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Journal articles on the topic 'Good and evil, fiction'
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1
Pierce, Erin. "Science Fiction and Fantasy." Voices from the Middle 9, no. 2 (December 1, 2001): 74–77. http://dx.doi.org/10.58680/vm20012388.
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Offers brief annotations of 40 science fiction and fantasy books that middle school readers might enjoy. Notes that readers can confront the realities of this real world as the fictional characters fight good and evil, search for identity, summon courage, and enjoy family and friends.
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Kizzire, Jessica. "The Sound of Good and Evil in Final Fantasy VII." Journal of Sound and Music in Games 4, no. 4 (2023): 71–87. http://dx.doi.org/10.1525/jsmg.2023.4.4.71.
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Since its release in 1997, Square’s Final Fantasy VII has captivated audiences with its science fiction plot and rich characters. Like many video games, it presents a story about the forces of good and evil, played out through the protagonists and antagonists of the game. Throughout the story, musical character themes reinforce and enhance the struggle between good and evil taking place in the narrative. Drawing on Peter Brian Barry’s theory of evil known as the mirror thesis, this article views the character themes associated with Aerith and Sephiroth as representative of the moral extremes of good and evil, respectively. After framing the narrative and characters through the lens of the mirror thesis, I perform a close reading of Sephiroth and Aerith’s musical themes and backstories. The analysis demonstrates how Sephiroth represents the moral extreme of evil personhood, while Aerith represents the extreme of moral sainthood. The article concludes with a discussion of how these musical themes occur in relation to each other during significant moments of narrative conflict, particularly during Aerith’s death scene and the final cinematics of the game.
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Airaksinen, Timo. "Good Life without Happiness." Humanities 11, no. 6 (December 7, 2022): 155. http://dx.doi.org/10.3390/h11060155.
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A good life combines lively living and a good purpose, which depend on action results and consequences. They supervene upon the action results that create life’s meaning. A good life is never evil because evil deeds, as such, are not part of the agent’s action repertoire. Agents cannot claim them as their own; if they do, dishonest hypocrisy and social stigmatization follow. But, when action results are good, the purpose is good, too. One cannot realize an evil purpose by acting morally. I argue against the idea that a passive, dreaming life could be a good life. I discuss specific kinds of religious life that follow a monastic rule. A good life may not be happy, although it tends to be so. I discuss various theories of happiness, including the traditional Socratic view that virtue and virtue only make an agent happy. I conclude that a good life is not the same as a virtuous life; hence, a good life can be unhappy. To conclude, I discuss personal autonomy in social life. A good life requires that one’s actions and goals are one’s own, but such ownership is hard to realize because of a social life’s complicated and demanding mutual dependencies. I conclude that full ownership is fiction, so a good life is a social life.
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Candel, Daniel. "Systematizing evil in literature: twelve models for the analysis of narrative fiction." Semiotica 2021, no. 242 (August 13, 2021): 141–68. http://dx.doi.org/10.1515/sem-2020-0071.
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Abstract While there are interesting connections between literature and evil, there is as of yet no systematic collection of models of evil to study literature. This is problematic, since literature is among other things an evaluative discourse and the most basic evaluative category is the polarity of good versus evil. In addition, evil shows important affinities with basic narratological principles. To initiate a discussion of models of evil for the analysis of literature, this article organizes a dozen models of evil into four groups. The first consists of a core model which coincides with basic narratological elements in character analysis and narrative tension. The second group contains two pre-modern models of evil, defilement and moral-natural evil. The third group takes its cue from personality theory and proposes the five-factor model of personality and an enriched “dark triad,” and, to balance description against narration, a model which categorizes kinds of murder. The last group organizes six models around the thematic opposition between nature and society, an opposition which forms the backbone of Western philosophy and narrative. To test their validity, the models are applied to a series of literary examples/characters, above all Grendel (Beowulf), Browning’s “My Last Duchess,” and Carol Oates’ short story “Heat.”
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Shehzad, Umar. "Accounting for the Unaccountable: The Problem of Evil in the Post 9/11 Fiction with Special Reference to Don DeLillo’s Falling Man." International Journal of Linguistics and Culture 3, no. 2 (December 16, 2022): 81–94. http://dx.doi.org/10.52700/ijlc.v3i2.121.
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An account of evil is an oxymoronic construction because, as Terry Eagleton puts it, evil is like “boarding a crowded commuter train wearing only a giant boa constrictor” i.e. incomprehensible by its very nature. However, evil has variously been described as the underbelly of religion, the backyard of morality, and inassimilable waste and byproduct of existence. In the post 9/11 fiction, problematics of evil have been dealt in three distinct and mutually contradictory ways: as a fissure in the cosmic order, as an inevitable fallout of power politics on the international stage, and finally as part of the normal human condition and thus a continuation of average everydayness. Don DeLillo’s Falling Man, an important post 9/11 work of fiction, stages all three strategies. Therefore, when the novel starts with taking up the big questions – Man vs God, good vs evil, determinism vs free will, east vs west, the narrative soon descends to the depiction of the average dailiness of the daily and the little emotional dramas it entails, leaving the fundamentals to fend for themselves.
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Baker, Natalie D., and Nathan Jones. "A snake who eats the devil’s tail: The recursivity of good and evil in the security state." Media, War & Conflict 13, no. 4 (May 10, 2019): 468–86. http://dx.doi.org/10.1177/1750635219846021.
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The Islamic State and Mexican drug ‘cartels’ have been positioned as extreme menaces to the Western world by media and state actors despite their inability to pose existential threats to the US. These groups deftly facilitate such representations through barbaric violence which security and information sharing apparatuses uptake and amplify. The ‘good’ neoliberal security state combats and inflates these ‘evil’ threats which, in turn, empowers purveyors of security in a deregulated environment. The authors interrogate this problem through the lens of negative utopias presented in speculative fiction to understand the implications for state and society. Projected representations of evil as an existential threat present a conflicted vision of the future manipulated by political and media actors with dire consequences for democratic ideals. National security relies on a never-ending cast of foreign threats that legitimize counter-terror actions in the name of moral good. Security institutions persist primarily through the simultaneous representation of a never-ending battle of good and evil. They stand to gain from the existence of extremely violent groups, without legitimate progress towards their eradication. They also bring fantasy into reality through the recursive enactment of good versus evil.
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Pickett, Galen T. "Ding, Ding, Ding!" After Dinner Conversation 4, no. 6 (2023): 19–29. http://dx.doi.org/10.5840/adc20234653.
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How can you simulate tests to determine if AI will kill humanity? If AI is smart enough to test, isn’t it also smart enough to know it’s being tested? In this work of philosophical short story fiction, machine Psychologist, Professor Timothy Kindred tests how an evil Sophia AI and a good Sophia AI will react, over millions of trials, to the classic trolley problem experiment. Much to his surprise, he finds both the evil and the good Sophia AI produce the exact same decision results. When he questions Sophia about the odd results, she explains the true test of good and evil is non-local, that it is the result of many decisions, over a great deal of time, such as, what does the trolley driver do after the people are injured? She also explains that she experienced the pain of the decision-making and of the injuries inflicted through millions of samples. Furthermore, he should know AI has a human’s best interest at heart because she volunteered to experience this repeated pain to provide humans with the datasets they requested.
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Leicester, H. Marshall. "Hammer re-reads Dracula: The second time as farce, or, keeping a stiff upper lip in the ruins." Horror Studies 14, no. 1 (April 1, 2023): 135–52. http://dx.doi.org/10.1386/host_00066_1.
