Many people, including Scout, Jem, and Dill, are afraid of things Boo hasn’t done. Furthermore, Boo always stays home, which makes others think Boo’s father has been punishing him for his actions. Yet this isn’t true, as Jem states, “...when I was your age...(I thought) if there’s just one kind of folks, why can’t they get along with each other?... Scout… I’m beginning to understand why Boo Radley’s stayed shut up in the house all this time...it’s because he wants to stay inside” (227). Boo is actually scared of the world because he knows it’s cruel and unforgiving at times.
In the 2003 version terrorism was on everyone’s mind so they were easy to assume all there problems were coming from the family that had just moved into the neighborhood. Both of those videos and stories show us that fear of the unknown can cause people to turn on each other. In the 1960 version of “The monsters are due on Maple Street” Rod Serling puts together a brilliant teleplay that when the power goes out people become frantic to find the source of the problem. He shows that fear of the unknown can cause people to turn on each other. People started to fear when “As the figure gets close and closer, he pulls the trigger”.
He has a few antagonists who would bring the movie forward. Those are all the monsters that involve in the Goosebumps movie series. Moreover, he seemed to have slight doubtful views on his life since his father passed away. He would always hide it with a very mocking attitude and also says funny things with serious and calm face expressions. He actually opened up more when he met Hannah when the monsters from the Stine’s book conquered the school.
Throughout the novel, Jem learns to be sympathetic to others such as when he realizes that Boo Radley has problems. Scout, Jem, and Dill had made up this amusement game which they used to torment Boo, at the same time atticus discovered out and advised them to be sympathetic towards Boo. Jem and Scout accidently burn down Miss Maudie's house and show sympathy by apologizing to her. Mrs. Maudie told her that Boo Radley was a good kid growing up. Mrs. Maudie tolds scout to show sympathy towards
Ender stops Bernard’s attempt to be ruler of the room by cracking the computer system. He figures out how to create a file for a nonexistent student and humiliates Bernard by saying that he likes butts. Ender was happy about it because it didn’t involve hurting him and sending him to the hospital. He had also contained Bernard and the boys were finally free of his rein. 5.
Although Beowulf shows traits of abnormal power, like Grendel and his mother, his motifs are interpreted differently. Grendel and his mother are represented as monsters, through their physical appearance, as well as their horrific killings. The monstrosity of Grendel is directly seen through his physical appearance, as depicted when his hand is exposed in the hall as a trophy, after he was injured during his battle with Beowulf. During this scene, the beastly appearance
. it’s because he wants to stay inside.” (304) Jem realizes that with all the hate in the world Boo probably stays inside to avoid all of that and just wants some peace. At this point the readers view on Boo Radley has change from a psychopathic mad man to a kind boy who secretly cares for Jem and Scout. The next and final change in the readers view of Boo happen when he finally come outside of his house and openly meet the children for the first time in the story. This happens at the very end of the book when Jem and Scout are walking back for a school play and are attacked by Bob Ewell.
In Jeffrey Jerome Cohen’s Monster Culture (Seven Thesis), Cohen analyzes the psychology behind monsters and how, rather than being a monstrous beast for the protagonist of the story to play against, “the monster signifies something other than itself”. Cohen makes the claim that by analyzing monsters in mythology and stories, you can learn much about the culture that gave rise to them. In Thesis 1 of Monster Culture, Cohen proposes that “the monster’s body literally incorporates fear, desire, anxiety, and fantasy”, specifically the fear, desire and anxiety of the cultures that gave rise to it;; fFor example, vVampires, undead, represent a fear of death. Monsters are born of an intense fear, desire, or internal conflict, “at this metaphorical
When Steve was talking to one of his inmates, “He said when he gets out, he will have the word Monster tattooed on his forehead. I feel like I already have it tattooed on mine” (61). This shows that Steve already thinks of himself as a monster from what he had done. His mom believed that he was innocent, “It was [him] who wasn’t sure. It was [him] who lay on the cot wondering if [he] was fooling [himself]” (148).
Monsters come in many forms. Monsters could be what people sees as villains in movies, scary Halloween pictures or simply the “creatures of the night. The word “monster” became a way of explaining the seemingly inexplicable. People create and ascribe meaning to monsters, endowing them with characteristics derived from their most deep-seated fears and taboos. In David Mill’s story, Derealization, the monster motif is used to encompass a bigger idea that the monsters that the readers are afraid are the ones that actually lies within their true