1. Secondary Source Article: Your Textbook Author, Dr. C. Brooks on The European Union, pp 265-267   The European Union.  As of this writing, Britain is poised to exit the EU in the near future.  At the start of the postwar boom, most of the nations of western Europe entered into various international groups that sought to improve economic relations and trade between the member nations.  Those culminated in the creation of the European Community (EC) in 1967, essentially an economic alliance and trade zone between most of the nations of non-communist Europe.  Despite various setbacks, not the least the enmity between French and British politicians that achieved almost comic levels at times, the EC steadily added new members into the 1980s.  Its leadership also began to discuss the possibility of moving toward an even more   inclusive model for Europe, one in which not just trade but currency, law, and policy might be more closely aligned between countries.  That vision of a united Europe was originally conceived in large part in hopes of creating a power-bloc to rival the two superpowers of the Cold War, but it also encompassed a moral vision of an advanced, rational economic and political system, in contrast to the conflicts that had so often characterized Europe in the past.   The EC officially became the European Union in 1993, and various member nations of the former EC voted (sometimes barely) to join in the following years.  Over time, passport controls at borders between the member states of the EU were eliminated entirely.  The member nations agreed to policies meant to ensure civil rights throughout the Union, as well as economic stipulations (e.g. limitations on national debt) meant to foster overall prosperity.  Most spectacularly, at the start of 2002, the Euro became the official currency of the entire EU except for Great Britain, which clung tenaciously to the venerable British Pound.   The period between 2002 and 2008 was one of relative success for the architects of the EU.  The economies of Eastern European countries in particular accelerated, along with a few unexpected western countries like Ireland (called the “Celtic Tiger” at the time for its success in bringing in outside investment by slashing corporate tax rates).  Loans from wealthier members to poorer ones, the latter generally clustered along the Mediterranean, meant that none of the countries of the “Eurozone” lagged too far behind.  While the end of passport controls at borders worried some, there was no general immigration crisis to speak of.   Unfortunately, especially since the financial crisis of 2008, the EU has been fraught with economic problems.  The major issue is that the member nations cannot control their own economies past a certain point – they cannot devalue currency to deal with inflation, they are nominally prevented from allowing their own national debts to exceed a certain level of their Gross Domestic Product (3%, at least in theory), and ...

1. 1. Secondary Source Article: Your Textbook Author, Dr. C.
Brooks on The European Union, pp 265-267
The European Union. As of this writing, Britain is poised to
exit the EU in the near future.
At the start of the postwar boom, most of the nations of western
Europe entered into various international groups that sought to
improve economic relations and trade between the member
nations. Those culminated in the creation of the European
Community (EC) in 1967, essentially an economic alliance and
trade zone between most of the nations of non-communist
Europe. Despite various setbacks, not the least the enmity
between French and British politicians that achieved almost
comic levels at times, the EC steadily added new members into
the 1980s. Its leadership also began to discuss the possibility of
moving toward an even more
inclusive model for Europe, one in which not just trade but
currency, law, and policy might be more closely aligned
between countries. That vision of a united Europe was
originally conceived in large part in hopes of creating a power-
bloc to rival the two superpowers of the Cold War, but it also
encompassed a moral vision of an advanced, rational economic
and political system, in contrast to the conflicts that had so
often characterized Europe in the past.
The EC officially became the European Union in 1993, and
various member nations of the former EC voted (sometimes
barely) to join in the following years. Over time, passport
controls at borders between the member states of the EU were
eliminated entirely. The member nations agreed to policies
meant to ensure civil rights throughout the Union, as well as
economic stipulations (e.g. limitations on national debt) meant

