also using his death to explore heroism and uniformity. First, Grettiris consistently used to define the monster, particularly through thesystem <strong>of</strong> outlawry. He is consistently viewed as the other, “far inadvance <strong>of</strong> other men” with an exceptional physical appearance,Thornstein saying: “I have never seen a man’s arm like this” (88,115). He is even cursed, Glam punishing him: “most <strong>of</strong> what youdo will now turn against you, bringing bad luck and no joy. Youwill be made an outlaw” (102). Despite Grettir’s nature, his physicalappearance and cursed existence render him a monster regardless.The institution <strong>of</strong> outlawry confines him multiple times to a life asan outlaw, as exampled when text states, “Thorir made Grettir anoutlaw in every part <strong>of</strong> the country” (123). No matter how Grettirreacted, the system <strong>of</strong> outlawry confined him to a life as a monster,never allowing him to overcome the perceptions because he wasneeded as an outlaw to clearly identify the boundaries <strong>of</strong> society. Yet,because Grettir’s presence as an outlaw made his name renownedthroughout Iceland, in his death, the governmental body was forcedto not only acknowledge this man, but praise his life; this is done toensure that Grettir was not remembered for his misdeeds, but forhis twisted conformity. Sturla the Lawman, at the end <strong>of</strong> the saga,declares that:Grettir was the cleverest, as witnessed by the fact that helived in outlawry longest <strong>of</strong> all men and was never overcomewhile he had his health. Second, he was the strongest manin the land among those <strong>of</strong> the same age, and he was betterthan others at removing the walking dead and monsters.The third was that Grettir, unlike any other Icelander, wasavenged out in Constantinople (238).Suddenly, the threat that Grettir posed to the values <strong>of</strong> society areeliminated in his death. Instead, he is prized for his abilities tocaitlin garvey 123
survive, challenge, and defeat. Especially interesting, is that he’s seenas a slayer <strong>of</strong> monsters. A man, so demonized throughout the text, issuddenly accepted as securer <strong>of</strong> the status quo. Thus, the institution<strong>of</strong> outlawry is able to use Grettir as a multi-facet: he functions as amonster in life, a reminder <strong>of</strong> what humans should not be, and a heroin death, a man preserving and protecting the state. It appears then,that the governmental body is fully aware <strong>of</strong> Grettir as a monster anda hero, and is able to use him two-fold to reinstate societal normality.As these medieval texts reveal, governments in the past wereconscious <strong>of</strong> society’s monsters, using them to protect bordersand reinstate the status quo. This concept continues today, whilethe means <strong>of</strong> reminding society <strong>of</strong> their place has changed. Today,media, colored by a nation’s culture and motivated by pr<strong>of</strong>it, areutilized as an extension <strong>of</strong> the state. They project and remindsociety <strong>of</strong> the monsters so valued by the government, providinghuman beings a clear other from which to disassociate from. Aprime example <strong>of</strong> the monster control we experience today is <strong>of</strong>tenwitnessed in the news with the depiction <strong>of</strong> “the terrorist.” Thenegativity and the language the surrounds the depiction <strong>of</strong> the “theterrorist” is “universally negative” (Brennan 2). This being is <strong>of</strong>tenconsidered “‘freedom-hating,’” a direct opposition to everythingthat American values uphold (Brennan 2). Thus, this monster, “theterrorist,” is created for Americans to compare themselves against.If we are consistently forced oppose ourselves to the other—thisextreme harmer <strong>of</strong> nations—we naturally maintain the status quo,for we directly disassociate “the terrorist,” or a threat to Americanuniformity. The news is not the only utilized form <strong>of</strong> media bythe government; many <strong>of</strong> today’s most popular television showssubconsciously remind us <strong>of</strong> who and what humanity and societyare and should remain. The television affords us the comfort <strong>of</strong>being able to view the monster and the monstrous qualities that itobserves, while still being able to maintain a significant distance.124 afternoons <strong>of</strong> alterity
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Afternoons of Alterity A Codex of t
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Table of ContentsFrom Medieval Mars
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From Medieval Marsh Monsters toFutu
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imagination, we must first attempt
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seed of monstrosity within themselv
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essence as a monster, it seems reas
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she bore two sons, one from the imp
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perhaps, anti-heroes) of the futuri
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to watch the murder and mutilation
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and modern audiences through their
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Works Cited“Bushwhacked.” Firef
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Projecting Otherness ontothe Disabl
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in any systematic structuration. An
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The idea of the monstrous’ vulner
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not us and are in the proximity of
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they want to be treated. The interv
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Monstrosity and theIrruption of Rea
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describing his fears of this place
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stained with sin” (Spearing 221).
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often and at will to show man somet
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What’s Love Got To Do With It?The
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story than as the beginning? What f
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It is textual content like this tha
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through the story as the Green Knig
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the first advocating voices for end
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“capable of seeing things objecti
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Darkness: The True Monster ofLitera
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the way they can make us feel, but
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not only closes out, extinguishes,
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and temptation, most especially for
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hours “led to the term ‘night
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specifically his relationship to da
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humanization of Grendel draws the r
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subconscious the message may be. Th
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Serial MonstrosityEmily Mastrobatti
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is clear that they are monsters and
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- Page 106 and 107: Works CitedBeowulf. Trans. RM Liuzz
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- Page 158: Works CitedArmitage, Simon. Sir Gaw