perhaps, anti-heroes) <strong>of</strong> the futuristic drama are an eclectic crew <strong>of</strong>nine societal misfits who live and work as smugglers on the spaceship,“Serenity,” flying under the oppressive government Alliance’s radar.Their less-than-legal work sometimes brings them to the uncivilizedfringe planets that line the outer edge <strong>of</strong> the known galaxy, far fromthe “core planets” which comprise the hub <strong>of</strong> modern civilization andgovernment control. As they venture farther into the borderlands <strong>of</strong>space, the crew encounters terrifying monsters known as “Reavers”– monsters which I argue are twenty-first century reimaginings andmanifestations <strong>of</strong> the monstrous kin <strong>of</strong> Cain.The Reavers’ monstrous nature is evident, beginning with theetymology <strong>of</strong> their very name. According to the Oxford EnglishDictionary, the word “reaver” signifies a “robber,” “plunderer,”“marauder,” or “raider” (“Reaver, n.”). Containing the root word,“reave,” the word is also related to the Old Icelandic term, raufa,meaning “to break up, break open,” and “pierce,” the Old Icelandicterm, rjúfa, which means “to rip up” or “violate,” and the Old Englishprefixed form geréafian which means “to lay waste” or “destroy”(“Reave, v.1”). Indeed, the violent notions embedded in the Reavers’name characterize them perfectly. In drawing an immediate parallelbetween the implied nature <strong>of</strong> the Reavers and the monstrousdescendents <strong>of</strong> Cain, it is notable that in his translation <strong>of</strong> theBeowulf text, Seamus Heaney also refers to the character Grendel asa “reaver from hell” (Heaney, 13).Keeping in the mythological tradition <strong>of</strong> the exiled Cain andmirroring the borderland-wandering Grendel, the Reavers too liveon the very outskirts <strong>of</strong> civilization. In the pilot episode <strong>of</strong> the Fireflyseries, viewers learn from the sheltered and well-to-do doctor, SimonTam, that on the core planets, Reavers are thought to be nothing morethan monsters featured in children’s campfire stories. According toSimon, legend has it that Reavers were “men gone savage on theedge <strong>of</strong> space” (“Serenity”). Viewers quickly learn, however, that themaura whitman 11
legends are true, as the ship’s co-captain, Zoe, explains to Simonthe horrors that will transpire if a group <strong>of</strong> nearby Reavers boardsSerenity, grimly describing, “If they take the ship, they’ll rape us todeath, eat our flesh, and sew our skins into their clothing. And ifwe’re very, very lucky, they’ll do it in that order” (“Serenity”). Again,this wild, unethical murderous rage and cannibalistic tendencyis clearly aligned with the traditional traits associated with themonstrous line <strong>of</strong> Cain.With regard to the Reaver’s physical appearance, it is mostinteresting that like Grendel, whose body goes largely undescribedthroughout the poem <strong>of</strong> Beowulf, the Reavers’ bodies are alsosuspiciously absent, never actually appearing on screen during any<strong>of</strong> the episodes <strong>of</strong> the Firefly series. Erickson comments on the effectthat this writing and directing choice has on the characterization <strong>of</strong>the Reavers, noting, “By presenting Reavers almost totally throughtheir absence… Reavers, within the framework <strong>of</strong> the series, almostdo not exist… But although we barely see them, we see what theycan do, what seeing them can do to a person, and mostly we see thefear the idea <strong>of</strong> them can create” (Erickson 174-75). Just as readersrecognize the ferocity <strong>of</strong> Grendel through viewing the havoc anddestruction that he wreaks upon the Danes, viewers <strong>of</strong> Firefly areintroduced to the savageness <strong>of</strong> the Reavers through the terror theyinspire in the crew and the utter devastation they leave behind withregard to their victims. In the episode entitled, “Bushwhacked,”the crew <strong>of</strong> Serenity boards what looks to be an abandoned passingship, which they soon discover has in fact been attacked by Reavers.The shooting script <strong>of</strong> the episode describes in gruesome detail theannihilated corpses that the crew discovers: “THE BODIES arestrung up from the ceiling. Three clumps <strong>of</strong> twisted flesh. The skinpale, almost luminescent…” (Firefly: The Official Companion 89). Thecrew also discovers the lone survivor <strong>of</strong> the attack, left disturbedand psychologically broken from having been forced by the Reavers12 afternoons <strong>of</strong> alterity
- 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 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
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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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murderer that he once was. He has b
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of the killing, “When investigato
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ook “contains recipes from the bo
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asks Charles Manson to marry her, t
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Monstrous Mothers andObjectified Da
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and her sisters plot to kill their
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easons for “otherness.” On top
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The original ideas are still intact
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objectified creature. “Cultures o
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Works CitedAcker, P. Horror and the
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Grendel: A Manifestation ofMedieval
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ut never was his physicality hinted
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to wander in the darkness and the c
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Magic could not resurrect Grendel t
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Works CitedBeowulf. Trans. RM Liuzz
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The Monster Under the BedThe Creati
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to procreate but the accepted manif
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Cain had/killed his father’s son
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can, without a doubt, be placed int
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The vagina’s ability to function
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Ed. Barbara K. Gold, et all. Albany
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To understand precisely how states
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a strict delineation between each g
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monstrous and societal rules to fol
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Gawain is willing to accept his mis
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survive, challenge, and defeat. Esp
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governmental standards, then are we
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They Walk Among UsOccupational Viol
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sports and regard our members of th
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modern readers are not part of the
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otherness and disdain for humanity.
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are underpaid and for the most part
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Home and Spatial IdentityPhysical t
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closeness among the people that the
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Into the dark gorge I ventured; the
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the treasures that fill up their ho
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threatened by the very existence of
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and draped in damp, shaggy moss, an
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individual. Home resides within the
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Works CitedArmitage, Simon. Sir Gaw