2. to foster overall prosperity. Most spectacularly, at the start of
2002, the Euro became the official currency of the entire EU
except for Great Britain, which clung tenaciously to the
venerable British Pound.
The period between 2002 and 2008 was one of relative success
for the architects of the EU. The economies of Eastern
European countries in particular accelerated, along with a few
unexpected western countries like Ireland (called the
“Celtic Tiger” at the time for its success in bringing in outside
investment by slashing corporate tax rates). Loans from
wealthier members to poorer ones, the latter generally clustered
along the Mediterranean, meant that none of the countries of the
“Eurozone” lagged too far behind. While the end of passport
controls at borders worried some, there was no general
immigration crisis to speak of.
Unfortunately, especially since the financial crisis of 2008, the
EU has been fraught with economic problems. The major issue
is that the member nations cannot control their own economies
past a certain point – they cannot devalue currency to deal with
inflation, they are nominally prevented from allowing their own
national debts to exceed a certain level of their Gross Domestic
Product (3%, at least in theory), and so on. The result is that it
is terrifically difficult for countries with weaker economies
such as Spain, Italy, or Greece, to maintain or restore economic
stability. Instead, Germany ended up serving as the EU’s
banker and also its inadvertent political overlord, issuing loan
after loan to other EU states while dictating economic and even
political policy to them. This led to the surprising success of
far-left political parties like Greece’s Syriza, which rose to
power by promising to buck German demands for austerity and
by threatening to leave the Eurozone altogether (it later
backpedaled, however).
In the most shocking development to undermine the coherence
and stability of the EU as a whole, Great Britain narrowly voted
to leave the Union entirely in 2016. In what analysts largely

3. interpreted as a protest vote against not just the EU itself, but of
complacent British politicians whose interests seemed squarely
focused on London’s welfare over that of the rest of the
country, a slim majority of Britons voted to end their country’s
membership in the Union. The political and economic
consequences remain unclear: the British economy has been
deeply enmeshed with that of the EU nations since the end of
World War II, and it is simply unknown what effect its “Brexit”
will have in the long run. 2. Another Historian Writing About
more specifically about the Euro (A History of Western Society,
Volume C: From the Revolutionary Era ..., Volume 3
By John P. McKay, Bennett D. Hill, John Buckler, Clare Haru
Crowston, Merry E. Wiesner-Hanks, Joe Perry)
In January I, 2002, the residents of many European Union
countries exchanged their familiar national currencies for the
euro, the newly approved coins and banknotes that signaled the
arrival Of the EIJ monetary union. The German deutschmark,
the French franc, the Italian Jira, and many others passed into
history, collectibles, perhaps, but no longer legal tender.
The move to the euro was one of the most controversial aspects
of the Maastricht Treaty of 1991 that reshaped the EU and laid
out a timetable for this monetary union, While some countries
signed up, Britain, Denmark, and Sweden accepted the main
terms of the treaty but refused to join the currency union (or
Eurozone, the group of countries that use the new money).
Citizens there rejected the euro, fearing its economic impact
and its effects on national autonomy.
To join the Eurozone, a country had to maintain stringent
economic conditions inflation, tight budgets, and small deficits.
In 2013 only seventeen of the EU's twenty seven member states
used the euro as their official currency. The former East Bloc
nations, such as Poland and Hungary, that joined the EU in 2004
and 2007 were excluded from the Eurozone, and so remained
something of second-class members.

4. The euro raised basic questions about a common European
identity, what images could be portrayed on the new coins and
bills that would do justice to both membership in a larger
European community and the variety of national states that
made up what was in fact a very diverse continent? The
solution was ingenious. The front of the coins would show the
denomination and a map of Europe, but the reverse would
portray national images chosen by individual EU members.
Thus the two euro coin minted in Ire-
land features a traditional Celtic harp, while that made in
France portrays the liberty tree. Banknotes, by contrast, would
feature generic architectural images on both sides that looked
real but were not, in order to prevent any national prejudice.
Thus the arches on the five-euro note resemble a Roman
viaduct; the bridge on the ten-euro note resembles a
Renaissance bridge; and the glass and steel facade on the five-
hundred-euro note resembles a modern urban office building.
All are imaginary structures that look "European" but do not
actually exist.
3. Primary Source: Speech by Federal Chancellor Angela
Merkel at the ceremony commemorating the 100th anniversary
of the battle of Verdun, May 29, 2016
The French lieutenant Alfred Joubaire was hardly older than
you when he lay in a trench near this very spot. He wrote in his
diary that “not even hell could be as horrific as this”. With
these words, the young lieutenant was attempting to describe
the horrors he had witnessed – they were written by a person
who should have a long life before him. Only shortly
afterwards, Alfred Joubaire was dead – one of the countless
casualties of the battle of Verdun.

