Jeffrey Cohen Monster Culture

“I can kill a man, dismember his body, and be home in time for Letterman. But knowing what to say when my girlfriend's feeling insecure... I'm totally lost”-Dexter Morgan (Hall, 2007). Dexter Morgan is a fictional serial killer from Showtime’s series “Dexter”, but the writers and actors have portrayed a real life serial killer. Manuel Prado is the real Dexter Morgan. Prado was a Miami cop who started with smaller crime and worked his way up to becoming a serial killer. ”Prosecutor David Waksman told the Miami Herald: "He was very cold. He was doing robberies and went home and slept like a baby. He was proud of what he did."” (International, 2012) Real life serial killers do not have any empathy. They kill their victims and then return to

The novel Monster by Walter Dean Myers is the book I chose to read and do my essay on. The genre Walter chose for the book Monster is realistic fiction. The novel was published in 1999 which is a year after I was borning. The reason why I chose this Novel is because a teacher recommended the book to me a couple year ago but, I never got a chance to read it. I always assumed the book was good because it won three awards. The first award the book won was the National Book Award for young people’s literature. The second award the book won was the Michael L. Printz Awards. The third award the book won was called the Coretta Scott King Award Honor all in which the book won in the same year 2000. The book is told from the perspective of a young african american teenager named steve harmon. Steve lives in harlem where the story takes place. One night steve chose to hang with a bad group of friends and was in a robbery. During the robbery one of Steve’s friend kills the cashier. Now Steve is in jail and going back and forth to court hoping to be proven not guilty of felony murder. Steve and I lives are alike in many different ways although we come from different backgrounds.

In the article “Monster Culture (Seven Theses)”, writer Jeffrey Jerome Cohen touches on seven different aspects or theses, concerning the connections of monsters and culture. Cohen reaches out to the reader’s mind by introducing theories of how monsters can impact many cultural categories. He explains the connection between culture and the fact that monsters never appear to truly die the first time around. They always come back to life, and seem to be more capable of adaption and escape than some realize or care to remember. Monsters are characterized as those third party creatures that cause an imbalance and disruption of the typical order or nature of things, in almost an intruding way (Cohen 14-15). It is not in their nature to simply

The next thesis proposed by Cohen is that a monster is the harbinger of category crisis. In order to feel comfortable about places, people, and things in the word, we tend to group things into categories. All of these are placed in categories typically by physical appearance and certain traits that tend to stick out. Well, what’s scary about monsters is that they tend to be unnatural and not just fit into one category, but rather many different categories. One of the most common characters described by this thesis is Count Dracula, a monster that is neither dead nor alive. When one cannot be distinguished into a basic category this tends to frighten us because it goes against one of our common norms. He breaks our human-made laws of nature. Along with the violations of our norm groups, monsters also tend as an act to forewarn our cultures of crisis. The creator of Frankenstein can be seen as an act to

1. Monster is a novel written in a screenplay format with Steve’s journal entries mixed in throughout. Do you think this is an effective format for the book? Why or why not?

Monster exists long time ago and they are everywhere. However, there are different types of monster, some that are good and some that are bad. Many people that watched monster films get the desire of being one of the monsters that appears in the film. This essay will argue the different aspects and effects that monsters have in a person. I will use two article that will help explain the differences aspects and actions of the monster. One of the articles is “Here Be Monsters” by Ted Genoways, second article is “Fear of the Monster is Really a Kind of Desired” by Jeffrey Jerome Cohen. “Monster can function as an alter ego, as an alluring projection of (an Other) self” (Cohen, 190). Furthermore, this essay will show some fallacies that the author

When people hear the word monster, they usually picture in their minds images of vampires, zombies, demons, ghouls, or other physical supernatural beings. However, today's society contains its own modern monsters contained in minds of people or in systems in society, as opposed to some type of physical entity. Examples for modern monsters of today can be pressure and apathy, but caring too much has more effect and negative results rather than apathy’s effect of caring too little.

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.

Thesis Statement: In Mary Shelley’s Frankenstein, the creature’s identity as a monster is due to societal rejection, isolation, and misinterpretation.

Monsters and the Moral Imagination by Stephen T. Asma is an exploration into why, as of recent, society has become so fascinated with monsters. Asma considers a vast amount of reasons why this surge in interest could have come along, such as; “social anxiety in the post-9/11 decade, or the conflict in Iraq” (Asma). Another possibility is even the fall of the economy that occured around December 2007.

