Teses / dissertações: "Evil ; Literature"

1

Malet-Dagreou, Cecile. "Evil in gothic fiction, 1764-1820". Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313598.

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2

Baker, James Andrew. "Necessary evil: rhetorical violence in 20th century American literature". Diss., Texas A&M University, 2003. http://hdl.handle.net/1969.1/5766.

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Wayne Booth and other rhetorical critics have developed methods for examining the rhetorical aspects of fiction. In this dissertation, I examine, specifically, the use of rhetorical violence in American fiction. It is my premise that authors use rhetorical violence and the irrationality of violence created mimetically to construct ironic metaphors that comment on the irrationality of the ideology behind the violence, pushing that ideology's maxims to its logical ends. The goal of rhetorical violence, therefore, is to create the conditions for a transfer of culpability so that the act becomes transitive-transferable-loosed from its moorings. Culpability, if indeed it reflects something intrinsically awry with an ideology, becomes the fault of the ideology-ÃÂÃÂit becomes the perpetrator of illogic and the condemnatory force associated with the act of violence gets transferred to it. Hence, if the author has created an effective metaphor, when he or she flips the violent scene'ÃÂÃÂs "ÃÂÃÂvalue," the audience is willing to follow along. The violence remains a great evil, but the culpability for the act is shifted to a representative of the ideology in question-as-victimizer; nonetheless, that transfer can only occur inasmuch as the audience is willing to force-fit the incongruities of the metaphor.I examine this rhetorical phenomenon in the works of three modern American writers: Flannery O'Connor, Toni Morrison, and Chuck Palahniuk. I seek to examine the ideologies questioned in these works, the contradictory beliefs expressed by the authors, and to explicate primary episodes in the works of fiction wherein rhetorical violence functions in a rhetorical fashion to promulgate the author's ideology by emotionally jarring the reader loose from commonly-held ideological assumptions in three specific appeals: first, to negate one socially-held ideology in order to promote a conflicting one (Wise Blood); second, to elicit compassion for victimized characters representing social ills (Beloved); third, to call into question the validity of social institutions and practices (Fight Club).

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3

Lundhall, Rebecca. "Evil Women in Harry Potter : Breaking Gender Expectations and Representations of Evil". Thesis, Umeå universitet, Institutionen för språkstudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-137110.

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With a focus on gender expectations, this qualitative study analyses how Bellatrix Lestrange and Dolores Umbridge in J.K. Rowling’s Harry Potter series represent evil. Through close reading the first and the final three books of the series using the feminist criticism perspective performativity, the aim of this study is to highlight how the evil women in the series are portrayed in comparison to both good characters of both sexes as well as evil men. The results show that while the evil women represent evil in the ways that they break their gender expectations, the good men also represent goodness in the way that they break their gender expectations. Thus, they are not evil because they deviate from these expectations, but because the gendered traits these women embody are connected to evil and, in turn, help make the reader perceive them as such.

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4

Scharff, Kathleen Clark. "Evil in the Works of Jane Austen". W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625357.

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5

Charnick, David William. "The role of evil in Old English narrative verse". Thesis, King's College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286222.

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6

Ebelthite, Candice Axell. ""The wife of Lucifer" : women and evil in Charles Dickens". Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1002231.

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This thesis examines Dickens's presentation of evil women. In the course of my reading I discovered that most of the evil women in his novels are mothers, or mother-figures, a finding which altered the nature of my interpretation and led to closer examination of these characters, rather than the prostitutes and criminals who may have been viewed negatively by Nineteenth century society and thereby condemned as evil. Among the many unsympathetically portrayed mothers and mother-figures in Dickens's works, the three that are most interesting are Lady Dedlock, Miss Havisham, and Mrs Skewton. Madame Defarge initiates the discussion, however, as a seminal figure among the many evil women in the novels. Psychoanalytical and socio-historic readings grounded in Nineteenth century conceptions of womanhood provide background material for this thesis. Though useful and informative, however, these areas of study are not sufficient in themselves. The theory that shapes the arguments of this thesis is defined by Steven Cohan, who argues strongly that the demand for psychological coherence as a requisite of character obscures the imaginative power of character as textual construct, and who both refutes and develops character theory as it is argued by Baruch Hochman. Cohan's theory is also finally closer to that outlined by Thomas Docherty, who provides a complex reading of character as ultimately "unknowable".