5. Behind us is the ossuary, which houses the mortal remains of
more than 100,000 unnamed soldiers. Here, we are surrounded
by an ocean of graves. To this day, the earth holds remnant
bones of young Frenchmen and Germans who were robbed of
their lives. The entire landscape still bears the scars of that
battle. Here, history is uncomfortably close. Verdun still has us
in its grip. Verdun can and must remain in our consciousness.
Verdun stands for the sheer horror and senselessness of war.
. . .
After the First World War, efforts were made to create long-
term peaceful coexistence in Europe. . .
After the Second World War and the Holocaust, it was more or
less a miracle that the door to rapprochement and reconciliation
was opened by the signing of the Élysée Treaty in 1963. The
bonds of trust established by French President Charles de
Gaulle and Federal Chancellor Konrad Adenauer are invaluable,
and they have been passed down to us. More than two decades
later, French President François Mitterrand and Federal
Chancellor Helmut Kohl stood, side by side and holding hands,
at the graves of Verdun. This gesture says more than any words
could express. It was and still is an expression of deeply-felt
solidarity.
Of course, it may sometimes require great effort to extend a
hand to others and to familiarise ourselves with their points of
view. But only by opening up to one another can we also learn
and benefit from each other. That precisely is the key to
Europe’s success. It is particularly apparent these days, when
we are also witnessing weaknesses in our community. Still, I
maintain that the 21st-century challenges we face can only be
tackled together.
With European integration, we have left behind us the trenches
of enmity. We have gained peace and prosperity. We have
overcome quite a number of crises during which we feared the
many things we’ve accomplished through integration may

6. forever be lost. After the recent Franco-German Council of
Ministers, President François Hollande said: “We have always
managed to overcome the obstacles in our path”. That is exactly
why today, as well, despite numerous difficulties and setbacks,
we can confidently set our sights on the future.
In the European Union, we will at times different opinions on
certain issues. That is only natural. However, all sides will
benefit if, in the end, we always prove that we are able to reach
compromises and adopt common positions. Thinking and acting
as pure nation states would set us back. We would not be able to
successfully defend our values or promote our interests, neither
internally nor abroad. This is true for overcoming the European
sovereign-debt crisis, for dealing with the many people who
have come to Europe seeking refuge, and for all other great
present-day challenges.
We must visibly demonstrate on a daily basis our shared
commitment to the fundamental values of freedom, democracy
and the rule of law.
4. Primary Source: Nigel Farage, from “Speech to the European
Parliament, 6/28/16”
"You as a political project are in denial. You're in denial that
your currency is failing. You're in denial — well, just look at
the Mediterranean! As a policy to impose poverty on Greece and
the Mediterranean you've done very well.
"You're in denial over Mrs. Merkel's call last year for as many
people as possible to cross the Mediterranean into the European
Union [which] has led to massive divisions between within
countries and between countries." . . .
"The biggest problem you've got and the main reason the U.K.
voted the way it did is because you have — by stealth, by
deception, without ever telling the truth to the rest of the
peoples of Europe — you have imposed upon them a political

7. union.
. . .what the ordinary people did — what the people who've been
oppressed over the last few years and seen their living standards
go down — they rejected the multinationals, they rejected the
merchant banks, they rejected big politics and they said,
'Actually, we want our country back. We want our fishing
waters back.
We want our borders back.' ...we want to be an independent,
self-governing normal nation, and that is what we have done
and that is what must happen. And in doing so, we now offer a
beacon of hope to democrats across the European continent. I
will make one prediction this morning: the United Kingdom will
not be the last Member State to leave the European Union.
Questions
1. According to the textbook articles, what were the reasons
behind increasing unification in Europe after WWII? (5 points)
1b. Angela Merkl also speaks to the issue of European Union, -
what does her speech add to our understanding of the reasons
for European Union? (5 points)
2. How do the images portrayed on European coins and
banknotes reflect the dilemmas of establishing a workable
European identity? (what are the dilemmas?) (5 points)
3. How is the creation of a European identity similar to the
attempts in the early 19th century to create national identities?
(5 points)
4. Compare and contrast an example of a 19th century
nationalist symbol with a current symbol of European identity
(10 points)
· You need to include the 2 images in your assignment.
· When you compare and contrast the 2 images you can talk
about their message, how it is achieved, and its potency-or lack
of.