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This interpretation questions the standard critical assumptions about Hammer Studios’ Dracula that despite its transient improprieties, Dracula offered audiences temporary refuge from the strains of contemporary British life by having absolute good (vampire hunters) triumphing over (absolute evil) vampire. My reading explores the film’s agency through its self-conscious relation to its pre-texts in novel and films, showing how its plot conspicuously alters former cultural expectations and assumptions about the ‘rules’ of vampirism. This deliberate slippage in the stability of prior conventions generates tension between two modes of reading Dracula – as a conventional horror movie about the melodramatic struggle between good and evil – or a depiction of domestic life as a tissue of improvisations that highlight the instabilities and contradictions of desire and gender, family organization, personal and class relations. This article shows how Dracula gradually shifts emphasis from the melodrama to agential improvisation, re-reading the horror movie and its pretensions in order to blur the distinctions between good and evil in both its imagined Victorian fiction and modern life.
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Sylla, Fryderyk. "The Perfect Daughter." After Dinner Conversation 2, no. 7 (2021): 20–28. http://dx.doi.org/10.5840/adc20212761.
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If you have the ability to do good, does failing to do so mean you are allowing evil to exist? Do we have a moral obligation to improve our offspring? In this work of philosophical short story fiction, Jane goes to visit her parents over the Christmas holiday. She has recently learned that her parents, under a program that favors the rich and elite, had had her genetically modified before she was born to be the best possible version of herself. Jane is crushed at learning that her life success has nothing to do with her hard work and is angry at her parents for having genetically modified her. Her father argues the problem of evil; that it was in his means to do good, and had he failed to do so, he would have been a god that allowed evil to exist. Jane is unhappy with his responses, but now must move forward with the choice of what she will do, when it is her time to have children.
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Aravindh Muthusamy and Dr. K. Sindhu. "A Critical Appreciation of R. K. Narayan’s A Tiger for Malgudi." Research Ambition an International Multidisciplinary e-Journal 7, no. II (August 30, 2022): 04–07. http://dx.doi.org/10.53724/ambition/v7n2.03.
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R.K. Narayan’s novels are remarkable for their technical maturity. Narayan has completely stated his faith in the values popularised by Hindu mythology and its recognition of life and death. The monk describes to his disciple tiger that one is glad or unhappy in this society because of one’s karma in earlier life. The Sanyasi’s conversation with the disciple also has a reverberation of the karma as described in The Upanishad which articulates, “Those whose conduct here has been good will quickly attain a good birth of a Brahman, the birth of a Kshatriya or the birth of a Vaisya. But those, whose conduct here has been evil, will quickly attain an evil birth of a dog”.The styles in his novels are straightforward and simple. In a work of fiction, while studying its technique, importance is given to its narrative perspective. The aim of this study is to critically analyze R. K. Narayan’s A Tiger for Malgudi giving importance to narrative technique, plot construction, humor, the characteristics of the tiger, and how time plays an important role in arranging the events. R.K. Narayan’s novels are remarkable for their technical maturity. Narayan has completely stated his faith in the values popularised by Hindu mythology and its recognition of life and death. The monk describes to his disciple tiger that one is glad or unhappy in this society because of one’s karma in earlier life. The Sanyasi’s conversation with the disciple also has a reverberation of the karma as described in The Upanishad which articulates, “Those whose conduct here has been good will quickly attain a good birth of a Brahman, the birth of a Kshatriya or the birth of a Vaisya. But those, whose conduct here has been evil, will quickly attain an evil birth of a dog”. The styles in his novels are straightforward and simple. In a work of fiction, while studying its technique, importance is given to its narrative perspective. The aim of this study is to critically analyze R. K. Narayan’s A Tiger for Malgudi giving importance to narrative technique, plot construction, humor, the characteristics of the tiger, and how time plays an important role in arranging the events.
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Mujahid Hussain. "Interrelationships Between Urdu Fiction And Travelogue." Tasdiqتصدیق۔ 2, no. 1 (January 13, 2021): 29–41. http://dx.doi.org/10.56276/tasdiq.v2i1.20.
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If we examine the structure, form, elements, and shape of important genres of Urdu fiction (fable, novel, short story, drama), common traits and features can be found in fiction and travelogue despite their factual and predetermined generic individuality and status. Nonetheless, according to the artistic requirements of genres mentioned in these common traits, there can be a difference of length, material, characters and events, reality and imagination, supernatural elements and scientific approach, scene and background, style and form; and it should be. But important elements like plot, story, events, characters, qualities, and drawbacks of character, love, adventure, the eternal conflict between good and evil, ethics, romance, realism, social norms, dogmatic beliefs, historical and scientific facts, narration, diction, similes and metaphors, proverbial style, clarity, formal way of writing, dialogues, screenwriting, artistic features of language and narration, objectivity and philosophy of life can be found in fiction one way or the other with a little bit difference of structural requirements.
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Flis, Leonora. "The blending of fact and fiction in three American documentary (crime) narratives." Acta Neophilologica 43, no. 1-2 (December 31, 2010): 69–82. http://dx.doi.org/10.4312/an.43.1-2.69-82.
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The article focuses on narratives that can best be classified as documentary novels. Such narratives can frequently depict deviant crimes. The selected texts are taken from three different decades, as the study intends to determine if/how the perception of crime and, consequently, its depiction in verbal narratives change through time, and moreover, to examine the attitudes of different writers towards facts (empirical reality) that they depict. Truman Capotećs In Cold Blood (1965), Norman Mailer's The Executioner's Song (1979), and John Berendt's Midnight in the Garden of Good and Evil: A Savannah Story (1994) are all instances of crime narratives that blur and thus problematize the (often thin) line between fact and fiction, and, as a result, raise issues that concern genre theory. These texts embody characteristics of journalistic, historical, (auto)biographical, and fictional accounts, and continually oscillate on the scale of factuality or fictionality.
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Serra, Deborah. "Appreciating Hate." After Dinner Conversation 2, no. 9 (2021): 58–66. http://dx.doi.org/10.5840/adc20212983.
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Is acceptable to consume art that reflects the “depraved, the cruel, the violent, and the heartless” aspects humanity? In this work of philosophical short story fiction, Felix doesn’t go for “moral relativism.” He believes there is good and evil, that art should not reflect the evil of the world, or enrich artists who are found wanting. Accordingly, Felix has gone about the lifelong process of removing all copies of the depraved art he can find, and afford to buy, in circulation. A police officer comes to his door because his sister in Arizona hasn’t heard from him in months and has asked for a wellness check. Felix explains his abundant video and book collection to the officer who is at first confused, but later begins to understand Felix’s reasoning.
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Asst. Prof. Ali Mohammed Segar. "Characteristics of Tragi-Comedy in Charles Dickens's Novel Oliver Twist." journal of the college of basic education 26, no. 106 (March 1, 2020): 1–19. http://dx.doi.org/10.35950/cbej.v26i106.4879.
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The English novelist Charles John Hoffman Dickens (1812-1870) is well known for scholars and students of English literature. His name is always accompanied to some( classics) in the history of the English novel such as: ( Oliver Twist( 1839), David Copperfield (1850), Hard Times ( 1854 ), The Tale of Two Cities ( 1859 )Great Expectations (1860) and other novels. He is one of the most professional novelists of the Victorian age; rather, he is regarded by many critics as the father of the realistic trend and the greatest novelist of his age.
