The lens through which readers encounter monsters is often a skewed one. This lens could be that of the author, who seeks to embody a monster as a horrific, non-human entity that will cause havoc in an area. Similarly, this lens could be that of a character in a piece, one who witnesses the monster’s wrath and destruction firsthand and hopes to avoid the cruel savage being. Monster narratives rarely unfold from the perceptive of the monster, and, as such, audiences must rely on other sources as to the monster’s course of action. Such voices can carry a bias with them. As in the case of the author, the omniscient perspective provides descriptions of the monster without directly interacting the monster. This perspective could easily fail to report…
Poetry arouses great emotions in people. How have four poems “aroused emotions” in you? What have you learnt about war and the emotions associated with it?…
Both swallowed in their job, the janitor in “Jorge the Church Janitor Finally Quits” by Martin Espada and the secretary in “The Secretary Chant” by Marge Piercy feel unappreciated and lost as employees. Jorge is “outside…of [Americans] understanding” and The Secretary is lost in her work and compares herself to objects such as her “hips are a desk.” The employees from these poems have become hidden behind their duties and are slowly sinking into the unknown.…
Lottery style poker. Poker requires plan. Lottery. No plan. Just scratch. No strategy only rhythm: Scratch card, have hope, lose, lose hope, curse odds, repeat, survive.…
For centuries people have been writing and passing down stories about a variety of different subjects. One topic that has always intrigued the general population is those stories of monsters. The reason these stories have always been so popular is because they are not actually about the monster itself, but rather about what the monster represents in regards to the time period as well as the culture of the place where the story originated. This is extremely apparent in the classic 1954 film Godzilla. Godzilla represents the first thesis of Jeffery Jerome Cohan’s “Monster Theory” which states that “The monster’s body quite literally incorporates fear, desire, anxiety, and fantasy. The monstrous body is pure culture” (Cohan). In the film Godzilla symbolizes the fear of atomic or nuclear war that many Japanese people were experiencing following WWII along with the dropping of the atomic bomb on Hiroshima and Nagasaki.…
Here the correlation between the outcast Godzilla and the child is emphasized as both are considered, at least in the child's mind as outcasts, and thus the victory cry is a cry of solidarity. This is unfortunate as the child feels there is no one who he is able to relate…
Based on all of the recent tragedies Japan had endured, combined with the release of numerous other monster movies, it was decided that Japan was going to make its first. Ishiro Hondawas the man who was put in charge of productions, as he was a man who endured serving in the war and ultimately came home to eerily empty streets, grief-stricken survivors and mass destruction - a portrait that would later be used in the directors creations. These personal perspectives inspired Honda’s vision of the film to metaphorically compare Godzilla to the atomic…
I appreciate the kind words and the feedback. Do whatever you like with the tracks, but me updated. I find time to work on music everyday, so I am always creating when I am free from writing papers and such. I do not mind the comparisons to the legends, anyhow, we need to figure out the arrangement to the "It Rains On Our Love" so you can be satisfied . What elements need to be taken out or what section need to be cut or added? I have zero problems changing anything. What sound you really looking for because I never asked you that to begin with. haha. You could actually send me like some piano chords and have me do the drums or whatever you prefer.. Just some ideas. haha. I will be sending you more RANDOM tracks later this week.…
The parallel concept of humanity is highlighted through different paradigms. Shelley employs the mise-en-abyme and gothic horror form to highlight how monstrosity (and ultimately humanity) is not defined by the physical, whilst Scott emphasises this in BR through the crime fiction elements which focus on the grey areas of humanity through the simulacra replicants. The physical monstrosity of the creature is juxtaposed with the internal monstrosity of F through the combined mise-en-abyme and gothic form of the novel. The dark and gothic imagery employed to describe the monster in F’s perspective: “his yellow skin... watery eyes… shrivelled complexion and straight black lips” repulses the audience. However, through the mise-en-abyme form, readers are able to empathise with the monster’s pain: “I was a poor, miserable wretch”. Consequently, F’s humanity is questioned as Shelley delves deeper into the monster’s character, to the extent that F becomes the real monster even though he is not physically monstrous. This paralleled theme is further enhanced in BR through the ambiguity of the crime fiction form. This is shown through the simulacrum nature of the replicants and is juxtaposed to the monstrosity in F, as there is no now physical distinction of humanity. This “More human than human” approach is highlighted not just physically, but also…
Mayella’s Moment Pa came stormin’ through the front room, cussin’ a’me, madder than a wet hen, an’ his face more ruddy than my legs after yesterday’s beatin’. I knowed I was done for; Pa’d seen me kissin’ Tom through the window. I cowered to the corner of the room, hopin’ that Pa’s beatin’ on me ain’t gonna be so bad, though Pa was drunker than Cooter Brown. He showed his teeth, “You damned girl. Watcha doin’ cuddlin’ to that nigger-boy?…
| IDEAS► Monster portrayed as a confused baby; human.►Predestination, free will►Monster feels human emotions►Monster corrupted by faulty education and loneliness►Parallels – Adam and Satan► Monster is “more human than human”, driven by the human emotions of rage and hatred► Frankenstein has a “responsibility” towards the monster…
Chapter 10-18“The greater a man’s talents, the greater his power to lead astray” Haley page122.-disscuss the ironyIn the brave new world people believe that everyone belongs to someone else. They are born with different caste and appointed jobs. They do not have to or cannot think and worry about anything, because the controllers need absolute submit to their orders. In their formats of human, human should not have talents and a brain to think. In this case, Bernard’s belief, habits, goals and curiosities have brought tension to the controllers. They think that Bernard’s “talents” will lead him or the community to a new theory of life, which is forbidden in the new world. This sentence is a verbal irony, director use the word “astray” to show that man’s talents is a noxious thing to have, which could lead people to corruption. But the truth is that the greater a man’s talents, the greater his power to lead to the understanding of life. (10.7)…
The works we studied within Creative Writing were all helpful in creating my own works to submit to the class. Throughout all of the reading, many of the works inspired me in different ways, whether it was short story plot ideas or word usage in the poems. While crafting my work for the final portfolio, I reviewed many of the poems from our poetry packet in an effort to find inspiration and to create new interesting images. I took the most inspiration for my formal poem, which I found most difficult to write. One of the poems that was most useful to me was Jilly Dybka’s “Memphis, 1976.” Dybka’s poem follows the sestina form; I also wrote my last poem in this form, so it helped to follow the form by looking at her poem as an example. Dybka’s…
In this stylistic analysis of the lost baby poem written by Lucille Clifton I will deal mainly with two aspects of stylistic: derivation and parallelism features present in the poem. However I will first give a general interpretation of the poem to link more easily the stylistic features with the meaning of the poem itself.…
Initially, readers perceive Frankenstein’s “catastrophe” as a hell bent creature fuelled by “revenge and hatred”, but it is the unique narrative structure that provides insight into the reasons for the creature’s motives and infinite desolation. As the creature tells Frankenstein of how he was “benevolent; (his) soul glowed with love for humanity”, readers understand that there must have been some sort of external force that drove the creature to becoming a monster. The instant that the creature was animated to life he was shunned, considered a “breathless horror.” The creature’s narrative enables readers to understand the it was “the barbarity of man” that forced him into becoming monstrous and inspired his motives for revenge. Through the novel, readers gain the insight that they too are always driven by something other than themselves. Readers understand that before they judge one on their actions, they must first hear their story and consider their motives.…