8. 5. In Farage’s account, how did the 2016 British referendum
express the voice of ordinary Europeans? (5 points)
6. Based on these 2 speeches, what issues are dividing
Europeans, what ideology informs Farage’s view point? (5
points)
7. And finally, does this European problem have any resonance
with Americans today? Are the problems faced by Europeans
right now similar at all to problems faced in our society?
Explain. (5 points)
Student Name 1
Student Name 2
Student Name
Professor Name
Course name
Date
The Rhetoric Analysis of Vampire and Werewolves in Movies
This essay focuses on the rhetoric method used to represent
monsters and vampires in the movies, Twilight and Hotel
Transylvania. Here we concentrate on the belief that being a
community people are changing from a culture of print media
likes books to the culture of electronic media such as movies
that discourse will show how the change happens concerning
books on vampires and werewolves to films on vampires and
werewolves. Clearly, rhetoric applied vampire texts and myths
that have done secured in movies will be the principal purpose
of that part. The relevant history of the problem is practically
non-existent. This essay focuses on essentially the movies
Twilight and Hotel Transylvania on the actual view of Dracula,
vampires respectively. Different subjects mentioned comprise
emotional connections to the horror features of vampires and
whereby those consider the culture at the help.
The most advanced vampire tales were conveyed verbally, but
here possibly as a mix of special security and entertainment in
the movies Twilight and Hotel Transylvania. Those stories
quickly discovered themselves in the picture, shortly later

9. growing favorite study material by the establishment of movies
in the storytelling ritual. The various methods the related and
comparable tales have been recognized for procreation begins
the writer to the idea that like a natural connection among
peoples crossed perceptions and regions supports not just the
thought of the events, but also to the way classic stories adjust
to the technologies of the day and remain current stories of
entertainment and personal strength. Rhetoric in Twilight and
Hotel Transylvania starts with something people apprehend
about.
The objective of the essay is to involve rhetoric and cinematic
interpretation of the movies ‘Hotel Transylvania’ and 'Twilight.'
movies suggest that cinematic expression includes “courses or
sound” that are recorded sounds, writing, and images of moving.
Through analyzing the rhetoric and cinematic style in the
movies, It shows that an opinion of its metaphoric style can be
taken. A part of the rhetoric and cinematic interpretation are
Cohen’s (1996) "Seven Theses of Monster Culture" that are a
way of describing culture based on the werewolves people have
built. As Cohen explains, werewolves in manuscripts express
our concerns regarding humanity, life, past and what it intends
to remain mortal (1996, p.4). Moreover, the knowledge of
werewolves and vampires in manuscripts can be utilized to get
penetration into the social space the manuscript has been
established in. In special, vampires and werewolves have been
observed to serve many potential disasters like women sexuality
and mental health (Jung, 1970).
Same as in Twilight, Hotel Transylvania is regarding a
determined child on the edge of adulthood who, notwithstanding
the sheltering power of her hapless dad, faces and befalls for a
guy who is not of her species. He addresses an unknown and
threatening environment, and if everyone throughout them just
remembered his right, private life, they would be terrified for
her protection. These movies possess submitted proof of the
fame vampires has in a successful experience. Being “to about
200 years, following the release of TheHotel

10. Transylvania and Twilight, the vampire has been a
concentration of Westernmost Culture” (Brodman & Doan,
2013, p.9). Inappropriate, Dracula can be described as a
‘certificate’ monstrosity, a symbol that has survived re-
employed and adjusted (Waterhouse, 1996, p.26) in stories
overtime to explain the ‘social changes’ (Cohen, 1996, p.7) of a
period. Additionally, the subject of Dracula in films may give
penetration on the social changes of the period the manuscript
was located in.
A Summary of the Present and Past Monstrosities in Culture
this part aims to ‘problem and improve perception’ (Given,
2008, p.488) of the connection and design of this analysis. For
this essay, this part will be utilized to give a summary of the
present and past study carried on monstrosities, particularly
vampires and werewolves, in American popular history.
Popular Culture: There have many proposed representations
about what popular perception is, though, for that plan, the
popular perception is an “idea which includes an immense
variety of social themes and applications” (Meyer & Milestone,
2012, p.1). Those social manuscripts incorporate video games,
films, television shows, computers, music, etc. It is
recommended that due to multimedia is extremely important in
the westernmost community, the popular practice has grown
something that is inserted in our regular stories. Additionally,
popular culture may serve the society the manuscript or work
has been built in. Monstrosities, in critical, maybe an important
feature of popular culture.
A Culture of Monstrosities like werewolves and vampires in
movies original manuscript, it is recommended that in culture,
the aggressive type of video and movie producer the reputation
of the horrible inescapable. We exist in the future wherever
vampires look on grain cases, dinosaurs are transformed
(Cohen, 1996 p.7) and movies and videos are changing
werewolves to accommodate their lifestyle (Waterhouse, 1996,
p.26). it is proposed that “literary monstrosities become
demonstrations of real-life” (Kreuter & Yoder, 2004), that the