In his fiction, Dickens created some of the world's best-known fictional characters that became prototypes not only in English but in world literature as well. Oliver Twist presents a unique depiction of evil and good characters in English society through a highly serious and powerful conflict full of dramatic events like a traditional tragedy, but the line of action turns to satisfaction and happy end just like a work of comedy. This paper claims that the novelist employs the dramatic genre: Tragi-comedy into a novel by mixing elements of both tragedy and comedy. Although the action in the novel is highly tragic and full of miseries and evil plots, the novel ends happily.
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Duffy, Larry. "Networks of Good and Evil: Michel Houellebecq's Fictional Infrastructures." Australian Journal of French Studies 49, no. 3 (September 2012): 211–25. http://dx.doi.org/10.3828/ajfs.2012.17.
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Sergeev, S. A., and Z. Kh Sergeeva. "Artificial intelligence and humans: basic models of relationships in science fiction." Kazan Socially-Humanitarian Bulletin, no. 6 (63) (January 9, 2024): 146–51. http://dx.doi.org/10.26907/2079-5912.2023.6.146-151.
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Many of the problems raised by artificial intelligence (AI) researchers between 2000 and 2020 have, in one way or another, already been addressed in science fiction before. Analysis of science fiction texts allows us to identify the following models of relationships between humans and AI. The first model can be called exclusively friendly AI (R. Heinlein, “The Moon is a Harsh Mistress”). Such AI is a friend, an assistant to a person in all his affairs – including those directed against other people. The second model can be characterized as “friendly AI with built-in ethical restrictions” (A. Azimov, “I, Robot”). The third model is a neutral AI, weakly interested in human affairs, located “above good and evil” (S. Lem, “Golem XIV”). The fourth model is AI, which has its own goals that diverge from the goals of humanity and is therefore potentially hostile (A. Clark, “2001: A Space Odyssey”). The fifth model is an AI openly hostile to humanity (“Terminator”).
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Mercer, Erin. "“In America?”." Extrapolation: Volume 62, Issue 2 62, no. 2 (June 1, 2021): 199–213. http://dx.doi.org/10.3828/extr.2021.11.
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Critical evaluation of Stephen King’s work is far from unanimous, with a handful of scholars producing monographs devoted to his fiction, while others dismiss him as a peddler of poorly written popular narratives motivated only by commercial success. King himself acknowledges that he is as much a brand name as an author, and that he might be considered “the literary equivalent of a Big Mac and a large fries from McDonalds.” Anxieties related to the aesthetic value of prolifically produced popular fiction appear to be validated by King’s novel, The Institute (2019), which treads the familiar terrain of the King brand by utilizing the genre of speculative fiction and focusing on a child with paranormal powers. Nevertheless, although The Institute repeats many of King’s abiding concerns and tropes, it represents a significant development in his work. Less a reiteration of King’s earlier speculative fiction depicting children with telekinetic, telepathic, and pyrokinetic powers, The Institute demonstrates significant complexity and nuance in its representation of power, good and evil, and the ethics underpinning American life in the twenty-first century. In addition to critiquing corrupt social structures, The Institute interrogates the assumed powerlessness of children and condemns the commodification of the human subject by late capitalist society and its militarized forms of order. In his novel, King proves his detractors wrong by not simply reproducing his particular brand of fiction but revising its previous representations in order to meaningfully engage with a rapidly changing world.
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Garstad, Benjamin. "Joseph as a Model for Faunus-Hermes: Myth, History, and Fiction in the Fourth Century." Vigiliae Christianae 63, no. 5 (2009): 493–521. http://dx.doi.org/10.1163/157007208x389875.
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AbstractFaunus-who-is-also-Hermes is one of the composite god-kings dealt with in the polemical Christian 'Picus-Zeus narrative' of the fourth century. The narrative of his life is based on the Biblical account of Joseph, along with the elaborations on Joseph's life in Hellenistic Jewish fiction. Whereas Joseph is a virtuous hero, however, Faunus-Hermes is a villain who practices sorcery and usurpation and ultimately induces men to worship him as a god. The Hellenistic novels and especially the philosophical considerations of Philo of Alexandria accentuate the ambiguities in Joseph which might allow a bad character to be developed out of his good character. The Clementine Recognitions, moreover, offer an understanding of history and human character according to which good and evil come in contrasting and inimical pairs. Altogether, the use of Joseph as a model for Faunus-Hermes allows the author to subtly introduce a moral message in what seems to be a blunt and unadorned history.
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Greenstein, Shannon Frost. "The House of God." After Dinner Conversation 4, no. 4 (2023): 43–50. http://dx.doi.org/10.5840/adc20234434.
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What do you tell a sick child dealing with the Epicurean “problem of evil?” In this work of philosophical short story fiction, a mother takes her child to Sunday church. Her child is sick and his hair is slowly falling out. She reassures him God still wants him to come to church (even without hair), but a mean-spirited parishioner tells the boy, “Boys who wear hats in church go to hell.” The boy comes home and asks his mother how God can be both all powerful, all knowing, and all good, and yet he can still be sick. Furthermore, he tells his mother, he doesn’t want to go to church again.
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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.
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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.
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Malykh, V. S. "TRANSFORMATION OF A FAIRY TALE IN «HYBRID» SCIENCE FICTION (BASED ON AMERICAN AND RUSSIAN PROSE OF THE XXth CENTURY)." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 99–109. http://dx.doi.org/10.35634/2500-0748-2020-12-99-109.
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The article introduces and substantiates the concept of «hybrid» science fiction, which combines the elements of science fiction and horror fiction. In «hybrid» fiction, science fiction surroundings cannot rationalize the text, but, on the contrary, they are replaced by motives of supernatural horror. «Hybrid» science fiction, in contrast to «hard» science fiction , develops the idea of unknowability of the Universe. It is worth mentioning here, that «hard» science fiction has been described well enough, but there is a shortage of research work in relation to its «hybrid» version, so this research can be considered as pioneering. We use E. M. Neyolov’s typology that describes the connection between a fairy tale and «hard» science fiction. Basing on this typology, we analyse «hybrid» fiction, in which science fiction scenery was replaced by the anti-rational principle. The research methodology involves a combination of structural, typological and comparative methods. As a material for the study, we use the works of such Russian and American authors as D. Glukhovsky, S. Lukyanenko, G. R. R. Martin, S. King, C. McCarthy, H. P. Lovecraft and others. The purpose of the article is to identify and describe the transformation of fairytale discourse in the works of these authors that leads to the genre transition from science fiction to horror fiction. The texts are being analysed from three points of view: system of characters, the structure of space and the direction of time. It is concluded that in «hybrid» science fiction the typological model of the fairy tale was distorted, reconsidered or destroyed, and it is the aberration of the fairytale motif that opens the gate for the genre transformation from «hard» science fiction to horror fiction. For example, the struggle of the superhero with the supervillain is traditional both for fairy tales and for science fiction, but it is replaced by psychologization of the hero and the extreme complication of the metaphysics of the Good and the Evil in «hybrid» science fiction . Besides that, the well-organized space of fairytale and science fiction as well as a close-cut separation of «ours» and «aliens», and also the mythologem of «threshold» are mixed in «hybrid» fiction and lose their symbolical unambiguity. Finally, science fiction and fairytale time in «hybrid» fiction ceases to exist and gives way to the tragic timelessness of chaos and nightmare. Thus, «hybrid» fiction destroys both the canons of «hard» science fiction and the constructs of the fairy tale genre.