What defines a monster? Is it their grotesque, unnatural appearance that separates them from the rest of mankind, or is it their lack of remorse and compassion that makes them different? The word monster conjures up figures from gothic horror of exotic peoples with horrifyingly exaggerated features, and the kinds of impossible delusive beasts inhabiting the pages of medieval bestiaries. Well at first I thought exactly that. When I used to hear the word “monster”, my mind immediately pictured the petrifying beast that took residence under my bed for a substantial portion of my childhood. It had demonic beating red eyes, razor sharp teeth that glistened with fresh blood and amphibian like scales covering every inch of its enormous body. However, as I got older, I started to realize that there was no such thing as monsters and that it was all just a figment of my imagination. Accordingly, the fear of the monster under my bed slowly dissipated. Nevertheless, it wasn’t until after reading a quote by my favorite author, Steven King, that I was finally able to fully comprehend what the true definition of the word “monster” really was. “Monsters are real, ghosts are real too. They live inside us, and sometimes they win”. It had taken me awhile to truly grasp what King had meant, but then it clicked. Everyone has a monster inside them, dormant or not. That monster is the voice we hear in the back of our heads, urging us to cheat or to steal, and in some instances, worse. That monster

In Shelley’s Frankenstein, the monster is portrayed as a grotesque abomination. However, as Hopkins states in Contending Forces, the cultural and geographical situations, or lack thereof, in which one matures in play a crucial role in the proper development of one’s mind and brain. The monster is simply a product of circumstance. The lack of social interactions alongside geographical isolation propelled the daemon to be alienated from society, ultimately resulting in a lack of morals and an underdeveloped psyche. By being a culmination of his surroundings and experiences it is revealed that the true monstrous entities are the factors that leave the daemon predisposed to fail in a modern society. Arguably, Victor created a being, while the circumstances that said being was placed in “created” a monster. Shelley purposefully terrorizes the monster with such intensity to provoke and justify the overarching theme in this novel which states that people should not be judged on their physical appearance.

In “Monster Culture”, Jeffery Cohen develops an idea that “monsters” are essential to society. In fact, they construct what is “normal”, “rational”, and “civilized”. Specifically, “monsters” are foundational to how we view ourselves. “Monsters” contain all the traits deemed unacceptable and odd. It can be concluded that every outlier is a “monster”. In St. Lucy’s Home for Girls Raised by Wolves, Karen Russell tells the story of a pack of wolf girls who are transitioning into young ladies. Russell delves into society’s need for conformity, gender roles, and change. The story is told from the point of view of the middle wolf girl, Claudette, and follows her on her journey from wolf to woman. In relation to Jeffery Cohen’s idea of monster culture, Claudette’s journey applies to Thesis IV “The Monster Dwells at the Gates of Difference” and part of Thesis I “The Monster’s Body is a Cultural Body”. Claudette is torn between two worlds and she has to learn how to successfully “move between the two cultures”. Through Cohen’s theses, Karen Russell uses character development and dialogue to depict the inner and outer battle of societal femininity and individualized femininity and the decision of accepting either side. The presence of “monsters” are essential for this acceptance.

Monsters have proven to be more than just the fiendish appearance or the evil within such creatures – their monstrosity symbolizes, more or less, the characteristics that define mankind and/or our innermost fears. Prior to this Exploration of the Humanities course, I have interpreted monsters for what they are: heartless and destructive creatures that generate fear. However, I never bothered what the true cause of such fear is – only associating the gruesome presence with a psychological reaction of horror. But taking this class allowed me to broaden my perspective on monsters and monstrosity: humans fear the “Other” because we as individuals have an “Other” within us (subconsciously) that we are not willing to show to those in our

Monsters, one of my favorite subjects in drawing, I remember when little my favorite activity was to draw and create beasts, acting out their behaviors, it is what has motivated me to pursue drawing monsters as part of my career as an artist. Delving into that mindset I could imagine a change in my senses, trying to think how the beast would stalk after its prey, feeling that liberated feeling of being allowed to be wild, but also that uncomfortable nagging that this behavior is unacceptable, this nature scares other people but also your own being. Predation is a common trait in all monster based media, that the ‘Other’ is equal or even higher up than humans on the food chain. The possibility of us becoming this predator is ever present along with the fear of being preyed on, placing humans into the most primitive of choices of fight or flight when faced with a creature that challenges our position. Thanks to Exploration of Humanities and studying the meanings and features of the monsters in this semester, has given me more insight on how and why being hunted by the other, changes and horrifies us so, coupled with the possibility of us ourselves turning into the predator, the consequences when we cannot control such a nature, and blurs the distinction between ‘us’ or ‘them’ in terms of moral and ethical nature.