- Page 1 and 2:
Afternoons of Alterity A Codex of t
- Page 4 and 5:
Table of ContentsFrom Medieval Mars
- Page 6 and 7:
From Medieval Marsh Monsters toFutu
- Page 8 and 9:
imagination, we must first attempt
- Page 10 and 11:
seed of monstrosity within themselv
- Page 12 and 13:
essence as a monster, it seems reas
- Page 14 and 15:
she bore two sons, one from the imp
- Page 16 and 17:
perhaps, anti-heroes) of the futuri
- Page 18 and 19:
to watch the murder and mutilation
- Page 20 and 21:
and modern audiences through their
- Page 22 and 23:
Works Cited“Bushwhacked.” Firef
- Page 24 and 25:
Projecting Otherness ontothe Disabl
- Page 26 and 27:
in any systematic structuration. An
- Page 28 and 29:
The idea of the monstrous’ vulner
- Page 30 and 31:
not us and are in the proximity of
- Page 32:
they want to be treated. The interv
- Page 36:
Monstrosity and theIrruption of Rea
- Page 39 and 40:
describing his fears of this place
- Page 41 and 42:
stained with sin” (Spearing 221).
- Page 43:
often and at will to show man somet
- Page 46 and 47:
What’s Love Got To Do With It?The
- Page 48 and 49:
story than as the beginning? What f
- Page 50 and 51:
It is textual content like this tha
- Page 52 and 53:
through the story as the Green Knig
- Page 54 and 55:
the first advocating voices for end
- Page 56 and 57:
“capable of seeing things objecti
- Page 58 and 59:
Darkness: The True Monster ofLitera
- Page 60 and 61:
the way they can make us feel, but
- Page 62 and 63:
not only closes out, extinguishes,
- Page 64 and 65:
and temptation, most especially for
- Page 66 and 67:
hours “led to the term ‘night
- Page 68 and 69:
specifically his relationship to da
- Page 70 and 71:
humanization of Grendel draws the r
- Page 72 and 73:
subconscious the message may be. Th
- Page 74 and 75:
Serial MonstrosityEmily Mastrobatti
- Page 76 and 77:
is clear that they are monsters and
- Page 78 and 79:
murderer that he once was. He has b
- Page 80 and 81:
of the killing, “When investigato
- Page 82 and 83: ook “contains recipes from the bo
- Page 84 and 85: asks Charles Manson to marry her, t
- Page 86 and 87: Monstrous Mothers andObjectified Da
- Page 88 and 89: and her sisters plot to kill their
- Page 90 and 91: easons for “otherness.” On top
- Page 92 and 93: The original ideas are still intact
- Page 94 and 95: objectified creature. “Cultures o
- Page 96 and 97: Works CitedAcker, P. Horror and the
- Page 98 and 99: Grendel: A Manifestation ofMedieval
- Page 100 and 101: ut never was his physicality hinted
- Page 102 and 103: to wander in the darkness and the c
- Page 104 and 105: Magic could not resurrect Grendel t
- Page 106 and 107: Works CitedBeowulf. Trans. RM Liuzz
- Page 108 and 109: The Monster Under the BedThe Creati
- Page 110 and 111: to procreate but the accepted manif
- Page 112 and 113: Cain had/killed his father’s son
- Page 114 and 115: can, without a doubt, be placed int
- Page 116 and 117: The vagina’s ability to function
- Page 118: Ed. Barbara K. Gold, et all. Albany
- Page 121 and 122: To understand precisely how states
- Page 123 and 124: a strict delineation between each g
- Page 125 and 126: monstrous and societal rules to fol
- Page 127 and 128: Gawain is willing to accept his mis
- Page 129 and 130: survive, challenge, and defeat. Esp
- Page 131 and 132: governmental standards, then are we
- Page 136 and 137: sports and regard our members of th
- Page 138 and 139: modern readers are not part of the
- Page 140 and 141: otherness and disdain for humanity.
- Page 142 and 143: are underpaid and for the most part
- Page 144 and 145: Home and Spatial IdentityPhysical t
- Page 146 and 147: closeness among the people that the
- Page 148 and 149: Into the dark gorge I ventured; the
- Page 150 and 151: the treasures that fill up their ho
- Page 152 and 153: threatened by the very existence of
- Page 154 and 155: and draped in damp, shaggy moss, an
- Page 156 and 157: individual. Home resides within the
- Page 158: Works CitedArmitage, Simon. Sir Gaw