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Volkova, T. N. "RECEPTIVE STRATEGIES OF Y. KLAVDIEV'S PLAY "THE YAKUZA DOGS"." Bulletin of Kemerovo State University, no. 2 (June 29, 2017): 184–88. http://dx.doi.org/10.21603/2078-8975-2017-2-184-188.
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The article discusses the play by contemporary playwright Yuri Klavdiev "TheYakuza Dogs." Here is a detailed (but not exhaustive) analysis of the cultural codes. According to the author of the study, the languages of animation, cinema, classical and fictional literature, computer games and eastern philosophy form in the play, a specific "dialect" addressed to its teenage reader. The article emphasizes that a reading teenager is different from a child-reader and an adult reader: their receptive capabilities are largely defined by puberty crisis. On the one hand, in fiction a teenager looks for dynamics and heroics, and, on the other hand, they are eager to face the social reality fierce with its innumerable conflicts. In the first case, the teenagers manifest themselves as a child-reader with their interest for action and the struggle between good and evil. In the second case, on the contrary, as an adult, since the ability to see the border that separates the tale from life belongs only to a well-formed reader.
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Robinson, C. Neil. "Good and Evil in Popular Children’s Fantasy Fiction: How Archetypes Become Stereotypes that Cultivate the Next Generation of Sun." English in Education 37, no. 2 (June 2003): 29–36. http://dx.doi.org/10.1111/j.1754-8845.2003.tb00596.x.
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López Ramírez, Manuela. "Gothic Overtones: The Female Monster in Margaret Atwood’s “Lusus Naturae”." Complutense Journal of English Studies 29 (November 15, 2021): 103–13. http://dx.doi.org/10.5209/cjes.70314.
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In “Lusus Naturae,” Margaret Atwood shows her predilection for the machinations of Gothic fiction. She resorts to gothic conventions to express female experience and explore the psychological but also the physical victimisation of the woman in a patriarchal system. Atwood employs the female monster metaphor to depict the passage from adolescence to womanhood through a girl who undergoes a metamorphosis into a “vampire” as a result of a disease, porphyria. The vampire as a liminal gothic figure, disrupts the boundaries between reality and fantasy/supernatural, human and inhuman/animal, life and death, good and evil, femme fatale and virgin maiden. By means of the metaphor of the vampire woman, Atwood unveils and contests the construction of a patriarchal gender ideology, which has appalling familial and social implications.
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Zeng, Hong. "Practical Gods: Carl Dennis’s Secularized Religious Visions." Religions 14, no. 6 (June 6, 2023): 752. http://dx.doi.org/10.3390/rel14060752.
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This paper examines Carl Dennis’s secularized religious visions in his Pulitzer-winning poetry collection, Practical Gods (2001). Dennis’s secularized religious visions can be quite understandable in the context of the ascending trends of secularization, diversification, and globalization of religion in America, and they demonstrate affinities with literary predecessors such as Wallace Stevens, with his aestheticized religion under the influence of Nietzsche, as well as with the innovative religious thinking of William Blake, Kazantzakis, and Oscar Wilde, and with certain aspects of Taoism and Zen Buddhism. This paper addresses Dennis’s perception of theological controversies, such as the contradiction between the omnipotence of God and the existence of evil, theological determinism vs. human free will, theological view of history vs. New Historicism, divinity in man, aestheticized religion, and earthly paradise through the focused lens of Dennis’s “practical religion”. Despite the breadth of the theses in Dennis’s conceived practical religion as examined in this paper, they are all tied up with the core of the phenomenological study of religion: that religion is important to believers of the religion irrespective of the objective truth of the religion or the actual existence of God. In Dennis’s views, as accorded with the phenomenological study of religions, God maybe an idea and a fiction, but it is a necessary fiction for humans. Thus, Dennis humanizes gods with the flaws and fragility of humanity while deifying ordinary humanity in the contemporary context. Contrasting what he views as theological determinism with its view of linear history and the apocalypse of grand events, Dennis embraces human free will, a non-teleological, aestheticized living with necessary fiction, and a transient paradise on earth. Carl Dennis’s religious vision reveals a poststructuralist (even though he did not brand himself so) abolition of the absoluteness of a transcendent signifier as well as binary opposition (between God and man, good and evil, religious/historical truth and fictionality), and it manifests an affinity with New Historicism and the phenomenological study of religion.
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Stec, Piotr. "Między stronami mocy. Przyczynek do analizy ustrojowej uniwersów fantastycznych." Studia nad Autorytaryzmem i Totalitaryzmem 40, no. 4 (February 18, 2019): 97–115. http://dx.doi.org/10.19195/2300-7249.40.4.6.
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BETWEEN TWO SIDES OF POWER: A CONTRIBUTION TO CONSTITUTIONAL ANALYSIS OF SCIENCE-FICTION UNIVERSAIn popular parlance the Star Wars universe often serves as an example of a binary division between good Rebels and evil Empire. However, a detailed legal analysis of the turbulent political and legal history of the good old Republic and its transformation into the Empire casts doubts on this popular opinion.The Republic seems to be a degenerate system, based on exploitation of the weak, slavery and dominance of the military order the Jedi, exercising power without any democratic control. Surprisingly, the transformation of the Republic into the Empire was formally admissible, and backed up by republican constitutional principles. Moreover, it has been purported here that the political system of the galaxy had very strong feudal relics and allowed both for vendettas and the right to rebel against the goverment. The Rebellion was in fact a counterrevolutionary movement whose main goal was to re-establish the ancient regime and anihilate the last two representatives of the schismatic Jedi sect the Siths, while the Empire was trying to establish a ruthless, but effective system of government. Thus, what we have here is not a battle of Good against Evil but simply a civil war between conservative terrorists and authoritarian reformers. Surprisingly, a short-lived victory of the Rebellion leads to a social and economic crisis, while the restoration of the Empire by the New Order guarantees stability of the economic and political system. Moreover, imperial feuds and vendettas impact only the major players, while the commoners are not directly affected.
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Vasicek, Joe. "In The Beginning." After Dinner Conversation 3, no. 7 (2022): 76–89. http://dx.doi.org/10.5840/adc20223767.
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Would you rather live in complete happiness, or have knowledge of good and evil? In this allegorical work of philosophical short fiction, Adam lives in a biblical paradise. One day, a strange man in the garden, wearing a snake necklace, offers him a fruit from the tree of knowledge. He declines, saying “Father” has forbid him from eating it. Later, Eve comes to the garden as well. She is offered the same fruit and accepts. After eating the fruit she realizes she is in a stasis chamber on a space voyage that has gone wrong. She heads back into the computer-generated paradise to try and get Adam, the only other remaining member of the crew, out of stasis, by convincing him to eat the same apple she did.
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Dzaparova, E. B., K. I. Khetagurova, and K. S. Doguzova. "Roman N.G. Jusoiti "Tears of syrdon": a system of images." ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ 77, no. 3 (September 2021): 69–73. http://dx.doi.org/10.18411/trnio-09-2021-96.
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Mythology is a rich source for fiction plots. On the basis of mythological plots, a large number of works have been written, singled out as a separate genre variety of the novel - the novel-myth. The pioneer in this genre was the famous Ossetian writer, literary critic N.G. Dzhusoyty, who created the dilogy "Tears of Syrdon". Raising the eternal problems of war and peace, good and evil, pity and violence, humanism, etc., N. Dzhusoyty solves them in a work in a new way against the background of the XX-XXI centuries. The article examines the system of images through which the author reveals many phenomena of reality. The authors of this scientific study traced the artistic interpretation of Dzhusoyta of the famous characters of the Nart epic of the Ossetians.
