a monster to aide in the fear the reader experiences. A monster gives the protagonists a tangible object to fear. When the fear is tangible the protagonists are able to be drawn into the story in a more concrete manner. The reader is also able to be included in the fear because they can get a full picture of what is scaring the main characters. Unlike ghosts or spirits, monsters provide a visual representation of the fear to be experienced. One pair of monsters stand out from the others, this is the wolfman and the werewolf. On the surface, both are seemingly the same character with a different name, but this paper is going to explore the differences between the wolfman and the werewolf as they appear in fiction and how their different manifestations relates to the characters in the story and those behind the fur. This writer believes that although there are many similarities behind the werewolf and the wolfman, there are a few differences in how the characters are portrayed. This difference is shown primarily in The Wolfman by Jonathan Maberry and The Cycle of the Werewolf by Stephen king.
On the surface a werewolf and a wolfman are different names for the same type of character. A werewolf is a man that turns into a wolf at the appearance of a full moon. A wolfman is similarly afflicted and changes from a man to a wolf-type creature at the same time of the month. According to both texts, the only thing that can injure a werewolf or a wolfman is a silver bullet or silver sword. The wolf-creature is usually able to heal from almost any injuries incurred during the attacks they make on the unsuspecting masses.
Because Maberry’s work is much longer, readers are privy...
... middle of paper ...
...een the werewolf and the wolfman. Both are murderous beasts, but the motives behind their actions are different. Werewolves attack to maim, kill, and gain strength. They also attack for the joy of being splashed with blood. Wolfmen, on the other hand, are more benign, still attacking when provoked, but not stalking and planning kills, they can be subdued by music and love. This writer concludes that, given the choice, Reverend Lowe and Sir John would choose to be a werewolf if given the option, they enjoy the killing and the power. Conversely, Lawerence would freely choose to live without the curse of changing into the wolfman because he did not choose this life. A werewolf will always choose death and a wolfman will always choose life.
Works Cited
King, Stephen. Cycle of the Werewolf. NewYork: Signet, 1983.
Maberry, Jonathan. The Wolfman. New York: Tor, 2010.
In most novel and movies monsters are known to be evil, committing numerous crimes against humanity and are normally the ones that we don’t sympathize with. However, this novel carefully shows the reader that monsters can be good creatures, with a decent heart and act based on the actions of others. The novel shows how the monster should be pitied, rather than criticised. Mary Shelley's “Frankenstein” manages to create sympathy for the creature through speech, actions and mistreatment the creature suffers.
Monsters are symbols and representations of a culture. They exist because of certain places or feelings of a time period. Monsters are “an embodiment of a certain cultural moment”. Author of Grendel, John Gardner, and author of Frankenstein, Mary Shelley, both create a monster to represent something larger than itself in order to have the reader reflect on their “fears, desires, anxiety, and fantasy” in society, which is explained in Jefferey Cohen's Monster Culture (Seven Theses). The latest trend in monster media, zombies, also fit into Cohen's theses on what a monster is.
Asma, Stephen. On Monsters :An Unnatural History of Our Worst Fears. New York: Oxford University Press, 2009. Print.
Morgan, J. The biology of horror: gothic literature and film. Carbondale, IL: Southern Illinois University Press, 2002.
Grave and somewhat solid in his tone, he is overflowing with purpose. The danger he takes in disclosing his contention's potential defects and testing the readers judgments will yield the uneasiness that penetrates his exposition, as well as additionally individuals' personalities. His dialect and tone, withdrawing from the scholastic investigation of monsters, exhibits a genuine yet energetically inciting demeanor to the group of onlookers. We see the modest, unexpected comical inclination that he has well covered up under the earnestness and details of a
These two scenarios from Anglo-Saxon and modern times are similar, as well. They are similar because of the continuity of “monsters” terrorizing a society being a great influence among audiences of the past and present. The two works of both eras demonstrate the continual interest in defeating villains and “feeding” it’s listeners with tales such as these.