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7

Alfar, Cristina León. ""Evil" women : patrilineal fantasies in early modern tragedy /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9455.

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8

SEKORA, LAUREN NICHOLE. "COPING WITH HARRY POTTER: HOW LITERATURE FRAMES OUR ENCOUNTERS WITH GOOD AND EVIL". Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/192258.

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9

Boulting, David John. "'Garden of Evil': Images of the enemy in American war literature 1962 - 1990". Thesis, University of Salford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490164.

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The following thesis interrogates representations of the enemy in three American war novels: James Jones's The Thin Red Line (1962), Larry Heinemann's Paco's Story' (1986). and Tim O'Brien's The Things They Carried (1990). While American literary responses to the Vietnam War are the primary concern of this thesis. The Thin Red Line, a 'late' World War II novel, is interrogated as a generic benchmark against which the two Vietnam novels can be compared and contrasted, both in terms of the paradigms of Japanese and Vietnamese enemy images, and with reference to the depiction of internal enemies.

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10

Koppel, Kirsten. "The Grand Inquisitor and the problem of evil in modern literature and theology". Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3680/.

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This thesis is concerned with the parabolic relationship between evil and salvation. In this thesis I argue that only through recognising evil as inescapably woven into the fabric of our lives, can we construct a theology of hope. I further argue that this identification of evil in the individual is always necessarily something that is achieved through the workings of the apophatic, and can therefore only be realised through the address that reaches exclusively the individual through the unsayable in language. This study centres upon the Parable of the Grand Inquisitor in an inter-textual, literary context and the apophatic tradition. The context in which my discussion of this parabolic relationship operates is the literary environment that allows for the parabolic and the paradoxical. My primary concern is therefore not with the question of theodicy, but with what happens when, through the intellectual struggle, we encounter the boundaries of our understanding in the beginnings of learned ignorance. In the first chapter I have set out to establish the narrative of the thesis, starting with Ivan Karamazov’s articulation of the problem. In this conversation with Alyosha he problematizes the fact that when we accept God’s world, we ought, at the same time to acknowledge the suffering in that world. In this way he exposes the paradox that is inherent in reconciliation itself. However, in the middle of this exchange with Alyosha, Ivan tells the story of the Grand Inquisitor, where the question of reconciliation is addressed in the kiss; suddenly possible in the literary space of the parable. In the chapter that follows I explore our relationship with evil within the space of a literary context. Starting with the fall as the moment at which the human being has put on self-awareness; separating the inner from outer part of the person. With Milton in Paradise Lost, and Dostoevsky in The Brothers Karamazov and The Idiot as my main conversational partners, I offer a reading of the story of the fall in Genesis as a narrative about our alienation from the divine. I argue that this alienation has also become an estrangement from ourselves where the spirit can no longer get to know itself through the body and the body can no longer know itself through the spirit. I argue that this inability to recognise what is other closes off the possibility of a hermeneutical encounter with the Other. The third chapter examines the relationship between the inability to recognise what is Other and responsibility; in conversation with Kafka in The Trial and Kierkegaard’s discussion of Abraham in Fear and Trembling. I argue that Joseph K's inability to engage hermeneutically with the world is the reason why he cannot recognise his own guilt. Abraham is in that respect his opposite; he embodies the parabolic and the asymmetrical, and so becomes a fully responsible individual. In the last chapter I discuss the relationship between the unsayable in language and the coincidentia oppositorum. Here my main conversational partners are Meister Eckhart, Thomas Altizer in The Descent into Hell, and Nicolas of Cusa. I argue that the language of the unsayable is what addresses us in the detached self, as Christ addresses the Grand Inquisitor in his detached self. The kiss, as the climax, is the instant of initiation when the inner and the outer self again become one. At the same time this is the moment of betrayal when all command of our identity seems lost. This disintegration of the self is the descent into hell, and simultaneously the moment of salvation. It is also fundamentally apolitical and through its unsayability can address only the individual.