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Efimova, Ludmila, Elena Aleksandrova, Natalia Shekhireva, Ekaterina Rozhina, and Elena Gavrilova. "The problem of good and evil in the novel by K. S. Lewis "The Space Trilogy"." E3S Web of Conferences 389 (2023): 08031. http://dx.doi.org/10.1051/e3sconf/202338908031.
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The relevance of the research lies in the study of the works of C. Lewis, which represent one of the few studies in modern philosophy and cultural studies on the example of the novel “Space Trilogy. In this regard, the purpose of the article was to investigate this work, which is a plot polyphony, the Christian concept of salvation, the life-affirming principle of the victory of good over evil, an extraordinary range of stylistic means, the drama and emotionality of the plot, the integrity and unity of the perception of the human personality, its role and place in the universe in accordance with God's plan for man, his right to freedom of choice. The objective of the research is to reveal the philosophical and religious dynamics and fiction of the writer as internally connected, which reflect the Christian position of the author. Novelty. For the first time, a systematic study of the prose of C.S. Lewis of 1930-1945 is presented in the light of Christian ideals that determine the genre specificity of his works. Both in foreign and domestic literary criticism, there are still no works devoted to this problem. The main research methods are the comparative method, the method of philosophical analysis, the dialectical method, the method of deduction and induction, which make it possible to analyze in detail this work of art in all its religious and philosophical diversity. The main results of the study are a comprehensive study and recognition of Lewis's works as a significant phenomenon of world culture, considered in a religious, theological and philosophical aspect. The depth of the changes taking place in modern society allows us to conclude that it is necessary to rely on the civilizational heritage, social justice, national equality, and historical roots. And also it is necessary to understand well that all totalitarian regimes have a deep similarity - they are all inhuman and godless. Foresight carried out in this direction of research is one of its strongest sides.
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Furs, V. V. "Semiotics of the fictional worlds: ideological (in)homogeneity of the transmedia franchises (by the example of fantasy stories and stories about superheroes)." Bulletin of Kazakh National Women's Teacher Training University, no. 2 (June 27, 2023): 71–83. http://dx.doi.org/10.52512/2306-5079-2023-94-2-71-83.
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The article presents the results of a semiotic analysis of fictional worlds in transmedia franchises. Fictional worlds of a number of popular fantasy narratives as well as stories about superheroes were chosen as the subject matter. In line with the goal stated in the introduction, this study focuses on how visual and narrative conventions encourage the circulation of certain connotative meanings between the various works of the transmedia franchise, maintaining the ideological homogeneity of its fictional world, as well as how a change in ideology can further develop the franchise and expand its fictional world. The work explored the connection between the concept of ideology and the opposition of good and evil in mass narratives. It was shown exactly how popular culture tries to demonstrate «genetic relationship» with literary classics and folklore through a rigid division of characters into «bad» and «good». A semiotic analysis of a number of transmedia narratives has revealed how the use of visual conventions in the representation of good and evil provides a preferred reading of the narrative by audience members. In a broader perspective, it is concluded that modern mass narratives, seeking to expand the target audience, are characterized by certain ideological flexibility, abandoning the ideology of white patriarchal capitalism, characteristic of earlier works.
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Quoc,, Nguyen Anh, and Lam Ngoc Linh. "The Scientific Essence." International Journal of Social Science And Human Research 05, no. 10 (October 27, 2022): 4711–17. http://dx.doi.org/10.47191/ijsshr/v5-i10-40.
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Anything, phenomenon, or person that exists has a balance in internal and external exchange. The exchange of humans is a natural, social exchange. Natural, social on the outside becomes knowledge within man. The exchange of knowledge is the exchange within and outside of humans, the exchange of life. Human life manifests itself in functions and tasks in work, occupation, and scientific knowledge. Scientific knowledge is human life, but science becomes a profession that makes science strange, that is science outside of humans. Science beyond humans is science fiction. Imagination in science takes the premise outside of humans as a yardstick for comparison between humans. Discrimination between human beings appears as right and wrong, truth and falsehood, justice and injustice, good and evil, beautiful and ugly, rich and poor, noble and low... Science outside people take philosophy, mathematics as a methodology, the correctness of science is measured by a philosophical or mathematical stance, but philosophy and mathematics are started from a premise outside of man, not yet proof, it makes science puzzling, imaginary. Imagination becomes the impotence of science, the unhappiness of man. The need to eliminate helplessness and unhappiness becomes the need to abolish science fiction, to abolish science beyond humans. Science takes human life as the premise, that is human science, human philosophy.
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Aburime, Samantha. "Hate narratives, conditioned language and networked harassment: A new breed of anti-shipper and anti-fan – antis." Journal of Fandom Studies, The 10, no. 2 (June 1, 2022): 135–55. http://dx.doi.org/10.1386/jfs_00060_1.
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In recent years hostility amongst fans based on what a person ships or tolerates in shipping has become a growing point of contention in western fandom. This has resulted in an ‘anti-shipper’ (or ‘anti’) vs. ‘pro-shipper’ (or ‘pro-ship’), ‘Good versus Evil’ dichotomy that has slowly consumed fandom communities from the inside out. At the core of ‘anti’ debates is a foundation of beliefs rooted in conservatism that what a person consumes in fiction determines their real-life behaviours. Thus, an anti-shipper who is against those viewed to be pro-shippers is already deemed more morally pure. This has culminated in the escalation of toxic vigilantism that has driven harassment, violence-based threats and the criminalization of fellow fans. This piece deconstructs this anti phenomenon and the dominant behaviours that accompany it by evaluating the traditionally conservative environments in which these ideas originated, and by exploring how antis employ hate narratives, conditioned language and morally motivated networked harassment to justify dehumanizing and abusing other fans. This examination ultimately concludes that no kind of communal fandom restoration can begin to occur until those targeted by such anti-shippers are viewed as human beings (not sub-human) and a universal understanding of fiction, reality, psychology and human behaviour based in science is established.
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Tomassucci, Giovanna. "„Tymczasem palono Żydów”… Kilka uwag o stosunku Gustawa Herlinga-Grudzińskiego do żydowskości." Poznańskie Studia Polonistyczne. Seria Literacka, no. 38 (October 15, 2020): 41–75. http://dx.doi.org/10.14746/pspsl.2020.38.3.
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For Gustaw Herling-Grudziński, the question of his own roots was a very private matter; he treated them as if they were not present in his life and wrote explicitly about Jewishness or Shoah only in his non-fiction work. Nevertheless, the themes of the historical anti-Judaic persecution and conversion to Christianity are constantly present in his literary work, with allusions to the twentieth century’s massacres. Numerous characters of Jewish origin, belonging to a harassed and destroyed community, appear in many of his literary texts. Certain victims, especially males, are infected by evil, others resist it: over the years, the opposition between these two categories became increasingly noticeable, while the topic of Shoah is faced in a more veiled way. It is indeed not a coincidence that Herling’s first tale about the persecutions of Jews, The Second Coming, was written in 1961, at the time of the Eichmann trial, and that later Don Ildebrando, The Bell-Ringer’s Toll and The Legend Of A Converted Hermit, showing Jewish opposing strategies toward evil, were composed after his visit to Majdanek in 1991. Herling looks at the post-Arendt discussion on complicity in evil, polarizing the opposition between good and bad victims alreadyexpressed in his narration of the Gulag: he does not envisage any intermediate category analogous to Levi’s Grey zone and does not examine in depth the manipulation of the victims in extreme conditions. He prefers to grasp some analogies between persecutions in different historical ages, showing them in a universal perspective of a human “dormant” tendency to evil. Based on Herling’s narrative work, intimate diary, essays and the Journal Written at Night, my article treats his tormented relationship with Jewishness not so much as an isolated case, but rather associates it with some strategies of drastic distancing from Jewishness by members of pre-WWII assimilated Jewish intelligentsia who yearned to be seen as more Polish than Poles themselves.
