...self-preservation. In the novel Frankenstein by Mary Shelley, Victor decides to go beyond all boundaries of life and create something from the dead. He becomes all too obsessed with alchemy and human anatomy, that he takes his dark and twisted desires and creates a creature of whom he begins to refer to as a wretch and monster. Victor does all this with no intention of getting to know who the true person behind the ugly yellow skin is. By looking at Victor’s cruel actions and careless thoughts, it is evident that he resembles the true monster, thus revealing that mankind is inherently selfish. Victor has a thirst for knowledge as he becomes obsessed with alchemy and the human anatomy....
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...The amount of marketing that these costumes have is shocking compared to previous branded shows like Bratz which had no Halloween costumes at all. Ten years ago the show Bratz was just as popular as Monster High. While both Monster High and Bratz female characters wore revealing clothes, the clothes on the Bratz dolls are not as prominent because their large heads and feet drew the attention away from their clothes. Monster High characters on the other hand have longer legs and arms with regular sized heads so their clothes stand out more. What this shows is the trend of noticeable sexualization increasing. In the same respect, Vogue also supports the unequal sexualization of females while setting the standard for beauty and trendy clothes . An example of this is seen in the April 2011 issue of the magazine. The cover features Rihanna in a skin tight sheer dress with slight floral prints that cover her nipples and the crotch area. The dress additionally has a deep v neck cut that reveals a lot of cleavage. This is a lot more revealing and sexualized than the clothes that they have men in the magazine...
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...in his article “Why Monsters Have Become Alien to Us” originally appearing in the Christianity magazine, U.S. Catholic (1996), argues that monsters, especially in modern movies, are simply a representation of humans and our disconnection to needy individuals in the real world. McCormick supports his argument by comparing classic monster tales with characters of a certain depth and humanity, such as Count Dracula and Frankenstein’s monster, that grabs at the compassionate hearts of audiences to contemporary films that often include a united human race defeating alien-like monsters without hesitation. The purpose of McCormick’s essay is to show how most people treat monsters, no matter how they were created or place themselves in this world, in order to answer the question of whether monsters reside within us. Given the article's location in a sophisticated magazine, McCormick aims this essay at an educated audience interested in the human need to destroy, rather than accept, monsters. 1. There are many reasons why monster stories have endured popularity over the years. One reason McCormick points out is the action and adrenaline associated with modern movies. He claims that these movies tend to be designed for theme park rides and video games since they are all about the fight or flight response that adrenaline. The contemporary...
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...McKenna Griffiths HUMN 1120 Short Paper 1, Prompt #3 2/9/2016 Phèdre’s Monsters Phèdre, the daughter of Minos and Pasiphae, is the half-sister to the illegitimate son of her mother and a bull: the Minotaur. Theseus, Phèdre’s husband and the king of Athens, seeks to kill monsters to protect his kingdom. The literal monsters that Theseus seeks to destroy exhibit the same features that are innate in his wife due to her monstrous blood line. Phèdre’s half-brother, the Minotaur, displays physical monstrousness and destruction, whereas Phèdre is destructive emotionally and mentally. Phèdre’s feelings for Hippolytus manifest in such a way that result in literal consequences, such as the ruin of her marriage and the betrayal of her kingdom. Although Theseus seeks to eliminate literal monsters, he fails to deal with, let alone take notice of the monsters that reside inside of his wife. However, due to the fact that he is constantly gone for his job, he is not necessarily given the chance to. Throughout this story, the characters are overwhelmed with concern over killing physical monsters, and they seem to turn a blind eye to the figurative monsters within. These monsters prove to be more destructive than a literal beast. After revealing her love to Hippolytus, Phèdre states: Your father was a hero, be like him, And rid the world of one more monster now. Does Theseus’ widow dare to love his son? Believe me you should not let her escape. Here is my heart. Here, where your hand...
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...credit, given rise to a pantheon of soul-shaking literature unique to a specific kind of emotion: hopelessness. The underlying theme of this anthology will strive to lay bare this emotion through the short fiction of some of the finest writers in the world, and some lesser known ones. While some of the works in this proposed anthology will show an insider’s point of view, some others will tear open similar wounds from the pens of civilians. These selected stories of war and warriors will include Stephen Crane’s uncanny analytical vision and his depiction of the ‘beauty of war’ and Emile Zola’s brutal obsession with the essence of battles – courage, carnage, and carcass. It will include Tolstoy’s photographic portrayal of war as he saw it, revealing in its undertones, his subsequent pacifism. It hopes to include HH Munro, whose voluntary enlistment to serve the army in World War I led to many poignant prose-poetry extravaganzas in his body of fiction. Along with other unforgettable war writers like John Galsworthy, Willa Cather, and Rudyard Kipling, this anthology will strive to showcase a blend of writers and writing styles that bring out the hopelessness of manmade strife. Fiction Is Stranger: An Anthology of Mystery Stories Weird or logical, supernatural or thrilling, few things get the adrenalin going like a good mystery. Having developed over the past two centuries, mystery fiction is amongst the youngest themes in fiction literature. Urbanisation and the Industrial Revolution...