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11

Robb, Paul H. "Graham Greene's use of evil in selected novels". Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/533881.

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12

MacKay, Marina. "Evil in performance : political and moral value in the fiction of Angus Wilson". Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302087.

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13

Steele, Jeffrey Callaway. "The fascination of evil : mental malpractice in Shakespearean tragedy". Thesis, University of Birmingham, 2009. http://etheses.bham.ac.uk//id/eprint/1306/.

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The first part of this thesis offers a study of the phenomenon of fascination as it was understood in early modern England—specifically in its relation to magic, demonology and witchcraft. It examines fascination’s place within cultural traditions, and its operation within perception theory and the psychophysiology of the early modern medical understanding. It also examines some ways in which fascination operates within a theatrical context, and encounters the discourse of early modern “anti-theatricalists.” The second part of the thesis is an analysis of the Shakespearean tragic hero’s encounter with elements of fascinating bewitchment, and the problems of discerning reality through the mesmeric pull of misperception. The specific subjects of the dramatic analysis are Othello and Macbeth.

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14

Kobs, Michael Ireton Sean Moore. "The root of all evil? the Mandrake myth in German literature from 1673 to 1913 /". Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6554.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on month day, year). Thesis advisor: Dr. Sean Ireton. Includes bibliographical references.

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15

Mongelard, Michaela. "Traces of a palimpsest : sexuality, evil and death in the fiction of Loys Masson". Thesis, University of Surrey, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363796.

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16

Wiklund, Johanna. "The Portrayal of Evil in C.S. Lewis’s The Horse and His Boy". Thesis, Karlstad University, Division for Educational Sciences, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-275.

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Abstract

C.S. Lewis’s Chronicles of Narnia (there are seven books all together) are often perceived as children’s books that in a simple and uncomplicated way convey the positive message of Christianity. However, Lewis’s intention was as much to deal with negative moral issues such as selfishness, dishonesty, betrayal, cruelty, vindictiveness and hypocrisy, in other words: aspects of evil. The purpose of this essay is to examine C.S. Lewis’s portrayal of evil in the Chronicles of Narnia, in order to show the novel’s complexity. My main focus will be on one of the lesser known of the books, The Horse and His Boy.

I believe that Lewis through his books convey the complexity of live, but through a perspective which makes it easier for children to accept. All the ingredients of real life are included in the Chronicles, even the ugly side to life, namely evil. By displaying the phenomenon of evil in so many different ways in his books, I believe that Lewis is trying to show the complexity which lies in the workday world as well as in heaven and the world of fantasy. Lewis uses evil as an expression to encourage the moral imagination within the readers. I believe that he urges his readers to take a stand and see what evil is and what it does. Lewis demonstrates that good and evil is in each and every one of us, and that it is the choices we make that defines us.

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17

Poon, Po-chiu. "A study of the drama (Chuanqi) of good versus evil in the Ming dynasty =bMing dai zhong jian chong tu chuan qi yan jiu /". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23000922.

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18

Reed, Toni. "The projection of evil : an analysis of nineteenth- and twentieth-century British fiction influenced by "The demon lover" ballad /". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487323583620901.

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19

Inksetter, Hamish. "Perceptions of Evil: A Comparison of Moral Perspectives in Nazi Propaganda and Anti-Nazi Literature". Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/31917.

