Monsters are created in different appearances, crucial aspects that allow them to scare other bodies. Their creation is designated to portray a negative difference in their context. According to Cohen from the “monster theory, monster culture: seven theses” the fourth thesis indicates that “The monsters always dwells at the gate of differences” the differences depicted include gender, race, sex, and culture, which transforms creatures and monsters as different bodies from others that serve in the same environment. Also, Cohen expounded the understanding through the seven theses, which provided in-depth knowledge of the monster’s reflection on humanity in fantasies, desires, and anxieties. Cohen’sCohen’s primary assertion unveils the position of monsters in society. Therefore according to Bujdei, (185-202) within the culture, monsters are different due to their language and communication style and their way of living. The variation is evident in the mermaids and siren monster as from this experience. They gained knowledge of the language through life, which is feasible through adjustments to be compatible with the living conditions. From the article, the monster is expected to look for a home and cease the dependency on none, as they were not related to any home. The situations were severe since the monster has no one to relate to in terms of a family, which affirms Cohen’sCohen’s fourth thesis that the monster is different culturally. The monster depicted in Bujdei review has no characteristics of variation in sexuality since they seek a companion to live with. They have no capabilities of inspiring love from the individuals who belong to the culture where they live. The monster depicted were formed by human efforts through random parts, including big and small. The aspect made the monster different from others, which resulted in sexuality confusion. Since the monster is not made on his own, there is a disruption when he tries to discover himself because of various parts in one. The sexuality variation caused the creature to stand out, although it is not substantial evidence why it appeared to be different.
Cohen depicts that there exists variation in races that occur due to classifications that are based on the color of the skin. Therefore, it is explicit that the probability of looking ugly is based on the appearance classification from monster theory. Also, the aspects of a terrifying fall under the same classification which causes the appearance segregation. Mermaid monsters concur with Cohen’sCohen’s stipulation, as there is a different appearance from when the monster woke up and discovered she was different, and others were scared by his look. He caused his creator to vanish from this scenario due to a situation of disgust and horror that he initiated. The monster is aware that he is disgusting in his premises as everyone is terrified of the appearance. Also, he finds that “the, a monster, a blot upon the earth, from which all men fled and whom all men disowned” “which is the cause of harm and death in his area of operation. Therefore, the novels concede Cohen’sCohen’s thesis, which expounds more on the main differences, the reason why monsters’monsters’ perception is based on the peoples’ beliefs and visibility.
“The Monster’sMonster’s Body Is a Cultural Body” is the first Cohen thesis that supports the embodiment. Reflecting on the “Feminine Monstrosity Reconsidered: Sirens, Mermaids and Giant Women in Contemporary English Novels” by Bujdei, the mermaids are referred to as monsters associated with culture. It is explicit that the article associates the mermaid’s monster with the human culture, which means human culture’s body is associated with the monsters that erupt in the same context. Due to this link, the mermaids appear in two forms, including monsters and celebrities. Therefore, the study finds that the monsters are embedded in the cultural aspects of the fishermen. It is evident from the study that the monster involves the cultural body to realize its mission. The monsters are less of a celebrity and appear to be more monsters since the mermaid and sirens can trigger fantasies and fears when imagined. Also, they tend to depict punishment operations to those who violate humanity’s respect. Their appearance signals disobedient as stipulated from the western culture in which they are embedded. The sirens and mermaids vanish unnoticed, which make them be culture monitors. The study argues people tend to have monster imaginations when they anticipate death occurrence. Cohen’sCohen’s thesis emphasizes this as he depicts the association between vampires and death. Which implies that since monsters’monsters’ origin is obscure, the bodies might appear from the corpse, which triggers the debates on their origin.
As society associates monsters with fear and anxiety, there exist some friendly monsters from them. According to Bujdei, Assyrian lumasi is a friendly giant woman monster representing a deity with a human head, but possesses a lion or a bull’s body and possesses wings. The depiction implies that the monsters serve as their supreme being, who is believed to be protective in some cultures. The information confirms that the monsters’monsters’ tendency to police the possible as depicted in the firth Cohen thesis. Assyrian lumasi monster serving as a deity is a clear implication that there is policing of humanity, which is a possibility within the cultural context. Therefore, the study agrees with Cohen’s stipulation in his theses, where the monster is part of the culture. The research verifies why the fears and anxieties associated with the monsters depend on the monster’s purpose within a particular cultural context. Therefore, not all monsters are associated with disgust and horror within society. Some are friendly and offer protective roles through an individual’s faith and beliefs, which changes the perception from punishing to protecting. The protection displays a paramount obligation, which is different from the perception that monsters signify the breaking of taboos.