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...In Frankenstein by Mary Shelley, although Frankenstein’s Monster has committed atrocious crimes in seeking revenge against his creator, the Creature still feels remorse; however, he has been subject to the abuse of humans and no longer seeks their companionship or sympathy. Frankenstein’s Monster is haunted by the wickedness of his own crimes against his creator and his actions bare an immeasurable amount of remorse on his consciousness. When the Creature recalls his actions, he himself is even shocked by his own behavior. In the monster’s final speech, he expresses to Walton his view on his offenses against Frankenstein. He states, “When I call over the frightful catalogue of my deeds, I cannot believe that I am he whose thoughts were once...
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...audience. II. Othello is poisoned by Iago’s herbaceous manipulation; therefore, Othello becomes blind to Desdemona’s loyalty. 1. Many of Iago’s references of deception concern poison. 2. “I’ll pour this pestilence into his ear” (II.iii.330); “The Moor already changes with my poison. / Dangerous conceits are in their natures poisons, / . . . / . . . Not poppy nor mandragora / Nor all the drowsy syrups of the world / Shall ever medicine thee to that sweet sleep” (III.iii.329–336). Iago breeds his “conceits” so that they become fatal toxins and then plants their seeds in the minds of others. III. 1. Iago tells Othello to beware of jealousy, the “green-eyed monster which doth mock/ The meat it feeds on” (III.iii.170–171). 2. Likewise, Emilia describes jealousy as dangerously and uncannily self-generating, a “monster / Begot upon itself, born on itself” (III.iv.156–157). The imagery of the monstrous and diabolical takes over where the imagery of animals can go no further, presenting the jealousy-crazed characters not simply as brutish, but as grotesque, deformed, and demonic. Desperate to cling to the security of his former identity as a soldier while his current identity as a lover crumbles, Othello begins to confuse the one with the...
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...R.J Palacio focused on; Dialogue, Symbolism, and Revealing Actions to show jealousy. In “WONDER” by R.J. Palacio, for example; some of the character’s get the attention they want, and some get the attention that they don’t want. August doesn’t want to be noticed, and Julian wants all of the attention to himself, but they both know that that’s not going to happen. They both hope for either more or less attention than they actually get. R.J. Palacio uses Dialogue to show that you say things just to be with the “cool” people because you don’t want them to think that you are “cool” enough for them. “ I think I would kill myself if I looked like that”(Palacio 79) that’s what Jack Will said not knowing that Auggie was right behind him. Also in the hallway when Summer said “Bleeding Scream”(Palacio 152) but then he had to make it up to him by being his partner and to never say things like that ever again. Julian said that “I’d put a hood over my face every day”(Palacio 79) and Jack Will agreed with him because he wanted to be cool around Julian but he ended up regretting it after knowing Auggie was behind him....
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...wonderful forms include true moral agents who respond to real moral facts and who form a natural moral community. Their existence contributes to the grandeur of Darwin’s evolutionary view of life. What is a moral agent? A moral agent is a decision maker who chooses between right and wrong and is, therefore, morally responsible for his acts. In this essay I will argue that creature in Marry Shelly’s novel Frankenstein is not a moral agent. The monster in Marry Shelly’s novel Frankenstein is Victor Frankenstein's creation, assembled from old body parts and strange chemicals, spirited by the mysterious spark of life. He awakes eight feet tall and enormously strong but with the mind of a baby. Abandoned by his creator and confused, he tries to get accepted into society, only to be rejected. Looking at his reflection, he realizes his grotesqueness, a characteristic that hides his gentleness from society. He seeks revenge on his creator, killing Victor's younger brother. Later, after Victor destroys his work on the female monster, the monster murders Victor's best friend and then his new wife. What does it take to be able to choose between right and wrong? Moral agents must have enough knowledge and intelligence to understand how to apply moral principles and to choose whether to be guided by them in planning their actions. A moral agent also needs memory and self-consciousness, so he can remember and evaluate his options. Reason is a tool for achieving inborn...
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...unlike a person that believes in a god that loves them and cares for them, the monster in the story fully believes that his ‘god’ (Frankenstein) actually rejects him. Therefore he chooses to do as much as he can to hurt Frankenstein, and after he finally “breaks” and realizes this, it becomes his only motivation. If one compares the early childhood of many criminals in today’s prisons to the story of Frankenstein’s monster, many similarities appear. Many criminals grow up in harsh environments where they are left to fend for themselves due to lack of parents or outright rejection by them. Criminals who grow up in this ghetto life style often have little to no resources and are forced to steal, cheat, or lie simply to survive. They are often shunned by society for their dirty looks and dirty ways for years and years until just like Frankenstein’s monster they “break” and do something terrible. They lose all respect and love for God and their fellow men because every day of their lives they have only encountered rejection, poverty, and hardships. What these people do may be wrong; but what Mary Shelley wants her readers to understand is that one cannot judge another’s actions without first stepping into their shoes. In Frankenstein she allows the reader to step in to Frankenstein’s monster’s shoes in order to understand his story along the way until finally one reaches the all-important conclusion: monsters are not born, they are...