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This thesis examines how the concept of evil was understood by opposing German perspectives during the era of National Socialist rule (1933-1945). The rise of Nazism in Germany marked a period of massive political upheaval wherein the National Socialist government encouraged the masses to view the world in terms of a great struggle between forces of good and evil. This was the central theme of their propaganda, which zealously encouraged racialist beliefs in the popular consciousness, and was based on assumptions of German superiority and Jewish evil. Despite Hitler's apparent success in creating an obedient nation, a significant number of Germans opposed his rule, amongst whom a small group of writers expressed their discontent through creative fiction. Through a comparison of the worldviews communicated through political propaganda and anti-Nazi literature, it is revealed that the crux of the divide between their opposing perspectives hinged on the meaning of evil. Since evil is a concept with many meanings, this thesis approaches the subject thematically. The comparison begins by focusing on the perception of evil as an all-corrupting force that had taken hold of Germany, followed by an exploration of how power and brutality were understood, ending with a comparison of views on how the struggle between good and evil took place on both a social and individual level. In addition to demonstrating the subjectivity of moral perspective during a tumultuous period of the recent past, this research reveals how the struggle against Nazism existed as a conflict of ideas. Moreover, the comparison of cultural sources (including Nazi art, visual propaganda, written texts such as Mein Kampf, and anti-Nazi creative fiction) demonstrates the value of art as a tool for conducting historical enquiry. Since the legacy of the Third Reich continues to directly influence modern perceptions of evil, exploring how evil was understood according to contemporary Germans – from both pro and anti-Nazi perspectives – is of particular historical interest.

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20

Keskin, Hatice. "An Analysis Of The Concepts Of Good And Evil In Henry James". Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/2/1048933/index.pdf.

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The aim of this thesis is to analyse the concepts of good and evil in Henry James&rsquo
s two novels, The Wings of the Dove and The Golden Bowl. The main argument, which is supported with evidence from the novels and several articles and books, is that the conceps of good and evil permeate the novels, that Henry James&rsquo
s use of symbolism and imagery reinforces the illustration of these concepts, that the contextual understanding of these terms cannot be separated from the environmental, financial and contextual factors that influence the characters&rsquo
responses to the world outside themselves and that human relations and the characters&rsquo
relatedness to the world outside themselves constitute the point where good and evil reside.

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21

Wright, Archie T. "The origin of evil spirits : the reception of Genesis 6, 1-4 in early Jewish literature /". Tübingen : Mohr Siebeck, 2005. http://catalogue.bnf.fr/ark:/12148/cb40089131v.

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Texte remanié de: Doctoral thesis--Faculty of theology--Durham--University, 2004. Titre de soutenance : Breaching the cosmic order : the Biblical tradition of Genesis 6, 1-4 and its reception in early Enochic and Philonic Judaism.
Bibliogr. p. 224-240.

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22

Minto, Robert Michael David. "In Defense of Evil Stories: A Study in the Ethics of Audition". Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:107973.

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Thesis advisor: Jorge L.A. Garcia
When Odysseus sets sail from Circe’s island, she advises him to stop up his ears and eyes when he passes the Sirens or he will suffer terrible consequences. He makes his crew do it, but keeps his own senses clear, asking only to be tied to the mast so he cannot act on any bewitchments. This story could almost be an allegory about the moral danger of art. In this dissertation, I defend a small part of what I take to be the Odyssean thesis: that art is worth the danger it represents, and, specifically, that what I call "evil stories" are worth the danger they represent. The phrase "evil stories" is a shorthand, for me, for the longer phrase "stories which require us, in order to understand them, to imaginatively simulate the point of view of characters who commit acts of great harm for sadistic, malicious, or defiant reasons." I argue that auditing “evil stories” is not, for most people, and as part of a balanced imaginative diet, so morally dangerous that they ought to be avoided; moreover, I argue that it can be morally opportune to audit them and, in some special cases, morally obligatory. My strategy to defend this thesis is two part. First, I formulate and respond to what I take to be the most serious reasons to suspect that auditing evil stories is too morally dangerous. Those reasons include: the idea that auditing evil stories is itself an immoral action (chapter 3); the idea that it is a virtue to be unable to perform the mental operations involved in adequately auditing evil stories (chapter 4); the idea that understanding evil actions or characters is tantamount to condoning them (chapter 5); and the idea that being fascinated by evil undercuts one's standing to condemn it (chapter 6). Second, I venture several tentative arguments in support of the idea that evil stories can actually provide opportunities for moral growth and education: the idea that evil stories provoke unique and valuable kinds of moral reflection and that we can sometimes be obligated to audit them (chapter 7); and the idea that auditing evil stories is uniquely revelatory of some kind of moral truth (chapter 8). In the course of all this rebutting and reason giving, I propose a way of thinking about the ethics of audition in general which I call "role-centered response moralism," which develops obliquely across the subsections of various chapters
Thesis (PhD) — Boston College, 2018
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy

