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Lawrence Cohen Monster Culture

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In Cohen’s 1996 essay ‘Monster Culture (Seven Theses),’ Cohen explicates a “modus legendi” which allows for the understanding of cultures through the monsters which pervade their society, which he has separated into seven aspects which pertain to the monster’s appearance, character, or cultural representation (Cohen, 1997). The third of these theses proposes that the cultural monster is “the harbinger of category crisis” due to its inherent ontological liminality, which manifests in a myriad of ways. In some instances, the monster evades categorisation in any coherent epistemological system, undermining mankind’s ability to understand the world around them, and thus symbolising the limits of humanity, the failings of scientific exploration, …show more content…

Rather than mindlessly feeding in order to satiate hunger, Grendel’s motive for cannibalising the men in the hall is anger at their joy, which he is isolated from. Subsequently, the monster no longer remains dissociated from humanity: rather, the monster’s vestigial humanity is a manifestation of the darkest, evilest desires of mankind, which remain repressed within the realm of the civilised mind. Grendel, an indirect descendent of humanity, therefore is a manifestation of sinful and evil thought escaping the mind due to the lack of restraint. Grendel, therefore, exists between the realm of the monster and the human in a manner which reminds the reader that the two are not always entirely …show more content…

In the novel, Victor Frankenstein loses his moral identity in the face of egotistical scientific pursuits, which he believed would prove his own intelligence, which leads him to create his monster, who refers to himself as Adam. Adam is built by Victor Frankenstein in a laboratory through a scientific method which utilised dead bodies in conjunction with chemistry and alchemy in order to create life from death. Upon the realisation of his goal, Victor appears to regain his moral identity, reviling Adam as a ““demonical corpse to which [he] so miserably given life” (Shelley,

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