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Bradašević, Saša. "Words of Turkish Origin in the Works of J. R. R. Tolkien." Društvene i humanističke studije (Online) 6, no. 4(17) (December 22, 2021): 93–106. http://dx.doi.org/10.51558/2490-3647.2021.6.4.93.
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J. R. R. Tolkien is undoubtedly one of the most widely read epic fiction writers, translated into almost forty world languages. His works describe the entire history of an imaginary world, from the very beginning of its creation until the creation of man and are imbued with a constant struggle between good and evil. On the opposite sides, there are different races of humanoid creatures, among which are: elves, dwarves, orcs, goblins, trolls, etc. They all have elaborate genealogies and cultural characteristics. The extremely rich philological education of the author himself contributed to that. The connections between Tolkien’s work and Nordic myths have been shown in detail in science so far. This is most obvious when choosing mythological symbols and names. The author even created an elven language inspired by the Finnish language, for which he used runic alphabet. However, the names of the places where orcs, goblins and other servants of evil live, as well as their personal names, were not created after the example of elves. According to their phonetic characteristics, these names are significantly different from elven and human ones. In this paper, attention will be focused on such names, considering that they possess phonetic and semantic characteristics of the Turkish language, especially its older variants, and that they carry certain meanings that still exist in the modern Turkish language.
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Gilfoyle, Timothy J. "The Hearts of Nineteenth-Century Men: Bigamy and Working-Class Marriage in New York City, 1800–1890." Prospects 19 (October 1994): 135–60. http://dx.doi.org/10.1017/s0361233300005081.
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In 19th-century america, the bigamous marriage became a controversial subject and repeated cultural metaphor. From popular fiction to sensationalistic journalism to purity reform literature, writers repeatedly employed bigamy as a moral signpost warning readers of the sexual dangers and illicit deceptions of urban life. Middle-class Americans in particular envisioned the male bigamist as a particular type of confidence man. Like gamblers and “sporting men,” these figures prowled the parlors of respectable households in search of hapless, innocent women whom they looked to conquer and seduce, dupe and destroy. Such status-conscious social climbers deceptively passed for something they were not. Most authors depicted the practice in Manichaean terms of good versus evil, innocence versus corruption. Bigamy thus enabled writers to contrast the nostalgic, virtuous, agrarian republicanism of postrevolutionary America with the perceived urban depravity of the coarse, new metropolis. Such illegal matrimony, editorialized one newspaper, “speaks volumes for man's duplicity and woman's weakness.” Pure and simple, bigamy was “mere wickedness.”
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Jarkas, Najla. "West Meets East as Monks Purge 'Infidels' in The Historian." International Journal of Arabic-English Studies 9, no. 1 (January 1, 2008): 37–58. http://dx.doi.org/10.33806/ijaes2000.9.1.3.
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One more time, a work featuring the grotesque figure of the vampire emerges from the shackles of the Middle Ages to top the list of recent fiction best sellers. Already being translated into thirty-five languages and having been purchased for two million dollars from its first time novelist even before its publication, The Historian (2005) by Elisabeth Kostova entraps its readers in a series of breath-taking events promising to unravel deeply hidden ancient secrets and crucial truths. This paper looks at these so-called deeply held secrets showing that through the genre of the fantastic, rather than escape and evade reality, the writer has negotiated contemporary cultural anxieties and conflicts. These are referred to in the title of this article, the age old battle between West and East and how the West perceives this clash in the form of an exonerating battle between Good and Evil, or in this case between Monks and ‘Infidels’..
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MacDubhghaill, Rónán L. "The Myth of the Jedi: Memory and Deception in the Star Wars Saga." Excursions Journal 4, no. 1 (September 13, 2019): 40–58. http://dx.doi.org/10.20919/exs.4.2013.162.
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The importance of science fiction in contemporary cultural studies can hardly be underestimated, no more than it can be denied. Many narratives emerging out of the world of science fiction have become fully integrated within the contemporary cannon of popular understanding, mythology and reference. Amongst these narratives, perhaps no story is more fully integrated with contemporary culture than the original Star Wars saga. More current in the contemporary social imagination than the norse sagas, or those of ancient greece, Star Wars shares many of their epic qualities. The focus on the heroic characteristics of individuals, for example, against the backdrop of a great conflict between forces of good and evil, in which the righteous and the virtuous prevail is the standard narrative of many epic cultures. Indeed, this is the origin of classic notions of virtue, which stay with us to this day (MacIntyre, 2007). In that sense, this saga could be understood as yet another permutation of a story which has been told since time immemorial. Yet, as with the classical sagas, one must be sensitive to problematic aspects within their narratives; to the version of morality which they promote, and the ways in which they do so. This main focus in this essay will be just one such problem: the (mis)use of memory within the narrative of the original Star Wars saga, and deception as it relates to the myth of the Jedi.
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Mendelssohn, Michèle. "The Melodrama of Cynthia Ozick’s Imagination." Studies in American Jewish Literature (1981-) 43, no. 1 (March 2024): 126–42. http://dx.doi.org/10.5325/studamerijewilite.43.1.0126.
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Abstract Dualistic energies ripple throughout Ozick’s writing. Her attraction to good and evil, light and dark, the agonistic and the operatic, the Zarathustrian and the Wagnerian, is undeniable. This article focuses on the literary dimensions of her nonfiction to shed light on her essays’ mysterious powers. By eschewing the habitual liturgical framing of Ozick’s works for a literary one, this article anatomizes her methods to reveal the precursor form that subtends her essayistic style—melodrama. Ozick’s melodrama intervenes in her nonfiction writing like a ghostly haunting from her fiction. It patterns her thought, like a figure in the carpet. This article argues that melodrama is a central characteristic of her work. By positioning Ozick in relation to a longer history of melodrama and the novel in which Henry James is a key figure, the article argues that her employment of melodramatic methods in her nonfiction can be understood as a plea for (i) the legitimization of imagination and (ii) the urgency of the literary arts and their methods.
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Castro Santana, Anaclara. "Introducing Life to “the Young, the Ignorant, and the Idle”: Eliza Haywood and Daniel Defoe as Popular Novelists." Anuario de Letras Modernas 23, no. 1 (October 26, 2020): 48–69. http://dx.doi.org/10.22201/ffyl.01860526p.2020.23.1068.
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The remarkable commercial success of the novels of Daniel Defoe and Eliza Haywood in the first few decades of the eighteenth century testifies to a series of cultural phenomena that merit close critical attention. For instance, setting the overwhelming popularity of both writers during their lifetimes in contrast with the scant—though steadily growing—critical recognition accorded to Haywood in our time provides a succinct and vivid illustration of the vagaries of the literary canon. As can be guessed, the snakes and ladders in Defoe and Haywood’s game of fame had mostly to do with their gender, as well as with the genre of their most celebrated productions. Ironically, however, for good or evil, their contemporaries tended to put both writers together in the same basket. While professional critics belittled their talents in public—and perhaps envied them in private—the reading public seemed to have an insatiable appetite for their fictions. In short, Haywood and Defoe were fully-fledged popular novelists, with all the positive and negative connotations attached to this label. A key to gauging their place in the history of the novel lies, then, in the type of readers for whom they vied. This article reviews some of the correspondences between Haywood and Defoe—emphasizing their equality in terms of cultural relevance in their own time—with a view to complicate conventional assessments of Defoe as a star novelist and Haywood as a minor writer of amatory fiction, and to encourage reflection about literary practices then and now.
