Beowulf the Artificial Man Over the course of history, the righteous identity of masculinity has been tainted by the stereotypical profile that is governed by machoism. These stereotypes eliminate any emotions, activities, and beliefs that exhibit weakness. These stereotypes cause men to seek unrelenting physical strength, a mind of iron, and isolation. However, these are only stereotypes; a man is something much more than attempting to live their life as a masquerade. A perfect example of a man following this mockery of masculinity is the title character hailing from the epic Beowulf.
The first major aspect that leads to the Creature’s fall from grace is appearance. Victor works tirelessly in academia because he believes to have found the solution to generate life. Once Victor succeeds, the Creature’s demonic appearance mortifies him. Victor describes his work with disdaining imagery, stating, “I had gazed on him while unfinished; he was ugly then; but when those muscles and joints were rendered capable of motivation, it became a thing such as even Dante could have conceived" (Shelley 36). Although Victor successfully creates what would be his greatest academic achievement, he abandons his creation, showing that the Creature's ugliness is a prevailing factor for his isolation from civilization.
In the movie The Talented Mr. Ripley, Tom Ripley the main character as the predominant desire of reaching a higher social class. Tom does not want to be himself because he kills Greenleaf in “self-defense” because of his infatuation with him. Ripley feels alienated and lonely and is bored with his own life. Tom’s desire is concentrated on that which he cannot be within the identity of Tom Ripley: cultured, wealthy, and socially accepted, though he is anything but. Anthony Minghella uses symbolism to probe in the subconscious of the complex characters in his 1999 film, the Talented Mr. Ripley.
His superego is extremely underdeveloped because of its ability to revert back to the Id with no hesitation, and his ego barely mediates between both the Id and superego, favoring one or the other depending on the situation. This hostility within the unconscious mind creates conscious and unconscious conflicts within the narrator, especially when he questions individual trust. When deciding whether or not to obey certain antagonists such as Dr. Bledsoe or Brother Jack, he begins to analyze the situation drastically, viewing his past experiences as a major factor into his final decision. This train of thought provokes disputes within the narrator's unconscious and conscious mind. In a situation where Bledsoe made the narrator leave the college, the narrator's unconscious mind chose to obey him and leave.
Nonetheless, Iago does so by getting Cassio into a fight and making Othello jealous. And those responses represent male insecurity at its finest. Even with their social power and prominence, a threat to their manhood is still enough to damage them. And many people see that fragile layer of masculinity in Donald Trump. Not only did this man make a blatant reference to the size of his penis during the Republican primaries.
Books have a history of impacting the views of the masses, influencing thought and bringing about the most spectacular inventions; the Bible, Uncle Tom’s Cabin, The Republic, and so many more. With books playing such a role in society, it is hard to imagine a world without literature. This is the goal of Ray Bradbury’s book, Fahrenheit 451: to explore a world where reading is outlawed, and to show how books, or the lack of, change the way people feel and connect. The general people who do not read, including the protagonist, Guy Montag, seem discontent with their lives and derive no real joy. Conversely, the readers and the thinkers are kinder, bolder, and humorous; Faber and Clarise, for example, leave powerful impacts on Montag with their thinking.
Observing the love and affection between others only increases the effect his own solitude has on him. He is aware of his otherness and knows that he is “shut out from intercourse” (84) with the people he holds so dear. It can be argued that this is the point where the creature’s humanity is the strongest throughout the course of story. He has a basic understanding of human societies, he speaks and reads their language, shows compassion and, most importantly, seeks their company and friendship. In his knowledge that social belonging is the missing component to his own happiness, he confronts the people he secretly observed only to, once again, be met with fear and anger (94-95).
Society would never accept him as society treats outcast and people that are any 'different ' atrociously. The monster acquired books of "Paradise Lost", "Plutarch 's Lives" and "The Sorrows of Werter", which "gave him extreme delight" as he studied and exercised his mind. When he came across the DeLacey family, hope sparked inside of him as he believed he would finally be accepted by at least a small part of society. Intelligently enough the monster made his move and approached the blind old man, in which he knew wouldn 't be able to see him or judge him by his distorted appearance. He finally grasps the chance into talking to the old man, De Lacey and he acknowledges that if he fails in being accepted by them he will be "an outcast in the world for ever".
On the outer shell, Grendel is a monstrous villain who hates mankind, but the reader soon realizes, in reality, he just wants to fit in. Since Grendel knows he will never fit in, he decides to destroy what he cannot have and he "[understands] that the world [is] nothing: [but] a mechanical chaos of casualties, brute enmity on which we stupidly impose our hopes and fears. I understood, finally and absolutely, I alone exist" (Gardner 22). Instead of criticizing the villain, Grendel makes the reader sympathize with him by saying " [he] alone exist[s]". Thus allowing the reader to interpret the tone better because of how Grendel expresses his feeling.
Through the movie, I can image how boys and young men struggle to live with their true-life in American controversial of being a real man. The Mask You Live In, show all the pressure from the media, their friends, and the grown people’s life. All the boys and man faced with some messages provide them to hide their real emotions, built up the idea that women are only for sexual conquest instead viewing women are friends, and allow men to communicate anger with other by violence. All the controversial about gender associate with race, class, their situation, creating a confusing of problems all men and boy must to be a man.
Jay Gatsby lives his life through corruption, devotion, and his resolve to control. Gatsby has a firm devotion for things and people he desires; he feels that if he achieves material wealth, he can live a countless life. Gatsby corrupts himself due to his yearning for social status and wealth, as Nick says; “his imagination had never really accepted them as his parents” (104). The idea of his imagination not accepting his parents shows his yearning for wealth. By using the term imagination, it suggests that Jay Gatsby, is just part of Jay Gatz’s imagination, created for social status.
Together, Tyler and the storyteller frame a battling club, which, similar to the care groups, permits the storyteller to truly live, all the more free from a general public of consumerism. The common, crude sentiments of hostility and torment give him a feeling of reality. The first run through Tyler connects with the storyteller in a battle, the storyteller thinks the possibility of hitting Tyler is totally ridiculous. Society has ingrained this thought in him that savagery isn 't right. Then again, this savagery and torment permits the storyteller to discharge animosity in a characteristic and natural way.
Technology is a paramount theme discussed in the novel. In Bradbury’s fabricated society, he recounts the escalating detrimental effects of the developments of advanced machinery and equipment. Because the personages in this society aren’t required to utilize their mental capacity when scrutinizing television broadcasts, they are fallaciously content with their lives. Television is accountable for the lack of companionship and discussion. It alienates the individual’s existence so that they feel a deeper association with the characters portrayed on various programs, rather than the personages surrounding them in actuality.
Humans often love the idea of crime and adventure, but live to mundane of lives to actually experience these thrills. People almost get emotionally involved in the lives of these anti-hero character just for the buzz and pleasure of the dangerous endeavors the characters associate with. For example, Walter White from “Breaking Bad” breaks free from his boring and average life to become the most feared and threatening drug lord of all. People love to watch this show with no notion of wanting to become him, but with every intention of associating with the excitement of his new life. Middle class working men love the idea of becoming someone who is feared and dreaded, but they would never muster up the courage to actually become this person.