Human Nature In The Monster By Stephen Crane

Frankenstein was a scientist who thought that the world was a secret, which he desired to discover in the scientific field. He worked to find out the relationship between humans and animals. He was attracted by the structure of the human body, any animal related with life, and the cause of life. One day, Victor Frankenstein made an experiment where he included many different human parts from different dead people. This resulted in a human being and a strange creature never seen before in life, which made Frankenstein very scared. This creature or monster was tall enough to scare people by his height and with muscles that were well proportioned.

When analyzed online many of the definitions you will find for the word monster include: a strange or horrible imaginary creature, one who deviates from normal or acceptable behavior, or an animal of strange and/or terrifying shape. (Merriam Webster) When observing the “Monster Theory” by Jeffrey Cohen and the 7 theses that he provides in this text, one can begin to somewhat disagree with these formal definitions and attempt to say that it has an even greater meaning. Monsters might scare us and frighten us because of their physical appearances but also can provide us with possible solutions to gaps and uncertainties in our mind that Sigmund Freud would label as “The Uncanny”. I can only but agree with

Monster by Walter Dean Myers, . Displayed as a screenplay of Steves very own creativity, which contains journal entries, demonstrates how one single choice can change our entire lives .I was reluctant about the structure of Monster at first. At first I figured out that the screenplay would be disrupting and that Steve's journal entries were appearing randomly. Therefore after getting used to the format which I have never read a novel organized this way before,I immediately acknowledged exactly how effective it is. The screenplay creates an important visual element that propels the story and makes it engaging. I envision this format would be particularly appealing to adolescent readers since it differs from the traditional paragraph structure of nearly most books..I additionally

In the novel "Frankenstein" by Mary Shelley, the relationship of external apperence and internal feelings are directly related. The creature is created and he is innocent, though he is seaverly deformed. His nature is to be good and kind, but society only views his external appereance which is grotesque. Human nature is to judge by external apperence. He is automatically ostracized and labeled as a monster because of his external apperence. He finnaly realized that no matter how elequintly he speaks and how kind he is, people will never be able to see past his external deformities. Children are fearful of him, Adults think he is dangerous, and his own creator abandons him in disgust.

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.

“Fear and euphoria are dominant forces, and fear is many multiples the size of euphoria” - Alan Greenspan. New York author, Alan Greenspan, here is explaining that the threat fear presents is really no different than the state of intensity caused by euphoria. In Andrew J. Hoffman’s anthology, Monsters, there is substantial evidence that both fear and euphoria are inflicted upon men, by female monsters. The two threats men typically face against women are temptation and emasculation. Thus, in mythology and folklore, female monsters exemplify the impulse of desire (sexually) for men, and male weakness. These are creature that are lusted after and yet, still feared because of their power. Men find female monsters both fearsome and euphoric and will always threaten their dominance and control.

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

Monster by Sanyika Shakur yields a firsthand insight on gang warfare, prison, and redemption. “There are no gang experts except participants (xiii)” says Kody Scott aka. Monster. Monster vicariously explains the roots of the epidemic of South Central Los Angeles between the Crips and the Bloods that the world eventually witnessed on April 29, 1992. As readers we learn to not necessarily give gangs grace but do achieve a better understanding of their disposition to their distinct perception in life.

A monster calls, a novel composed by Patrick Ness centres around the theme of change which leads Conor to new understandings by using language techniques including symbolism, descriptive language, imagery** as well as using other themes to further explain Conor’s change. 13-year-old Conor O’Malley is told his mother is dying of cancer, as a result Conor suffers from harassment and isolation. Due to Conor having to anticipate his mother’s death, he has a recurring nightmare which is a visual metaphor for Conor wanting to end his suffering. Conor’s denial brought a yew tree monster ‘walking’, the purpose of this monster is to guide Conor to acknowledge and understand his truth, by telling him tales while asking questions designed to encourage him to reflect on his situations, which would benefit him to understand his emotions and actions better, this is all in the effort of healing him from his suffering so that he can accept his

“The short term pain of accepting the truth is much better than the long term pain of believing an illusion”- unknown. In the novel A Monster Calls by Patrick Ness, a 13 year old boy, Conor O'malley, deals with inner struggles when accepting his mother’s fatal illness. Conor experiences hardship when coming to terms with the truth so he chooses to suppress it with denial and this worsens his grieving process. Conor undergoes a troubling state where he is lonesome and unwillingly expresses himself through violence and a series of emotional collapses. The teen’s way of coping is not beneficial to either him or is family. A monster in the form of a Yew tree comes to visit Conor and guides him towards the acceptance of truth. Although Conor is not oblivious towards his mother’s imminent death, he must learn from the monster to fully accept the condition she is in, in order to move on with his life. The Yew tree monster guides Conor through storytelling, thus teaching him the importance of accepting the truth. At times, the monster takes a step back and this allows Conor to discover the importance of truth slowly and independently. The way the monster approaches Conor and the tactics he uses to enlighten him are the main reasons Conor develops throughout the novel as an individual. Patrick Ness conveys the importance of truth and how difficult it is for individuals to accept and come to terms with

“At once a children’s tale, a grim social satire, an ambitious study of ethical responsibility, a painful examination of race in America, a devastating account of the village virus…”

From a young age, many are taught to keep their emotions to themselves, because the expression of emotion is deemed as weak. This causes people to keep everything inside of them, and that is not good for one’s health. In the novel A Monster Calls by Patrick Ness, Conor is a young boy whose mother is dying of cancer. Because of this, a newfound monster has appeared and has decided to help Conor. Through this, Patrick Ness displays the progression of Conor’s relationship with the monster from an adversarial relationship to an acquaintanceship to an intimate bond in order to demonstrate that one must express emotion in order to heal.

Monsters run free in epic poems of centuries far past; horrific, villainous creatures of fantasy who illustrate all that is bad in the world and stand for the tribulations the epic hero much overcome. The Anglo-Saxon epic Beowulf is no different. Some are born of, and in turn give birth to legends, such as the fire-breathing dragon, while others are tied to the bible. In studies, Beowulf's monsters are explained and will continue to be analyzed as symbolic of countless different ideas. In relation to each other and the epic's hero, the monsters of Beowulf represent the ever-present flaws of humanity and the monstrous feelings or behaviors that over take the mind in a moment of weakness, leading to eventual downfall.

The main character in the novella is Henry Johnson, the Monster. Henry in the short story represents the devil. In modern time the use of the word devil is an evil red horned demon that tricks people into sinning. In some states known as something disturbing, unpleasant, something that doesn't belong in society. Crane implies that Henry is the devil because he is no longer acceptable in that society and he brings distress to the people of the town.

Willy’s life teeters between these petty concrete objects and his grandiose verbal projections.  In past, present, and fantasy, Willy expresses himself through clichés and repetitions in a formulaic chant.  However, he achieves neither popularity nor success as a salesman, and he fails as a gardener, mechanic, husband, father. (Martin 67)