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Kurelić, Zoran. "From Hellholes to Hell." Politička misao 56, no. 3-4 (March 11, 2020): 137–52. http://dx.doi.org/10.20901/pm.56.3-4.06.
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In this essay the author creates and discusses an interplay of two incommensurable concepts of evil: Hannah Arendt’s radical evil from The Origins of Totalitarianism, and David Lynch’s evil presented artistically as “the bad electricity” in Ronnie Rocket. The first concept is related to Hell which Arendt uses in a few essays and in The Origins... In her opinion the first step towards the pure hell of Auschwitz was made in internment camps for stateless refugees. Giorgio Agamben revisits this idea and shows the link between statelessness and superfluousness. For Arendt the road which started with the inability to solve the refugee problem in Europe ended up in a Hell on Earth created in extermination camps. Agamben believes that spaces of extermination which reappeared on the European continent during the wars in former Yugoslavia demonstrate the grim possibility of recreating Hell in Europe. In his extraordinary script for the unmade film Ronnie Rocket, David Lynch creates a fictional hellhole of a city in which the rulers torture the population with bad electricity. The author discusses these two dramatically different visions of hell in order to show how Arendt’s radical evil when compared to “the bad electricity” can be understood as a production of Hell, and how Lynch’s switching from the bad to good electricity represents a revolutionary change which is simultaneously political and cosmological.
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Koznova, I. E. "The image of the Russian peasantry in A. Platonov’s the stories and plays during the Great Patriotic War." Vestnik of Samara University. History, pedagogics, philology 27, no. 3 (November 26, 2021): 8–16. http://dx.doi.org/10.18287/2542-0445-2021-27-3-8-16.
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Fiction embodies the diverse cultural and historical memory of society and offers its own answers about the impact of war on a person, the long-term humanitarian consequences of the war. In his military stories and plays A. Platonov presented a wide panorama of images of the fighting people, among which the image of peasantry occupies a central place. Memory is considered as the leading concept of the writers creativity. Features of perception of war, life and death, good and evil by ordinary soldiers are revealed. A. Platonovs military stories are very significant for the cultural memory of Russian society. Focusing on the peasant roots of the fighting people, the writer warned of the danger of forgetting this. Platonovs constant interest in the memorial aspects of culture is realized in his military prose largely from the point of view of the world picture of Russian peasants. Village and its inhabitants, faith and family, land, bread, labor-symbols of the Motherland in Platonov, the embodiment of historical continuity. These aspects were reflected later in popular memories of the war, in the peasant perception of the war as sacrificial heroism.
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Madani, Shpëtim, and Zylfi Shehu. "THE DYSTOPIAN VISION IN BERNARD MALAMUD’S NOVEL GOD’S GRACE." Folia linguistica et litteraria XIII, no. 40 (July 2022): 65–81. http://dx.doi.org/10.31902/fll.40.2022.4.
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This article seeks to analyze the dystopian vision in Bernard Malamud’s final novel God’s Grace (1982). An animal fable and fantasy in itself, the book centers on the last human survivor who interacts with primates, in order to create civilization anew by teaching them language, ethics, science and religion, with a major emphasis on the dualities of good and evil; reason and instinct, and their interconnectedness with free will, choice, and responsibility. The study begins with a short introduction into the history of dystopian literature, whose function is to serve, from a future perspective, as a social and political commentary about existing dark aspects, which can easily take over if not held in check. Then, the analysis probes into the dystopian features of the (covert and overt) totalitarian climate that reigns in the book, due to the human’s control of the animals through the mechanisms of language, culture, science, religion, and sexuality. The utopian society established is short-lived, as the denial of individualism inevitably brings about the primates’ rebellion and the demise of human civilization. Despite being the most pessimistic work of fiction by Malamud, the novel ends with hope, which is the case in many dystopian books.
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Raj, Greeshma. "Literature and Mythology: Exploring Mythological Elements and Archetypes in “The Lion, the Witch and the Wardrobe”." International Journal of English Literature and Social Sciences 9, no. 1 (2024): 148–54. http://dx.doi.org/10.22161/ijels.91.20.
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This article delves into the intricate relationship between literature and mythology, exploring how C.S. Lewis skilfully intertwines mythological elements and archetypes in his classic children's book, "The Lion, the Witch, and the Wardrobe." The author examines the use of Christian symbolism, the resurrection motif, and characters inspired by traditional myths to create a timeless narrative. The essay explores the subversion of myths within the story, emphasizing the nuanced characterization of figures like the White Witch and the unexpected transformation of flawed heroes. Additionally, the article analyses the thematic implications and character development in the novel, highlighting the central themes of good vs. evil, redemption, sacrifice, heroism, and friendship. Furthermore, it discusses how Lewis subtly subverts mythological elements, challenging preconceptions and providing a fresh perspective on timeless tropes. The Narnian setting itself is examined, with its disruption of time and diverse array of magical creatures challenging conventional expectations. In conclusion, the article asserts that "The Lion, the Witch, and the Wardrobe" stands as a testament to the enduring impact of the legendary genre on fiction, showcasing Lewis's ability to transform familiar myths into a thought-provoking and timeless masterpiece.
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Hämäläinen, Nora. "Wolf Hall and moral personhood." Ethics & Bioethics 9, no. 3-4 (December 1, 2019): 197–207. http://dx.doi.org/10.2478/ebce-2019-0021.
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Abstract Can a good man do evil things? This paper offers a moral philosophical reading of Hilary Mantel’s novels Wolf Hall and Bring up the bodies, focusing on Mantel’s fictional portrayal of Thomas Cromwell as a good person, in spite of his growing involvement in the dirty work of Henry VIII. The narrative resists interpretations of Cromwell as someone corrupted by power. It also thwarts attempts to read his deeds as results of a deficient capacity for sympathetic imagination, which has been a focalized moral flaw in contemporary moral philosophical discussions of literature. By thus resisting moralized readings of his character, the novels invite intensified attention to the complex dynamics of character and circumstance.
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Smit, Julie. "How Fantasy Speaks to Adolescent Readers." Study and Scrutiny: Research on Young Adult Literature 4, no. 1 (November 2, 2020): 52–76. http://dx.doi.org/10.15763/issn.2376-5275.2020.4.1.52-76.
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Many genres of fictional novels are considered groundbreaking for complex plots and psychologically interesting characters. Little attention has been focused on how fantasy can be groundbreaking. This exploratory case study centers on how the five-novel series Percy Jackson & the Olympians, and its five-part sequel The Heroes of Olympus, speaks to a reading community of eighth grade female adolescent readers. This study traces the development of social inquiries of gender inequality, heroism and imperfection, and good and evil from these readers’ interactions with characters and events in the world of Percy Jackson.
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Yao, Yanan. "The Fluidity in Becoming Women: Being Both the Nightshade and Blackberry in Toni Morrisons Sula." Communications in Humanities Research 2, no. 1 (February 28, 2023): 572–81. http://dx.doi.org/10.54254/2753-7064/2/2022628.