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...to discuss. The main characters represented by Frankenstein, the Monster and Robert Walton seek to break free of the rules imposed upon them by hierarchical societies. Moreover, each character is obsessed by its idee fixe: their inability and unwillingness to cope with it makes them “imprisoned” in their own egos. Speaking about Victor Frankenstein one can say he is imprisoned in several ways. Starting with his workshop which is more likely a prison cell where Victor stays for months leaving only by perforce: “My cheek had grown pale with study, and my person had become emaciated with confinement” (Shelley, 1818). Hence, Victor is obsessed by an ambition to create a living monster out of dead body parts, and this is how he becomes a prisoner of his own conscience. Hence, Victor’s death becomes a release from the “prison” in some way. The Monster is associated with his monstrosity; that means he has no option but to be a monster, to hurt people and even to kill. Hated by all mankind Monster accuses Victor of giving him life and making him horrifying: “Shall each man find a wife for his bosom, and each beast have his mate, and I be alone?” (Shelley, 1818). From this point of view he is obsessed with the idea of revenge, especially after Victor denying his promise to create a companion for the Monster. After that the Monster proves his obsession by killing Victor’s fiancee on her wedding night. Thus, the Monster had no other way but to escape the society which “strangled” him...
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...Charlie Cannistraci Mrs. Black English 10 22 December 2015 Scout’s Development Essay In the book “To Kill a Mockingbird” Jean Louise Finch or better known as Scout develops over the course of the book, her development is paralleled by her view and opinion on Boo Radley. Throughout the book she changes her views on Boo from an unsightly monster to a kindhearted gentle man. While scout starts to understand Boo over the course of the book, her maturity also develops and she starts growing into an adult. In the very beginning of the book when Scout and Jem first meet dill, Scout says this to Dill about the Radley residence, “Inside the house lived a malevolent phantom. People said he existed, but Jem and I had never seen him” (Lee 7.) As the quote shows Scout views Boo Radley as a monster who has no care for anyone. At this point in the book Scout is six years old. When scout is at school she picks fights with teachers and other kids. One of the best examples of this in the beginning of the book is when Miss Caroline tries to give Walter Cunningham a quarter to buy lunch when he forgets his lunch. Scout tries to explain to Miss caroline that his family is poor and cannot pay her back. After Scout is punished she goes home and whines to Atticus about what happened. This situation is a representation of her immaturity at the beginning of the book. The rest of the year goes by, Scout and Jem both finish up their school year, but Scout’s...
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...and post-apocalyptic city. The world is devoid not only of nature, but children, sunlight and “real” animals. In the opening scene, film noir characteristics, such as disoriented visual schemes and heavy reliance of shadows and rain are used to show the vast yet dwarfed city. This leads us to believe that this city is a result of past consequences where nature has not just been subjugated, but destroyed. This mirrors a time where society was fearful that technology was taking over to the detriment of humanity through the invention of the computer. The theme of nature and its role on humanity is present throughout both Frankenstein and Blade Runner. Shelley presents nature as very powerful. Shelley shows nature’s ability to affect the monster powerfully and, as...
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...Throughout history, it has been repetative with the fact that the greater the greed for power, the stronger desire for one's need in a corrupt government. It is not only a competition throughout the nations and leaders, and the need for a strong nation, but the idea that influencing an immense group of people and holding that power, that feeds the monster of corrupticy. Shakespear's, Macbeth, illustrates the growth of character and journey one is willing to take, in order to gain access to the throne of power. Shakespear's character, Macbeth, from the play, Macbeth, expounds on the growth and desire the greed for power one can lead to, as in betraying their own people, for their selfish needs. One day when the third which predicts "All hail,...
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...The Life of America’s First Serial Killer Being known as America’s first serial killer may not have been on Herman Webster Mudgett’s bucket list however, pursuing a career in scamming and murder was. Mudgett, also known as H. H. Holmes was born intellectually smart and used his gift for infamous reasons. Starting out with a passion for medicine he began studying animals and animals corpses, this then led to his obsession with disassembling human corpses and murdering victims for satisfaction. As a scam artist and murderer, H. H. Holmes can be classified as a human monster that possesses more fearful characteristics of a naturally born monster than a fictional character such as, Norman Bates. Born into a wealthy family on May 16th, 1861...
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