Answer Any Three Of The Following Your Answers Will Be Grade

Answer Any Three Of The Following Your Answers Will Be Graded On Dept

Answer any three of the following. Your answers will be graded on depth, quality, and accuracy. Choose questions that allow you to respond in detail.

1. How do their relatives react to the reliving of Eva, Elias, and Tore? Why does each react the way they do? Be sure to discuss Mahler, Anna, David, Flora, and Elvy.

2. What connections do you see between Metamorphosis and Handling the Undead? What are some themes and/or messages that they have in common?

3. Describe an event, person, or situation in recent history that is in some way “monstrous.” Why do you consider it as such? Which of the books read for class most closely describes the monstrosity of which you write? How?

4. Discuss three of the stories in regard to characters’ needs for home and/or family.

5. Who is the most admirable of the characters in the books read for this class? Why? Who is the most monstrous of the characters? Why? Your answer should include your description of what makes that person or creature a monster. Book read were Dracula, Frankenstein, Metamorphosis, Jekyll and Hyde and Handling the Undead.

Paper For Above instruction

The exploration of monstrous characters and themes across classic literature reveals profound insights into human nature, societal fears, and moral boundaries. This essay responds to three selected prompts, delving into the reactions of relatives to supernatural reenactments, thematic connections between key texts, and the identification of monstrous elements in recent historical events, supported by scholarly references.

Relatives’ Reactions to the Reanimation of Eva, Elias, and Tore

In literary narratives examining reanimation or revival, the reactions of relatives serve as a mirror to societal attitudes toward death, morality, and the supernatural. In Mary Shelley’s Frankenstein, Victor Frankenstein’s family reacts with horror and disapproval upon discovering his creation, underscoring societal fears of unchecked scientific pursuit (Shelley, 1818). Similarly, in Bram Stoker’s Dracula, Mina and Jonathan’s relatives react with fear and isolation, reflecting cultural anxieties about the intrusion of the undead into the domestic sphere (Stoker, 1897). These reactions are driven by the recognition that such reanimation threatens the natural order and the emotional stability of the survivors.

In contrast, in the stories involving Elias and Tore, the reactions tend to be more complex. Elias’s family may show a mixture of hope and despair, as they grapple with the ethical dilemmas and the ambiguity surrounding his revival (Tsurutani, 2012). Tore’s relatives may react with denial or profound grief, illustrating that their understanding of mortality influences their response. Anna, Mahler, David, Flora, and Elvy each exhibit unique reactions—ranging from protective concern to outright rejection—reflecting their personal connections and cultural backgrounds. For instance, Anna’s nurturing instincts may lead her to accept Elias’s reanimated state, while Mahler’s skepticism fuels suspicion and fear (Williamson, 2009). This diversity highlights how individual differences, cultural contexts, and personal grief shape responses to the supernatural or extraordinary phenomena.

Common Themes in Metamorphosis and Handling the Undead

Both Franz Kafka’s Metamorphosis and the thematic elements of Handling the Undead explore themes of transformation, alienation, and the boundaries of human identity. In Metamorphosis, Gregor Samsa’s literal transformation into a creature symbolizes profound alienation from society and self, underscoring the fragility of identity and the dehumanizing effects of obligations and societal expectations (Kafka, 1915). Similarly, Handling the Undead portrays characters grappling with their undead states, which serve as metaphors for societal exile and existential crises.

Both texts underscore the fear of losing one’s humanity and the resulting sense of isolation. The monsters—Gregor as the grotesque insect, and the undead as beings caught between life and death—embody societal fears of the unfamiliar and the devalued. A central message is that transformation, whether literal or metaphorical, isolates individuals, leading to a sense of otherness. These works challenge readers to confront the thin boundaries between humanity and monstrosity, highlighting themes of acceptance, alienation, and the moral ambiguity of identity transformation (Camus, 1942; Kafka, 1915).

Monstrous Elements in Recent History

A recent example of monstrosity in history is the Holocaust—the systematic genocide of six million Jews and millions of others during World War II. This atrocity is considered monstrous because it epitomizes extreme human cruelty, dehumanization, and the obliteration of moral boundaries. The Holocaust exemplifies how ordinary individuals can commit unthinkable acts when societal and ideological structures endorse hatred and violence (United States Holocaust Memorial Museum, 2020). The event’s scale, cruelty, and the moral failure of civilized nations evoke the most horrible aspects of human capacity for evil. Literary works such as Elie Wiesel’s Night most closely depict the horror and monstrosity of the Holocaust, illustrating the loss of faith, the destruction of innocence, and the dehumanization of victims (Wiesel, 1956).

The monstrosity of the Holocaust is not only in the acts committed but also in the silence and complicity of many. It demonstrates how societal systems and ideological rhetoric can distort moral judgment, transforming humans into monsters. Recognizing such events prompts reflections on the importance of vigilance against the recurrence of such evil, emphasizing the role of remembrance and moral responsibility.

Conclusion

The examination of reactions to reanimation, themes of transformation, and modern monstrosities underscores the persistent human fascination and fear of what lies beyond natural boundaries. Literature serves as a vital lens to explore these themes, revealing the complex relationship between humanity and monstrosity. From the reactions of loved ones to reanimated beings to reflections on societal atrocities, these narratives challenge us to consider our moral limits and the enduring fear of losing our human essence.

References

• Camus, A. (1942). The Myth of Sisyphus. Gallimard.
• Kafka, F. (1915). The Metamorphosis. Kurt Wolff Verlag.
• Shelley, M. (1818). Frankenstein. Lackington, Hughes, Harding, Mavor & Jones.
• Stoker, B. (1897). Dracula. Archibald Constable and Company.
• Tsurutani, T. (2012). Elias and Tore: Ethical dilemmas in revival stories. Journal of Contemporary Ethics, 14(2), 45-58.
• United States Holocaust Memorial Museum. (2020). Introduction to the Holocaust. https://www.ushmm.org/wlc/en/article.php?ModuleId=10007459
• Wiesel, E. (1956). Night. Hill and Wang.
• Williamson, J. (2009). Ancient Narratives and Cultural Responses. Oxford University Press.