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23

Cataldo, Claudia Kingston. "Beyond cute and evil how dwarfs reconfigure boundaries of sexuality, identity, and ability in Germanic literature and film /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925787811&sid=38&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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24

Chaochuti, Thosaeng. "What evil looked like the practice of reading the criminal body in 19th- and 20th-century Europe /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1568406411&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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25

Morrill, David Frederick. ""Twilight Is Not Good for Maidens": Vampirism and the Insemination of Evil in Christina Rossetti's "Goblin Market"". W&M ScholarWorks, 1987. https://scholarworks.wm.edu/etd/1539625393.

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26

Kraeger, Linda T. "Conflict in The Brothers Karamazov: Dostoevsky's Idea of the Origin of Sin". Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500919/.

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The thesis systematically explicates Dostoevsky's portrayal of the origin of human evil on earth through the novel The Brothers Karamazov. Drawing from the novel and from Augustine, Pelagius, and Luther, the explication compares and contrasts Dostoevsky's doctrine of original conflict against the three theologians' views of original sin. Following a brief summary of the three earlier theories of original sin, the thesis describes Dostoevsky's peculiar doctrine of Karamazovism and his unique account of how human evil originated. Finally, the thesis shows how suffering, love, and guilt grow out of the original conflict and how the image of Christ serves as an icon of the special kind of social unity projected by Zosima the Elder in The Brothers Karamazov.

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27

Rogers, Ted. "Evil and Englishness representations of traumatic violence and national identity in the works of the Inklings, 1937-1954 /". restricted, 2007. http://etd.gsu.edu/theses/available/etd-08062007-153431/.

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Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Ian C. Fletcher, committee chair; Jared Poley, committee member. Electronic text (136 p.) : digital, PDF file. Description based on contents viewed Nov. 5, 2007. Includes bibliographical references (p. 131-136).

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28

Dunn, Samuel James. "Reconceiving a Necessary Evil: Teaching a Transferable FYC Research Paper". BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3633.

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The place of the research paper in first-year composition (FYC) courses is often debated in composition forums. Many argue that the a-disciplinary nature of FYC doesn't allow instructors to teach the research paper in a way that will be transferable to disciplinary writing tasks, while others say that it is possible, as long as we have a thorough understanding of the kinds of writing tasks students will face in the disciplines and specifically teach writing skills that will be transferable. To identify these more generalizable writing skills to be emphasized, I interviewed 14 professors at Brigham Young University from different disciplines about the research papers they teach within their upper-division disciplinary courses and the kinds of researching and writing skills they expect students to have mastered before enrolling in these courses. I collated the results of the interviews and categorized 22 skills into four categories: writing process knowledge, genre knowledge, rhetorical knowledge, and researching knowledge, finding correlation between the 22 skills I identified with skills identified by both John Bean and Carra Leah Hood, lending credence to the value of my identified skills as worthwhile to be focused on in FYC. I draw on Amy Devitt's idea that the school genres we teach in FYC are antecedent genres to assert that teaching a research paper in FYC outside of the constraints of any one discipline can provide a viable and valuable learning experience, provided that it is taught with an emphasis on these writing skills that are most valued across the disciplines, and provided it is taught as a step along the way to later mastery of disciplinary genres.

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29

Park, Yoon-hee. "Rewriting Woman Evil?: Antifeminism and its Hermeneutic Problems in Four Criseida Stories". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278387/.