11. monstrosities we are inundated through are comparisons for
emotions, wants and worries not usually clearly communicated.
As Cohen implies, the horrible are formed to serve ‘social
changes’ to know what frightens a distinct community (1996,
p.7). Moreover, ‘Seven Theses of Monster Culture’ of Cohen, as
a primary manuscript, are a way that has been utilized to
analyze a social era’s changes in the werewolves people have
created.
The palimpsest nature of the Vampire and werewolves are a
monstrosity that has been described in popular culture
manuscripts completely account. Hirschmann shows that
“regarding two hundred years before people began rising up in
films of composition. People have been a staple of fantasy
always following”. Cohen recommends that the monstrosity is
available from various natural human limitations; its shape
challenges the ‘rules of creation’. Because of that, the vampire
(a creature that is not alive and not dead), can be utilized to
reflect the stresses usually went unexplored, as the ‘social
limitations’ frequently limiting this search no longer necessarily
involve. Nevertheless, each translation of the vampire in these
two movies has been modified or fixed depending on the period
people were formed in. It describes potential disputes in
vampires and werewolves, few being creations of fear and evil,
others representing human-like romantic characters. This reuse
and altering of the vampires and werewolves suggest that it is
‘re-inscription’ in view.
Work Cited
Cohen, J. Monster culture (7 theses). In J. Cohen. Monster
theory: Reading culture. 1996. (pp. viii-7). Minneapolis,
America: University of Minnesota Press.
Jung, C. G. Alchemical studies. 1970. Princeton: Princeton
University Press.

12. Brodman, B. & Doan, J. The universal vampire: Origins and
evolution of legend. 2013 (p.9). Plymouth, United Kingdom:
Fairleigh Dickinson University Press.
Waterhouse, R. Beowulf as palimpsests. In J. Cohen. Monster
theory: Reading culture. 1996 (p. 26-27). Minneapolis,
America: University of Minnesota Press.
Given, L. M. The SAGE encyclopaedia of qualitative research
methods. 2008 (pp. 488-868). Thousand Oaks, CA. SAGE
Publications Ltd
Meyer, A. & Milestone, M. Gender and popular culture. 2012
(p.1). Cambridge, United Kingdom: Policy Press.
Essay 3: Critiques and Revisions (25 points)
Context: Our essays thus far have each involved analysis. In our
first essay, you told a story and
then (very) briefly assessed its audience and meaning. The
second essay involved more specific
identification, exemplification, and analysis for the sake of
interpretation. For your final essay,
you will have to analyze once more and then use your analysis
as a means to help make one of
your previous essays stronger.
Assignment: This project will involve your completing two
things:
● First, you will write a critique of your essay 1 or essay 2’s
rhetoric strengths and
weaknesses. This critique will be posted to Discussion Board 9.
● Then, you will revise the essay you’ve critiqued to be more
effective and meaningful. 1

13. The revision will be submitted to the Essay 3 Submissions link.
Requirements:
1. Choose only one of your previously written essays to critique
and revise.
2. Be sure that your revised essay has a much stronger meaning
than it did before.
3. MLA page settings and citations
Tips:
● As you did for essay 2, continue practicing your “source
sandwiching.”
● When citing examples from the essay you are critiquing, refer
to yourself as the author
and cite the page number you are taking examples from.
○ e.g. In “The Hook,” I incorporate alliteration well to scare
readers. One example
of alliteration is when I write “the sound of screeching and
scraping nearly
drowned out her screams” (2). The detail is scary enough, but
by repeating the “s”
sound, the words are more likely to get stuck in readers’ heads,
so they made my
work more effective.
● Be fair and honest about your strengths and weaknesses in the
essay you are critiquing.
The goal is not to be overly positive or negative about your
essay; instead, the goal is to
learn more about yourself, your positive writing choices, and
what can be improved upon.

