animals, and her magical control (Darrah 79). The Green knightprovides a description <strong>of</strong> Morgan’s power when he states “in mymanor lives the mighty Morgan le Fay, / so adept and adroit in thedark arts, / who learned magic from Merlin” (“Thurgh might <strong>of</strong>Morgne la Faye, that in my hous lenges, / And koyntyse <strong>of</strong> clergye,bi craftes wel lerned. / The maystres <strong>of</strong> Merlyn, mony ho has taken”)(2446-2448). Since possession <strong>of</strong> magical control links Morgan withpaganism, then anything upon which she uses her magical powerswill also represent paganism, i.e. the Green Knight. As Markmanrightly states Sir Bercilak’s marvelous transformation into the GreenKnight is the “direct manifestation <strong>of</strong> Morgan le Fay’s magical power”(580). This magical transformation establishes the Green Knight’sassociation with the pagan world. As the central pagan symbol inthis poem irrupting Gawain’s reality, Gawain is unconsciously luredinto searching for his true Christian identity and overcoming thesepagan barriers.The Green Knight is connected with Paganism not only because<strong>of</strong> Morgan le Fay, but also because <strong>of</strong> the demonic elementsdescribing him and his habitat. The most sinister <strong>of</strong> these physicalcharacteristics are his “rede” eyes (304). Since this knight is “entirelyemerald green” (“And overall enker grene”), these red eyes are allthe more prominent (150). According to Hawkins, the color red canindicate anger, strength, masculine vigor, drunkenness, debauchery,corruption, malignancy, ill-heath in the soul, or death (50). Withthese various interpretations, none fits better than the associationwith the supernatural. The color red is <strong>of</strong>ten associated with demoniccreatures or the devil. By recognizing the eyes, the poem suggests thatfear extends from being observed by a supernatural power (Hawkins50). The red eyes enhance the monstrosity <strong>of</strong> the Green Knight. Someinterpretations regard the Green Knight as the Devil because <strong>of</strong> thedisturbing descriptions <strong>of</strong> his environment, such as “the devil’s lair”(“Whether this be the grene chapelle”) (2186). Gawain continues byjaime griffith 33
describing his fears <strong>of</strong> this place and referencing the devil: “Satanhimself / has tricked me in this tryst, intending to destroy me”(the fende, in my five wyttes, / that has stoken me this steven tostrye me here) (2193-2194). Corinne Saunders states that “magic isdemonic, whereas miracles occur through faith” (202). Thus, theGreen Knight’s demonization further associates him with magic. Ifthis is the case, then it is not only his red eyes but also his disturbingenvironment that make the Green Knight demonic. Once again heis connected to the magical, pagan world emphasizing the conceptthat to be demonic means to be pagan. It is this pagan world thatGawain discards after his atonement for his sins.The irruption <strong>of</strong> the textual reality begins at King Arthur’s court“as a fearful form appeared, framed in the door” (“Ther hales inat the halle dor an aghlich mayster”) indicating the Green Knight’sarrival (136). Bringing with him the pagan association, he disruptsthe “lovely illusory bubble,” or what they see as their perfect reality(Weiss 4). In truth, this disruption brings to light that their reality hassome flaws since a pagan element has appeared. After experiencinghis own faults <strong>of</strong> accepting paganism, Gawain eventually establishesthat a Christian reality should eliminate these pagan imperfections.Gawain recites what seems like heartfelt prayers: “let God be myguide” (“as God wyl me wysse”) (549) and “Let the Lord decide”(“Let God worche!”) (2208). However, as soon as he is tested, heresorts to pagan methods <strong>of</strong> magic to save him: for instance, thegreen girdle. Sweeney explains how Gawain “compromised his faithby choosing magic over reliance on God” when he took the girdlefor immortal protection (147). He simply could not resist when hediscoverd “the power knitted” within the belt, which will save himfrom any blow (“the costes that knit ar therinne”) (1849).As Gawain tucks the girdle away, he ironically rides to the chapel<strong>of</strong> worship. Not only does he speak empty words as he confesseshis sins, but he asks the priest to clear his mind. The priest then34 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 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 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
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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