Many readers probably were successfully convinced to feel remorse for these monsters. I had a pinch of sympathy for these monsters. “Oh right,” they are monsters and for that reason and that reason only I wrap this paper up by saying. Zombie and Vampire Haiku’s was successful in making my stomach cringe. Do you think that zombie would like to eat my brains, since I do not care for him to much? Or William Button, do you think William would like to bottle up my blood and save it for special
In “The Beast In The Cave”, H.P. Lovecraft develops a suspenseful plot in order to build tension throughout the story that inevitably leaves the reader feeling disturbed and the story hanging. The plot itself is seems simple, but is complicated at the same time. Victoria Nelson talks about how Lovecraft’s stories tease the reader “with the tantalizing prospect of utter loss of control, of possession or engulfment, while remaining at the same time safely contained within the girdle of a formalized, almost ritualized narrative”. With “The Beast In The Cave”, the protagonist faces only one conflict throughout the story making it a simple plot line; however, the predicament he is in provides the complexity and tension that Lovecraft creates in other stories as well.
In the novels Grendel and Frankenstein, two characters are presented as one of, or the, isolated and alienated main character. Both experience rejection by the hands of man, and are pushed into roles by the actions of man. Their relation to man, or their state as man’s, “otherkin” magnifies their rejection, but again their status as being “other” justifies their rejection in spite of the harshly negative results. Their status in these novels reflects much of how contemporary authors write about monsters. Out of ignorance, humans rejected their otherkin, Grendel, and the creature from Frankenstein, and as a result the rejected became violent and wreaked retribution on humanity.
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.
Are you a fan or horror? Or are you the one that hides under a blanket during a movie? Intense scenes, a little blood and gore mixed with creepy characters and monsters, is what makes a good horror movie, television show or even a book. Many of us wonder why we are attracted so much to these horror elements like foreshadowing, suspense, mystery and imagination within a book, movie and or tv show. There are actual characteristics of this horror related theme that gets our attention, and makes us want to crave more of the story. But the fear, obsession and power is what sets the tone for the monster realm, in both fictional and nonfictional people and characters.
Over the past several hundred years, werewolves have been an important part of Western Cultures. Werewolves have appeared in blockbuster movies and been the subject of countless books and stories. Werewolves are dark and powerful creatures that terrify us on multiple levels. While they are some of the most violent and merciless monsters that horror has to offer, there is something about the werewolf that we can identify with. Not only can we identify with the characters afflicted with the curse, but we can also identify that the werewolf is a beast and an evil force. The werewolf symbolizes the evil that is contained within us all. In this paper, I will explain the different evils that werewolves symbolize by taking a critical look at the real life history of the werewolf, the werewolf in literature and film, and the opinions of experts on the topic.
In 1979, twenty-five million people were using illegal drugs. Most people wouldn’t usually associate drugs with the classic “Little Red Riding Hood” story, but Angela Carter takes a current issue in her time period and writes about it using the old children’s story. Angela Carter’s “The Company of Wolves” deals with the classic “Red Riding Hood” with one twist. Instead of a “big, bad wolf” there are multiple werewolves. There are three ways a man can become a werewolf. The ways are an ointment from the devil, being bitten by a werewolf and being born feet first. The only way to be sure if a man is a werewolf is his devastating eyes, similar to how it is possible to tell a drug addict by how sunken in their eyes are. Carter’s story reflects the battle with drug addiction between the 1960s and the 1970s.
Jack Morgan, The Biology of Horror: Gothic Literature and Film (Carbondale, IL: Southern Illinois University Press, 2002) null03, Questia, Web, 29 May 2010.
In Christianity, being a werewolf was associated with witches and Lucifer. With legends evolving over time, “werewolves were inherently evil and they had a predilection for human flesh” (Padden). The theory that it is easiest to comprehend is that soldiers dressed with wolf skin were mistaken for werewolves. There is myth about Zeus turning a King, by the name Lycaeon, into a werewolf because of his animalistic behavior. A popular case in history having to with a werewolf execution is Peter Stump. Apparently,