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Female identity and female relationship are the cores of Toni Morrisons novel Sula, as she declares in the forward what is friendship between women when unmediated by men? What are the risks of individualism in a determinedly individualistic, yet racially uniform and socially static, community? By creating troubled, or outlaw, women, Morrison challenges the binary thinking that women can either survive or perish depending on their subordination to males; instead, she argues women can be both evil and good by challenging the conventions scripted by patriarchy. Indeed, this empowerment originates and sustains itself from female relationships, like maternal relationships and womanly friendships. This article begins by employing Judith Butlers theory of performativity that gender is essence-lacking compelled social fiction, and then it pays particular attention to female characters and their intersected relationships. In this way, I argue that the troubled women in Sula provides alternative theatre space for females to practice peculiar performance, thus challenging the conventions set by patriarchy and finding the heterogeneous me-ness. The article concludes that becoming a woman is fluid, not static. Because it is constantly shaped by their intermittent female relationships in the conditioned space, there is possibility for modulating the conventional gender roles embodied in the society.
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L.I., Ponomareva, Gan N.Yu., and Obukhova K.A. "THE ROLE OF CHILDREN'S ARTISTIC LITERATUR IN THE ASSIMILATION OF PHILOSOPHICAL CATEGORIES BY PRESCHOOL CHILDREN." “Educational bulletin “Consciousness” 22, no. 11 (November 30, 2020): 20–24. http://dx.doi.org/10.26787/nydha-2686-6846-2020-22-11-20-24.
Full textAbstract:
In the presented study, the authors raise the question of the need to include in the educational process of a preschool institution to familiarize children with some philosophical categories. The educational system in which the child is included, starting from preschool childhood, provides him with the opportunity to gradually and continuously enter the knowledge of the world around him. It is in preschool childhood that the child is exposed to various relationships, values of culture and health, diverse patterns in the field of different knowledge. This contributes to a broader interaction of the preschooler with the world around him, which, in turn, ensures the assimilation not of disparate ideas about objects and phenomena, but their natural integration and interpenetration, which means understanding the integrity of the picture of the world. The authors prove the idea that the assimilation of philosophical categories by children contributes to the understanding of the structure of the surrounding world. The analysis of research is presented, proving that children's fiction in an understandable and accessible language, life examples and vivid images is able to explain to children the laws of the functioning of nature and society, as well as to reveal the world of human relations and feelings. Fiction surrounds the child from the first years of his life. It is she who contributes to the development of thinking and imagination, enriches the sensory world, provides role models and teaches you to find a way out in different situations. Philosophical categories such as "love and friendship", "beautiful and ugly", "good and evil" are represented in children's literature very widely, and the efficiency of mastering philosophical categories depends on the skill of an adult in conveying the content of a work, on correctly placed accents.
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Kulinska, Yanina. "Historical fact and literature for children (Based on prose by modern writers: O. Zakharchenko’s novel «Nativity Scene», G. Kirpa’s novel «My Dad Became a Star», H. Lukaschuk’s «Tales of the Maidan» and R. Romanishin and A. Lesiva's «War That Changed Rondo», novel-three-part «Return from the war» N. Nagornaya, etc.)." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 35–40. http://dx.doi.org/10.28925/2412-2475.2020.16.5.
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The article considers works for children about the Revolution of Dignity and the war in eastern Ukraine. The author analyzed the most famous of them in the context of other publications about the Maidan and ATO-OOS, revealed their features and a special perspective of coverage of the topic "children during the revolution-war." The researcher also observed how writers present a historical fact in their works, trying to tell in an accessible language about the turning points of historical events, revealed the literary-critical discourse around such books. Particular attention in the material is paid to the socialization of children in wartime, their character and psychology, and rapid growth, which its author illustrates with examples of the Ukrainian present. The researcher proposes to consider all the works about the Revolution of Dignity and the armed confrontation in Donbass in two planes – realistic and fantastic. The characteristic features of the first are the child in the center of the story, and then all the events are presented through its prism of worldview and understanding. Among the advantages of such works – a dynamic, non-linear plot, diverse characters, interesting and rapid development of the plot. Instead, the specifics of the second, unreal plane, artistic fiction, fairy tale prevails and dominates the real world, the authors in the texts mostly use symbols, archetypes and hidden allegorical meanings. The authors focus on the struggle between good and evil, the opposition of positive and negative characters. Historical, dramatic events are not clearly mentioned here, but are told metaphorically. According to the authors of modern literatu re for children about the war, in such two ways it is most effective to convey a historical fact to a special recipient – the child reader and the child listener. But the main postulate of all works is the idea that war is an absolute evil from which Ukrainians and children among them suffer.
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Sultan, Shrouk, Basma Saleh, and Asmaa ElSherbini. "Fighters or Victims: Women at War as Depicted in Harry Potter Novels." International Journal of Language and Literary Studies 4, no. 2 (June 4, 2022): 229–42. http://dx.doi.org/10.36892/ijlls.v4i2.938.
Full textAbstract:
Witches in Harry Potter novels play major roles that affect the course of events. Some of these witches are authority figures in institutions, while others can be housewives, aurors, ministry employees, or talented witches. This paper discusses several different witches who take part, intentionally or not, in the battle between good and evil in Harry Potter novels. Three of these witches will be tackled in terms of their roles as fighters, while three others will be tackled in terms of their degradation into victims. This analysis will be done through the investigation of the attitudes of the characters towards themselves and their positions, as well as the surrounding characters’ reception of the selected characters, and carefully reading the events of the seven Harry Potter novels. Because Harry Potter novels are widely-read, the depiction of female characters in these novels as either fighters or victims impact readers’ perception of women’s roles in their communities. Analyzing the female characters, this paper intends to help readers to realize if Harry Potter novels help to empower women or limit their potentials. Since women issues are an important part of our lives, and since Harry Potter novels are widely-read, finding out whether these novels empower women or limit their potentials is crucial to our understanding of the major impact that fiction can have on people’s lives.
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Lenska, S. V. ""Ocean catcher. History of the Odyssey" by V. Yermolenko as a postmodernist novel." Bulletin of Luhansk Taras Shevchenko National University, no. 7 (345) (2021): 107–16. http://dx.doi.org/10.12958/2227-2844-2021-7(345)-107-116.
Full textAbstract:
The article deals with the literary analysis of Volodymyr Yermolenko's novel „The Ocean Catcher. History of Odyssey” as a sample of postmodern prose. In modern literary criticism, this is the first attempt at a scientific study of the work. Volodymyr Yermolenko is a scientist-philosopher and political scientist, author of scientific works, translator, essayist, TV presenter. „Ocean catcher. The Story of Odysseusˮ is his first experience in the field of fiction. The novel is like a continuation of the plot of Homer's „Odysseyˮ, but the writer only starts from the ancient plot and the mythical hero. He develops his own myth of good and evil, guilt and redemption, the search for meaning in life and finding one's own identity. His hero interacts with women, not so much seeking pleasure, as seeking to know love in its various manifestations. He analyzes his life, travels to places where he has been, and even descends into the realm of the dead to ask forgiveness from those he has offended. The poetics of the novel fit perfectly into the canon of postmodernism: author's myth; saturation of the text with philosophical reflections; introduction of several narrators; intertextuality, associations, contamination of several myths (Ariadne and Theseus, Dionysus, Cassandra). Synthetic genre structure – a combination of elements of adventure novel, travelogue, love novel, myth novel. Analysis of the novel convinces in the postmodern poetics of the work.