Gruesome Head Symbols

The characteristics of different monsters from various places and eras, can easily be compared to cultural boundaries among humans being broken, established, accepted, and rejected. The article goes on to discuss the relationship between monsters and cultural lines that in the eyes of many cannot be traversed. Monsters can be considered beings with two purposes, their story, and their function or impact in historical culture (21). Difference, in the world, is often viewed as unacceptable, even at times a form of contamination. Monsters seems to fall right into that topic category when discussing cultural differences and similarities that are often found established. Boundaries such a sexual purity, gender norms, and other lifestyle implications often are crossed by monsters and their roles they take on in media, literature and other forms of entertainment. They are hiding in personal identities, cultural norms, and hidden desires from within. With that being said, perhaps it is necessary to take into account whether monsters not only symbolize differences and boundary crossing in old and existing cultures across the world, but if they also represent the desire behind those differences that influence

In this reading, Cohen proposes a sketch of a new modus legendi, meaning, “a method of reading cultures from the monsters they engender.”(Monsters page 11) He also says that he’s going to break some rules from recent cultural studies. Now, Cohen offers seven theses towards understanding cultures through monsters by their character, appearance and representation, such as: Vampires, the Alien, Frankenstein, Werewolves, Grendel, the Boogey man, and etc.

The Nok heads and sculptures of Nigeria are made hallow, life-sized terra-cotta figures with a coiling technique commonly used to make pottery vessels (Thames & Hudson, 2015, pg.451). Nok heads were made with clay and although clay is very durable it is also breakable. However, very few sculpture have been found undamaged. The head of the figures was larger than the bodies because the artists wanted to emphasize the association between the head with knowledge and identity. The Nok head below is from Rafin Kura, sculpted in c. 500 BCE-200 CE. Like many Nok heads, this sculpture has a unique hairstyle, with three buns on top. It also has triangular- shaped eyes with holes in the pupils, nostrils, mouth, and

Secondly, whatever the difference monsters have from a human, whether it be animal characteristics, made-up attributes, or a combination of human limbs and other traits, any discrepancy points out their difference from humanity. The monsters with human attributes backhandedly comment on human behaviors, such as Manticore, Medusa and Minotaur. Blake and Cooper note that Medusa is in a group of “over-sexual women… were combined with snakes in order to emphasize the supposed sinful nature of women and temptations of their bodies” (Blake and Cooper 4). In recent monster stories, humanoid monsters have become increasingly normal. Thirdly, despite their distortions, monsters reflect who we are as humankind. Their many differences in meaning and image reflect humanity’s diversity. “Gothic” fiction is a literary tradition that started a recent wave of monsters that consisted of novels from Dracula to The Strange Case of Dr. Jekyll and Mr. Hyde. People began to write tales that tamed the supernatural

As the name suggests the skull instantly draws the eye, the hollow face of the skull is in the center of the oil on wood painting. The skull extends to the right where one sees an empty glass on its side resting at an angle to the skull. The glass is reflecting light along its curve but does not give one an actual reflection. Beneath both the skull and glass is a book and a sheaf of papers in a portfolio. The book’s binding is brown and the pages are yellowing, whereas the papers in the moss green portfolio are a contrasting white. The presence of paper fits with the other object in the title the writing quill, whose feather rests on the book and sheaf. The head of the quill points to the right of the painting where it rests on an overturned ink well. In the background of this painting smoke is rising off a recently extinguished oil lamp, partially in

There have been countless duels between two opposing sides in the history Roman artistry. This sculpture relief signifies the classic battle of good versus evil. Time and time again, benevolent heroes find themselves in a struggle to combat worthy yet malicious adversaries. The Roman sarcophagus, a two by five feet marble coffin, is certainly no exception. It represents another division to this timeless good-evil epic, its visual characteristics, emphasis on contrasts, and its extensive array of details give it an identity that is uniquely its own. It portrays a sense of legendary fantasy to the viewer, one pertaining to hostility, violence, and pure anger. The sculpture seems overly shallow due to

Asma states, "Monsters can stand as symbols of human vulnerability and crisis, and as such they play imaginative foils for thinking about our own responses to menace.” This means that human weaknesses and fears are represented through monstrous figures, and these fictional situations provide perspective into how we react in fearful environments. In our current society we fear many things, including but not limited to failed or corrupt governmental systems, the afterlife, the unknown, and captivity, which makes this claim valid. Although we may not realize it, these fears are embodied by the horror monsters we see in popular culture. Society shares common fears, and often times the most prevailing fear is reflected in the most popular characters at any given time. Monsters are the fictional representations of society’s dark subconscious, exploring not only why the author’s statement is accurate but what we actually fear.

In “Masque of the Red Death,” by Edgar Allan Poe, many symbols are used in the story to function in the work and to reveal the characters and themes of the story. Symbols serve many purposes in this story. Poe uses symbols all throughout the story to represent death. Poe’s use of the seven rooms, the clock, and the stranger helps to teach the reader that nothing can escape death. By using these symbols, Poe portray the idea that death can’t be escaped.

In their decorations, the skull or skeleton is often used. They are often made to be grinning or to be doing things like drinking, eating, and even riding horses. The skeleton is turned into a mocking of death itself, and is a symbol of celebration of passing into the next life.

The American Gothic Genre, which focuses on the paranormal aspects of life, began in the 1700s and is still used today. Kelly Link is the author of “The Specialist’s Hat”, and the author of many literary collections. She's received a grant from the National Endowment for the Arts and has co-edited a number of anthologies. She uses imagery, intimidating diction, and literary devices to convey the emotion and theme of snakes, hollowness, and death in this story.

Asma, S. T. (2014). Monsters on the brain: An evolutionary epistemology of horror. Social Research, 81(4), 941-968.

Emerging from this middle area is a tall brick church. The dark stoned walls give a European look to the landscape, and seem somewhat reminiscent of the Dark Ages in Medieval society. In the stained glass window rests a cross, symbol of Christian faith, corrupted by a snake-like creature. The combination of the church with a historically recognized sign for evil is quite a strong image. It seems as though

Unearthed skulls dating back to 6500 BCE have been discovered by archeologists to have large holes drilled into the sides of them. (1) The purpose of the drilling was to release the demon spirits that ruled inside these unfortunate beings. (2) The thought at the time was that strange, disruptive, or unexplainable behaviors demonstrated

Taking up the entire right side of the composition a third character ascends a staircase and rests one hand on a disjointed platform. This figure wears an elaborate headdress, fabric sash and holds a large knife tucked at it’s side. The figure’s long toes curl around the top stair where it stands surveying the other two figures. This figure also has a tail, and the same mirroring happens between the extending hairs of the headdress and the hairs of its tail as with the candle light and tail of the first figure. The decorations and prominence of this figure give it an air of spiritual significance, the word priest seems apt. Behind this figure is the forth and final figure of the composition. This figure stands lower on the staircase behind the figure with the knife. This figure has a head shaped like a goblet filled with toothpicks. We only see the head and shoulders of this figure,

They celebrate the dead by letting the spirits know they have not forgotten about them. The skull is