14. 1 To “edit” means to make corrections. Editing is the last step
in writing a paper.
You are being asked to “revise,” which means to see ideas from
a new perspective and to make
significant changes to logic by adding or cutting major points,
improving explanations, changing
organization, adding more detail, etc.
Essay 2 Submissions
This is a lovely essay, and I enjoyed reading it. You incorporate
fascinating
resources and make connections to film theory.
However, this essay is not a comparison or contrast of rhetoric
used in the
two films. It is, instead, a theoretic assessment of vampires as
archetypes.
I truly appreciated reading the work, but it unfortunately does
not meet the
prompt or its requirements, so it cannot earn a passing grade.
Xiaochan Li 1
Xiaochan Li
Elisa Johnson

15. ENG 105B
Nov. 4 2019
The Rhetoric Analysis of Vampire and Werewolves in Movies
This essay focuses on the rhetoric method used to represent
monsters and vampires in
the movies, Twilight and Hotel Transylvania. Here we
concentrate on the belief that being a
community people are changing from a culture of print media
likes books to the culture of
electronic media such as movies that discourse will show how
the change happens
concerning books on vampires and werewolves to films on
vampires and werewolves.
Clearly, rhetoric applied vampire texts and myths that have
done secured in movies will be
the principal purpose of that part. The relevant history of the
problem is practically non-
existent. This essay focuses on essentially the movies Twilight
and Hotel Transylvania on the
actual view of Dracula, vampires respectively. Different
subjects mentioned comprise
emotional connections to the horror features of vampires and
whereby those consider the

16. culture at the help.
The most advanced vampire tales were conveyed verbally, but
here possibly as a mix
of special security and entertainment in the movies Twilight and
Hotel Transylvania. Those
stories quickly discovered themselves in the picture, shortly
later growing favorite study
material by the establishment of movies in the storytelling
ritual. The various methods the
related and comparable tales have been recognized for
procreation begins the writer to the
idea that like a natural connection among peoples crossed
perceptions and regions supports
not just the thought of the events, but also to the way classic
stories adjust to the technologies
of the day and remain current stories of entertainment and
personal strength. Rhetoric in
Twilight and Hotel Transylvania starts with something people
apprehend about.
The objective of the essay is to involve rhetoric and cinematic
interpretation of the
movies ‘Hotel Transylvania’ and 'Twilight.' movies suggest that
cinematic expression
includes “courses or sound” that are recorded sounds, writing,

17. and images of moving.
Through analyzing the rhetoric and cinematic style in the
movies, It shows that an opinion of
Xiaochan Li 2
its metaphoric style can be taken. A part of the rhetoric and
cinematic interpretation are
Cohen’s (1996) "Seven Theses of Monster Culture" that are a
way of describing culture based
on the werewolves people have built. As Cohen explains,
werewolves in manuscripts express
our concerns regarding humanity, life, past and what it intends
to remain mortal (1996, p.4).
Moreover, the knowledge of werewolves and vampires in
manuscripts can be utilized to get
penetration into the social space the manuscript has been
established in. In special, vampires
and werewolves have been observed to serve many potential
disasters like women sexuality
and mental health (Jung, 1970).
Same as in Twilight, Hotel Transylvania is regarding a
determined child on the edge
of adulthood who, notwithstanding the sheltering power of her

18. hapless dad, faces and befalls
for a guy who is not of her species. He addresses an unknown
and threatening environment,
and if everyone throughout them just remembered his right,
private life, they would be
terrified for her protection. These movies possess submitted
proof of the fame vampires has
in a successful experience. Being “to about 200 years, following
the release of The Hotel
Transylvania and Twilight, the vampire has been a
concentration of Westernmost
Culture” (Brodman & Doan, 2013, p.9). Inappropriate, Dracula
can be described as a
‘certificate’ monstrosity, a symbol that has survived re-
employed and adjusted (Waterhouse,
1996, p.26) in stories overtime to explain the ‘social changes’
(Cohen, 1996, p.7) of a period.
Additionally, the subject of Dracula in films may give
penetration on the social changes of
the period the manuscript was located in.
A Summary of the Present and Past Monstrosities in Culture
this part aims to
‘problem and improve perception’ (Given, 2008, p.488) of the
connection and design of this

19. analysis. For this essay, this part will be utilized to give a
summary of the present and past
study carried on monstrosities, particularly vampires and
werewolves, in American popular
history.
Popular Culture: There have many proposed representations
about what popular
perception is, though, for that plan, the popular perception is an
“idea which includes an
immense variety of social themes and applications” (Meyer &
Milestone, 2012, p.1). Those
social manuscripts incorporate video games, films, television
shows, computers, music, etc.
It is recommended that due to multimedia is extremely
important in the westernmost
community, the popular practice has grown something that is
inserted in our regular stories.
Xiaochan Li 3
Additionally, popular culture may serve the society the
manuscript or work has been built in.
Monstrosities, in critical, maybe an important feature of popular
culture.

