Komatsu Sakyo

What is a monster, really? Is it really a Creature that has three eyes instead of two, with pus seeping out of every crevice in his face and an abnormally large form? Or is it someone with a mind so corrupt it rivals that of Satan? Mary Shelley’s Frankenstein is a story within a story that centers on the tale of a man with an immense thirst of knowledge and a fetish to imitate the Creator. Mary Shelley’s Frankenstein is a lot like the Greek mythological tale of the Greek God, Prometheus, and his brother, Epimetheus, who were assigned the task of creating man. The story captivates the theme of monstrosity. Mary Shelley wrote the novel in a form so the reader’s opinions never stray far from sympathy for the monster and apathy for Victor

First Thesis pretty much says that monsters always are symbols and representations of culture. “The monster is born only at this metaphoric crossroads, as an embodiment of a certain cultural moment of a time, a feeling and a place.”(Monsters

From beginning to end Frankenstein’s Monster is shown as a wicked creature from the people; however, he possesses many human characteristics. The monster was originally an idea of Frankenstein that will soon come to life. Created from many different parts, the monster was never given a chance to be seen as anything other than a science project. From the outside looking in,

He gives more explanation of the pop culture refe rences, however, than he does of his more esoteric and academic precursors. This means that he expects that his audience is more familiar with the theory surrounding monsters than with m any of the pop icon monsters that have appeared throughout history. Cohen builds a strongly logica l argument that monsters are symbolic of the marginalized groups at the outer edges of c ulture, and in doing so he makes it clear that he feels his audience is well-rounded, academic , well educated and as interested in the theory of monsters as he is himself. Logos is not the only rhetorical device Cohen uses in this article, however. He also uses ethos to connect with his audience, and to differentiate bet

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

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.

Many timeless novels have impacts on our everyday culture, not only as a book, but also through music or movies. Many popular novels have multiple adaptations, which shape how we approach their interpretation, in ways we may never even notice. In some films, humans are depicted as monsters, whether through their actions, or through the thoughts of other beings. In these films we find issues with our own society, and in turn see ourselves as monsters, and look for ways we can change, for the better. One particular novel that influences this side of Hollywood is Mary Shelley's “Frankenstein”. The ways Frankenstein influences pop culture can be seen in science fiction films in which humans are depicted as monster, and “monsters” are seen as

The more we begin to understand a monstrosity, the less we fear the monster itself, however, we fear the actions of the creature itself. Perhaps it is this fear that draws us closer to the unknown and the monsters thrive upon this fear we have. Asma discusses how this fear allows for individuals to play out scenarios in their minds; we then use the events to ultimately ask ourselves, “what will I do in a situation like that (Asma)?” Dating back to the early days of Christ in a biblical era, we see monsters have always been on the rise.

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

A little girl screams in fear for her parents as she envisions a green, three-eyed monster lurking under her bed, waiting to get her until she finally closes her eyes. A little boy scares fellow trick-or-treaters as he’s dressed as a vampire for Halloween brandishing his pointy teeth with blood dripping out of his mouth. Both of these examples of monsters focus on the physicality of a creature and undermine the weight which the word ‘monster’ actually carries. In Shakespeare’s play, The Tempest, and in Mary Shelley’s novel, Frankenstein, there are characters that perfectly fit the description of a tangible monster. However, monsters are more than their somatic features. Monsters are created within based on circumstances, decisions that are

What is a monster? The word "monster" causes one to imagine a hideous, deformed or nonhuman creature that appears in horror movies and novels and terrifies everyone in its path. More importantly, however, the creature described generally behaves monstrously, doing things which harm society and acting with little consideration for the feelings and safety of others. "Thus, it is the behavior which primarily defines a monster, rather than its physical appearance"(Levine 13).

The komagata maru incident was caused by the Asian Exclusion Act. This act was put in place by canada as a way to keep asian immigrants out of the country. The act made it so that for a ship to dock in canada it would have to make a direct journey from its country of origin to canada, but for the komagata maru this wasn't possible because they did not offer a direct passage to canada. Because of this the passengers were not allowed in to vancouver so they decided to stay docked until they were allowed into canada, the komagata maru was docked for 2 months in vancouver until they were forced to leave. They did not want to go back to hong kong because of their living conditions so they went to calcutta india. When they arrived they were stopped

“ People fear what they do not understand. ” In the original 1888 edition of Mary Shelley’s Frankenstein, this saying is excessively shown throughout the journey of Frankenstein himself and his creation known as “ the creature.” Fear is spreaded in this famous, gothic novel because the epitome of society is lacked by both the creator and the creation, leading to much misunderstanding with who is the real monster. In this novel, the true monster is society because the ideals indirectly presented led Frankenstein to abhor and abandon the creature, the ultimate isolation of both, and the delirious vengeance developed by the two.

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

Laurie, your posting was interesting. And my answer for your question is, yes "Inseki-jisatsu" is an issue. All kinds of suicide are the worldwide issue. I know about the "seppuku" was very honorable death to samurais between 12th to 15th centuries. I do not blame about their decision, but still I cannot understand it. A person killed oneself to show one's fidelity? There is nothing after death. Yes, if you die for others and for your country, people will appreciate about your sacrifice and remember you, but why cannot you decide not to die and do something more helpful to take your responsibility in the future. I want to say, "inseki-jisatsu," "seppuku," doesn't matter, just all types of suicide must be gone! It is such a stupid idea. You