Mixed category presupposes the impossibility to adjust, to become. The monster always escapes to its own realm, which is always secluded, far away and undisclosed. Every single work of Gaga is a challenge, a question and an issue to reflect upon. She denies assimilation, she demands attention and she creates her own reality. By proclaiming herself Mother Monster and her fans the Little Monsters, Gaga has everything on her terms, offering her reality to the public to be either accepted or rejected.
The occult belongs to Gothic literature. It began with a novel from Horace Walpole, The Castle of Otranto. The Gothic literature is a mixture between horror, full of terror story and romance. The Gothic novel tries to awake fear and terror upon the reader through supernatural and inexplicable events. The prevalent atmosphere is a doom and gloomy one, in order for incomprehensible situations to take place.
Phobias that in maturation bring forth the illusion of greatness and strength by reactionary hostility, hatred, and violence. Further, to make mainstream hate more palatable it is interwoven into indoctrinations of morality and values: faith, patriotism, and family. These calculated perversions of values are expressed throughout Bram Stoker’s Dracula as well as its fortuitous reconstruction, The Clansman by Thomas Dixon Jr. An analysis of alterity as portrayed in both Dracula and The Clansman reveals congruent invisible empires of systemic cultural oppression erected upon the foundations of white supremacy, religiosity, and patriarchy.
McCarthy represents the cannibals as bad people through the application of creating terror, climaxed by moments of horror throughout the novel. I will take into consideration two different varieties of cannibals as a social group: the desperate and the
Sexual allegory is combined with victorian culture and violent monsters, a dichotomy of human instincts. Stoker also captures the constant battle between traditionalists and supporters of modernity. Stoker wraps up this thought experiment in the trappings of a horror novel in order to best show off the monsters he designed. With its ability to have inspired countless vampire progeny across literature and film, Dracula is a work that combines fantasy elements with relatable thematic struggles in a way that will allow it to live
The director provides emphasis to the antagonist as something abnormal and separate from humanity. Through setting, Harry Potter evokes fear in the audience. Certain elements build towards the feeling of darkness, with the foreboding world used to emit fear. The setting scares audiences, inhabited by ghosts and spirits. It evokes a malign presence, evident in these scenes.
She risked becoming a monster in their eyes. Monster Culture (Seven Theses) is a theoretical work written by Jeffrey Jerome Cohen that explores this idea of monstrosity. A “monster” is an ever-present being that stands for nonconformity and elimination of social constructs. People who hold narrow viewpoints and prejudices deem a “monster” monstrous. Binti and Binti: Home highlights the reality of racism, the fear of the “other,” and the merging of
Monsters that resemble familial bodies receive our attention through appearing as a construct of both, the understood and unthinkable, commanding to be seen. This existence demands the participation of the audience to define and categorise what it is to be normal, suggesting that the image of the monster is never fixed; constantly evolving through interpretation. When considering the monstrous within the Middle Ages, this is best represented in the depiction of the Sheela-na-gig that exist today often eroded or decayed due to the excess of human touch. The utmost importance of this source is that it reveals an audience desired contact and domestication of the obscene which may or may not have occurred in the medieval period. When scholars interpret the Sheela-na-gig to be representative of the offensive, analysis is thus partly superficial as it deals with investing their own narrative within an imperfect material.
It is clear that alienation and isolation affects the way that characters behave and the choices that they make throughout each of the respective narratives of Ambrosio from The Monk by Matthew Lewis and Victor Frankenstein from Frankenstein by Mary Shelley. Ambrosio and Frankenstein are the ones to blame for their choice of alienation and isolation which has caused Ambrosio to commit crimes of murder, rape and witchcraft and Frankenstein to utilise dangerous knowledge to create a destructive creature. These choices affect issues such as gender, sexuality and the surface and substance of the protagonist’s characters. Furthermore, their alienation and isolation has caused them to turn into monstrous figures, therefore making poor or ill fated choices which have a negative effect on others and themselves. The settings that the main protagonists of both texts situate themselves in, largely contribute to their choice of isolation and alienation.
Once Giovanni realizes he has become conflicted with Beatrice’s curse, he confronts her and accuses her of intentionally “[filling his] veins with poison” (Hawthorne par. 126). Outraged, he claims Beatrice has made him “as hateful, as ugly, as loathsome and deadly a creature” as her (Hawthorne par. 126). Mary Shelley 's Frankenstein and Nathaniel Hawthorne’s Rappaccini’s Daughter show how humanity is obsessed with aesthetics to the point where it becomes a primary determinant of one’s value.