20. A Culture of Monstrosities like werewolves and vampires in
movies original
manuscript, it is recommended that in culture, the aggressive
type of video and movie
producer the reputation of the horrible inescapable. We exist in
the future wherever vampires
look on grain cases, dinosaurs are transformed (Cohen, 1996
p.7) and movies and videos are
changing werewolves to accommodate their lifestyle
(Waterhouse, 1996, p.26). it is proposed
that “literary monstrosities become demonstrations of real-life”
(Kreuter & Yoder, 2004), that
the monstrosities we are inundated through are comparisons for
emotions, wants and worries
not usually clearly communicated. As Cohen implies, the
horrible are formed to serve ‘social
changes’ to know what frightens a distinct community (1996,
p.7). Moreover, ‘Seven Theses
of Monster Culture’ of Cohen, as a primary manuscript, are a
way that has been utilized to
analyze a social era’s changes in the werewolves people have
created.
The palimpsest nature of the Vampire and werewolves are a
monstrosity that has been

21. described in popular culture manuscripts completely account.
Hirschmann shows that
“regarding two hundred years before people began rising up in
films of composition. People
have been a staple of fantasy always following”. Cohen
recommends that the monstrosity is
available from various natural human limitations; its shape
challenges the ‘rules of creation’.
Because of that, the vampire (a creature that is not alive and not
dead), can be utilized to
reflect the stresses usually went unexplored, as the ‘social
limitations’ frequently limiting this
search no longer necessarily involve. Nevertheless, each
translation of the vampire in these
two movies has been modified or fixed depending on the period
people were formed in. It
describes potential disputes in vampires and werewolves, few
being creations of fear and evil,
others representing human-like romantic characters. This reuse
and altering of the vampires
and werewolves suggest that it is ‘re-inscription’ in view.
Xiaochan Li 4

22. Work Cited
Cohen, J. Monster culture (7 theses). In J. Cohen. Monster
theory: Reading culture. 1996.
(pp. viii-7). Minneapolis, America: University of Minnesota
Press.
Jung, C. G. Alchemical studies. 1970. Princeton: Princeton
University Press.
Brodman, B. & Doan, J. The universal vampire: Origins and
evolution of legend. 2013 (p.9).
Plymouth, United Kingdom: Fairleigh Dickinson University
Press.
Waterhouse, R. Beowulf as palimpsests. In J. Cohen. Monster
theory: Reading culture. 1996
(p. 26-27). Minneapolis, America: University of Minnesota
Press.
Given, L. M. The SAGE encyclopaedia of qualitative research
methods. 2008 (pp. 488-868).
Thousand Oaks, CA. SAGE Publications Ltd
Meyer, A. & Milestone, M. Gender and popular culture. 2012
(p.1). Cambridge, United
Kingdom: Policy Press.

23. Essay 2: Rhetorical Analysis (15 points)
Context: The last assignment required you to write a story and
then to examine its purpose, meaning, cultural
significance, and how the work achieved its purpose. Similarly,
this next paper requires you to consider further
how rhetorical choices affect the audience and their
interpretation of a text.
Assignment: Complete one of the options listed below
1) Write an essay in which you compare/contrast the rhetoric
used in “Japan’s Nuclear Nightmare: How
the Bomb Became a Beast Called Godzilla” and “Monsters and
the Moral Imagination.” Then,
determine how rhetorical choices influence readers’
understanding of the message.
2) Write an essay in which you compare/contrast the rhetoric
used to portray werewolves and vampires in
the films, Hotel Transylvania and Twilight. Then, determine
how rhetorical choices influence viewers’
understanding of the message.
Whichever option you choose, you must be able to explain what
the authors’ or producers’ messages are, how
rhetoric is used to make the message clear, who the target
audience is, and how the rhetoric used directs your
attention towards what is important in the work.
Requirements:
● MLA Formatted page settings, in-text citations, and a Works
Cited page
● Identify 3-4 specific rhetorical choices from each source
● Incorporate examples from each source

24. ● Think deeply about what their message and methods say about
society today
Getting Started:
● Look for 3-4 rhetorical choices made by the authors or film
producers (as you’ve done in class)
● Collect examples of the choices
● Explain what the authors’/producers’ goals or messages are
● Explain whether or not their rhetoric helped or harmed them