Afternoon of Alterity - Nazareth College

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story than as the beginning? What force could possibly render thenotions of alterity felt by Sir Gawain completely irrelevant?The answer to these questions posed in this work of Medievalromance is love. No pun intended. A love that removes motives ofalterity by overshadowing the superficial differences and enlighteningthe deep oneness or sameness shared by all humanity. That love, andthe facets and characteristics of it which define such an intimaterelationship, is the factor which exists in the connection betweenGiant and Knight in Sir Gawain and the Green Knight that enables apath to a nonviolent and mutual understanding. This kind of loveis accurately characterized as “altruistic love [which is] any generalor nonerotic sense to include the other within the realm of theperceived self” (O’Neill 107). This kind of inclusion which lovesits object for that object as it is “to undergo a process which mightbe termed ego-decentering”(O’Neill 107) something which takes theopinions and socially constructed views of what should be and ratherunderstands something, someone really, as they are. By showing sucha harmonious resolution between two supposedly contrary figures,that the author of this text, the identity of whom is lost to ourpresent knowledge that challenges cultural conventions of the timeand presents a more agreeable, open-minded, and synthesized visionfor humanity.The negative side of this is that the anonymous author had thechips stacked against such a beautiful optimism actually coming tocultural fruition. The culture of Medieval England in particularwas a highly regimented and tradition-minded society, with oneconvention or another delegating appropriate and inappropriatebehavior for every situation one could think of. All forms nobility,including knights and maidens of the court, are the noteworthyvictims of such rigidity. Codes of chivalry are notorious for theirdisciplined perspectives on how such experiences as love should beexperienced.lauren apt 43
This is evidenced by the medieval text “The Art of Courtly Love”,written by Andreas Capellanus. Within such a text, love is definedas “[an] inborn suffering derived from the sight of…the opposite sex”(Capellanus 28) and something which is structured so that “whatevernature forbids, love is ashamed to accept” (Capellanus 30), and here inthis latter mandate is what could be considered the first implication ofthe existence of exclusivity from love, a planting ground for the seedsof monstrosity to be sown. Additionally, it is worth noting from thistext places heavy emphasis on the superficialities of aspects of humanattraction, signified in the supposed “fact” that “blindness is a barto love because a blind man cannot see anything…” (Capellanus 33).Since one major indicator of love is “a beautiful figure” (Capellanus33), not being able to admire such a thing would surely block lovefrom ever truly developing.Love, for medieval courtiers at least, also seems to only be a feelingthat is expressed in it’s physical gratification, for in yet anotherpassage describing a situation in which love is impossible, it is saidthat “age is a bar…because although one can have intercourse hispassion cannot develop into love” (Capellanus 32), implying that sexis a requirement, a prerequisite to the creation of a love for another.In it’s final pages, The Art of Courtly Love is sure to reveal to it’sreader that despite all the right ways to love which are laid out inthe preceding pages that “[love] deprives you…of every real friend,and takes away all the honors of this world, as well as every breath ofpraiseworthy reputation” (Capellanus 210), and notice how again thethings which comprise of a happy lifestyle are such superficialities asthe opinions of others and reputation. Perhaps more troubling is theimplied destruction of friendship in the face of love. Love is neveronce mentioned to be a feeling which may bond humans regardlessof sex or consummation. It is always and forever a physical emotionwhich can only exist in the absence of all other mitigating factors,these being things like God, wealth, and friendship.44 afternoons of 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 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 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 134 and 135:
They Walk Among UsOccupational Viol
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
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Afternoon of Alterity - Nazareth College

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