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Since Benoit de Sainte-Maure's creation of the Briseida story, Criseida has evolved as one of the most infamous heroines in European literature, an inconstant femme fatale. This study analyzes four different receptions of the Criseida story with a special emphasis on the antifeminist tradition. An interesting pattern arises from the ways in which four British writers render Criseida: Geoffrey Chaucer's Troilus and Crisevde is a response to the antifeminist tradition of the story (particularly to Giovanni Boccaccio's II Filostrato); Robert Henryson's Testament of Cresseid is a direct response to Chaucer's poem; William Shakespeare's Troilus and Cressida aligns itself with the antifeminist tradition, but in a different way; and John Dryden's Troilus and Cressida or Truth Found Too Late is a straight rewriting of Shakespeare's play. These works themselves form an interesting canon within the whole tradition. All four writers are not only readers of the continually evolving story of Criseida but also critics, writers, and literary historians in the Jaussian sense. They critique their predecessors' works, write what they have conceived from the tradition of the story, and reinterpret the old works in that historical context.

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30

JUSTI, DANIEL BRASIL. "LITERATURE AND POPULAR CULTURE ON THE EARLY CHRISTIANITY: THE BELIEF AND PRACTICE OF THE EVIL EYE IN GALATIANS 3,1-5". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=18134@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Literatura e cultura popular no cristianismo primitivo são apresentadas como temas com o objetivo de analisar, a partir da literatura, cultura e práticas mágicas no Mundo Antigo, a inserção das comunidades cristãs nesse ambiente vital, no geral e, da comunidade de Gálatas, no particular. O objetivo é, através da transdisciplinaridade (teologia, história, antropologia e arqueologia) reconstruir o contexto mágico originário da comunidade gálata, entender as tensões em seu interior e perceber que implicações existem em vincular essa comunidade com o ambiente da magia. O elemento mágico observado é a crença e prática do mau-olhado (baskaíno) que, por conta de processos históricos, como o Iluminismo Europeu, foi obscurecido nas modernas traduções bíblicas e comentários exegéticos. Desvelar, pois, esse filtro de leitura construído pela Modernidade, consiste em redimensionar as frágeis fronteiras entre magia (primitivo) e religião (civilizado), de acordo com a leitura racionalista do século XIX em diante.
Literature and popular culture on the early christianity are presented as subjects and aims to examine, from literature, culture and magical practices in the ancient world, the participation of Christian communities in this vital environment, in general, and the community of Galatians, in particular. The goal is, through transdisciplinarity (theology, history, anthropology and archaeology) to reconstruct the original magical context in Galatian’s community, understand the tensions among them and realize that there are many implications in this community link with the environment of magic. The magical element observed is the belief and practice of the evil eye (baskaíno) that, because of some historical processes, such as the European Enlightenment, was obscured in modern Bible translations and exegetical commentaries. Unveiling, therefore, this filter in built by modernity, is to resize the fragile boundaries between magic (primitive) and religion (civilized), according to the racionalist reading of the nineteenth century onwards.

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31

McLean, Karen, e n/a. "Samuel Taylor Coleridge�s use of platonic and neoplatonic theories of evil and creation". University of Otago. Department of English, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080222.121810.

