is clear that they are monsters and not heroes. Farrell describes that“Grendel encompasses all the traits that Early Middle Age Christiansbelieved that the devil had” (Farrell, 936). This line furthers the beliefthat killers <strong>of</strong> multiple victims during medieval times were just that,murderers. Jennifer Farrell makes this point when she says, “in thisChristian poem the evil source cannot be complicated because thehero/villain good/evil dichotomy must be absolute” (937). Grendel’smother is even more dangerous than Grendel to the Danes becauseshe is a “warrior on par with Beowulf himself” (Hennequin, 507).To Christians, Grendel’s mother is the worst kind <strong>of</strong> killer because“she crosses gender lines to participate in the masculine realm andcan actually challenge Beowulf” (510). Their strength and lack <strong>of</strong>human qualities makes them very hard to identify with and veryscary to society. In Liuzza’s a clearly demonic Grendel is describedas evil who,“saw many men in the mansion, sleeping, a ranked company<strong>of</strong> kinsmen and warriors quartered together. And his gleewas demonic, picturing the mayhem: before morning hewould rip life from limb and devour them, feed on theirflesh” (Liuzza, lines 723-733).Farrell notes that “the poet’s intentions are to posit Grendel as theevil predator <strong>of</strong> Hrothgar’s innocent people. He bears the curse <strong>of</strong>Cain, which likens him to a brother killer” (Farrell, 936). Grendel’srelation to Cain only furthers his demonic nature. It is very clearthat his relation to Cain is not supposed to be a point <strong>of</strong> fascination,but a reason to really fear him and see him as a monster. Grendel’sactions and his mother’s are viewed as monstrous. Their killings arenot viewed as justifiable or fascinating. Grendel’s mother’s strengthis not looked at positively; rather it is seen as a prime reason why sheis pure evil.emily mastrobattisto 71
Similar to Grendel, another medieval, demonic character isGrettir. Janice Hawes describes Grettir as an outlaw. She states,“not only does the fight with Glamr change the nature <strong>of</strong> Grettir’srelationship to society, but in one sense, he has also reached thepoint <strong>of</strong> no return” (Hawes 20). Similar to Grendel, Grettir is verydangerous because he does not think before he acts. After a fightwith Glam, Grettir acted quickly. “He drew his short sword, cut<strong>of</strong>f Glam’s head and laid it between his thighs” (Byock, 56). Hawesfurther makes the point that Grettir is not a hero, but only a monsterwhen she describes Grettir as a cannibal. “The cannibal is describedas an evil spirit, so the hero assumes the role <strong>of</strong> an exorcist, a shaman,and not only rids the people <strong>of</strong> a monster but cleanses the area <strong>of</strong> thedemon” (Hawes 28). Grendel and Grettir can both be described inthat passage. They are both monsters and killers <strong>of</strong> multiple victims.The dichotomy is clear in medieval literature. Monsters and heroesare not one in the same.The dichotomy becomes unclear when reading John Gardner’sGrendel. The postmodern portrayal <strong>of</strong> Grendel reveals the newparadigmatic view <strong>of</strong> killers with multiple victims. Gardner bridgesthe old paradigm with the new paradigm without intending to doso. Grendel the mass murderer becomes Grendel the victim whenGardner gives him human characteristics that Beowulf did not. Forthe first time, Grendel is given the ability to ponder and becomephilosophical, as when Grendel says, “I understood that the worldwas nothing: a mechanical chaos <strong>of</strong> casual, brute enmity on whichwe stupidly impose our hopes and fears. I understood that, finallyand absolutely, I alone exist. All the rest, I saw, is merely what pushesme, or what I push against, blindly—as blindly as all that is not myselfpushes back” (Garnder,16). Grendel is capable <strong>of</strong> having revelations.He realizes that the world is just like the bull, it is mindless anddestructive without any discernible plan or reason. Grendel’sassertion changes the way he is perceived. He is no longer the brutal72 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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- Page 30 and 31: not us and are in the proximity of
- Page 32: they want to be treated. The interv
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- Page 41 and 42: stained with sin” (Spearing 221).
- Page 43: often and at will to show man somet
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- 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
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- 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
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- Page 74 and 75: Serial MonstrosityEmily Mastrobatti
- Page 78 and 79: murderer that he once was. He has b
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- Page 86 and 87: Monstrous Mothers andObjectified Da
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- Page 96 and 97: Works CitedAcker, P. Horror and the
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- Page 100 and 101: ut never was his physicality hinted
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- Page 106 and 107: Works CitedBeowulf. Trans. RM Liuzz
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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