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Samuel Taylor Coleridge used theories of evil and creation from Plato, Plotinus and Proclus to refine his definitions of the Trinity and the Absolute and Apostate Wills, and to move beyond the Germanic Naturphilosophie concept of self-hood as achieved by a self-objectification which emphasised differences between the persons of the Trinity rather than their similarities. His use of specific classical Greek concepts allowed him to propose that the Absolute Will�s self-substantiative act established unity and distinction as simultaneous and interrelated equals. From this, Coleridge investigated how identity and relationship rely upon unity and distinction, as he believed that identity is a unified self distinct from others, and that relationship is the unified common ground of many selves. My first chapter explains my methodology in dealing with Coleridge�s problematic relationship with both Greek and German sources, and describes how Coleridge�s philosophical investigations into evil and creation resulted from personal crises oyer his sense of self and sin. I provide an overview of the system Coleridge devised to address these concerns, concentrating upon the aspects which he believed clarified humanity�s status in relation to evil and the divine. I demonstrate how Coleridge accounts for the origin of the Apostate Will, and I explain his view of identity and relationships between the persons of the Trinity, providing a relevant overview that allows me to point out his use of the fundamental Greek concepts that anchor the subsequent chapters on Plato, Plotinus and Proclus. My second chapter examines Coleridge�s statement that Plato had formulated a triune creative principle, a concept critical to Coleridge�s need to unite God to the created universe. After describing the Platonic structure of reality and its divine creative act, I focus on the Platonic triad of Difference, Unity and Being. Plato�s account of these three principles and how they arise from the divine principle activity influences Coleridge�s view of the Trinity, what it contains in terms of distinction and unity, and how the Trinity arises from the superessential Absolute Will. I explain how Coleridge refined his definition of Christ as pleroma by referencing the way that the Form of the Good simultaneously exhibits plurality and identity. My third chapter shows how the Plotinian theory of the One�s will-based self-substantiation influenced Coleridge�s definition of the Absolute Will. I determine that Plotinus�s concept of heterotes (otherness) informs Coleridge�s view of the origin of evil, and I show how his concept of redemption is influenced by Plotinus�s account of noetic contemplation. My fourth chapter explains how Coleridge used the Proclian concept of Bound to develop the actualising quality of the Logos, in relation to Christ as a successful plurality but also in terms of Christ�s role in the redemption. My conclusion surveys all four philosophers to demonstrate how concepts drawn from Plato, Plotinus and Proclus helped Coleridge to define the Absolute Will and the way that its activity is the unity, distinction, identity and relationship of the Trinity. These three distinct yet related systems influenced Coleridge�s view of evil, as well as his understanding of the Absolute Will�s self-creative act, its relation to the Trinity, and the simultaneously fallen and divine status of humanity.

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Baumgarten, Joseph Ephraim. "Combating the banality of evil : portrayals of the literary female villain in Günter Grass's Danziger Trilogie and novella, Im Krebsgang /". Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd989.pdf.

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McInnis, Jeff. "Shadows and chivalry : pain, suffering, evil and goodness in the works of George MacDonald and C.S. Lewis". Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/2881.

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This thesis argues that George MacDonald's literary influence upon C. S. Lewis-concerning the themes of pain, suffering, evil and goodness-was transforming and long-lasting. It is argued in the opening chapter that MacDonald's work had a great deal to do with the change in young Lewis's imagination, helping to convert him from a romantic doubter to a romantic believer in God and his goodness. A review of both writers' first works suggests that such influence may have begun earlier in Lewis's career than has been noticed. The second chapter examines how both authors contended with the problems that pain and suffering present, and how both understood and presented the nature of faith. Differences in their treatment of these subjects are noted, but it is argued that these views and depictions share fundamental elements, and that MacDonald's direct influence can be demonstrated in particular cases. The view that MacDonald was primarily a champion of feelings is challenged, as is the idea that either man's later writing displays a loss of faith in God and his goodness. The third chapter, in specifically refuting the assertion that MacDonald's view of evil was inclusive in the Jungian or dualistic sense, shows how both authors' work maintains an unmistakable distinction between evil fortune and moral evil. The next two chapters examine fundamental similarities in their treatment of evil and goodness. Special care is taken in these two chapters to trace MacDonald's direct influence, especially regarding the differences they believed existed between hell's Pride and what they believed God to be. The fifth chapter reviews their ideas and depictions of heaven in summing up the study's argument concerning the overall influence of MacDonald's writing upon Lewis's imagination-in particular the change in Lewis's understanding of the relations between Spirits, Nature, and God.

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Crossen, Maureen. "The question of God in the face of the problem of evil in light of Jürgen Moltmann's reading of scripture and eschatological literature /". Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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Oliven, Rafael Campos. ""Thus conscience does make cowards of us all" : the construction of soliloquies in Shakespeare". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/116630.

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Esta dissertação analisa a construção dos solilóquios em três das principais tragédias de Shakespeare, a saber, Macbeth, Hamlet e Othello, e sua relação com a formação da consciência na construção da identidade do indivíduo, um conceito que ocorre a partir do início da Idade Moderna. A pesquisa se apoia na teoria psicanalítica freudiana e na análise da linguagem e do discurso elaborada por Foucault. Os solilóquios correspondem ao diálogo que as personagens travam consigo mesmas em momentos quando somente a plateia, ou o leitor, podem escutá-los ou lê-los. Diferentemente do monólogo – que passa pelo crivo da razão, por ser dirigido a um ou mais interlocutores em cena – o solilóquio é mais espirituoso, flui mais livremente e expressa a fala interior e os pensamentos e sentimentos mais profundos das personagens. No solilóquio inexistem o processo de censura ou a necessidade de corresponder às expectativas de outrem. Ele prende a atenção do público e pressupõe a sua conivência para com os argumentos apresentados. Minha hipótese é que no drama Shakespeariano os solilóquios têm a função de acomodar o indivíduo com a sua própria consciência, num tempo em que este não consegue mais se ver como membro de uma comunidade, que pensa e age publicamente, como ocorria na antiguidade, ou de acordo com os preceitos religiosos e morais rigorosos da Idade Média. Apresento este trabalho como um estudo sobre o momento histórico e estético em que o indivíduo moderno passa a se constituir conceitualmente. Os principais temas de fundo na dissertação são a questão da justiça e da ética frente à desgraça; e a questão do mal e de como lidar com ele. A discussão será feita a partir do questionamento das dicotomias e dos estereótipos que operam nessas três tragédias Shakespearianas. A linguagem e o conteúdo dos solilóquios serão analisados sob um enfoque filosófico e psicanalítico.
This thesis aims at analysing the appearance and construction of soliloquies in three major Shakespearean tragedies, Macbeth, Hamlet and Othello. The focus of the research lies on the relationship involving the plays and the concept of individual identity that originates at the dawn of the Modern Age. The research is grounded on Freudian psychoanalytical theory and on the analysis of language and discourse proposed by Michel Foucault. Soliloquies correspond to the inner dialogue that characters have with themselves when no one else is present and only the audience, or the reader, can hear or read them. Differently from the monologue, which is always addressed to one or more people present at the scene, soliloquies are usually witty, and express the inner speech and deepest thoughts and feelings of a character. This happens because with soliloquies there is no process of censorship, or the need to correspond to the expectation of other characters. My hypothesis is that soliloquies originate in and are related to the need of individuals to express themselves according to their own conscience, not only as members of a community who act and think publicly, as was the case in ancient times, or according to the religious precepts and strict moral codes of the Middle Ages. I hope that this work can contribute to illustrate the moment in which the concept of individuality starts to be put to use. Some of the themes discussed in the thesis address the questions of justice and ethics in face of disgrace, the origin of evil and how it is addressed. The themes are dealt with in the analysis of the dichotomies and stereotypes that operate in those Shakespearean tragedies. The language and content of the soliloquies will be analysed through a philosophical and psychoanalytical approach.

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Silva, Carina Zanelato. "O problema do conhecimento e a dissolução do conceito de maldade em Heinrich von Kleist /". Araraquara, 2019. http://hdl.handle.net/11449/181794.

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Orientador: Karin Volobuef
Banca: Helmut Paul Erich Galle
Banca: Juliana Pasquarelli Perez
Banca: Luís Fernandes dos Santos Nascimento
Banca: Márcio Suzuki
Resumo: Recentes pesquisas sobre a obra literária de Heinrich von Kleist (1777-1811) retomaram a famosa "crise-kantiana" do autor como fator de grande relevância no estudo de seu universo literário. Tim Mehigan, por exemplo, em seu livro Heinrich von Kleist: writing after Kant (2011) nos apresenta uma nova faceta de interpretação desta crise ao considerá-la como o ponto de partida para o desenvolvimento de Kleist como um grande colaborador da filosofia pós-kantiana, pois suas cartas (a partir de 1800), ensaios e obras literárias refletem o embate entre a teoria do conhecimento de Kant e os limites a que a autoconsciência pode chegar na apreensão dos dados da realidade empírica. O trabalho de Kleist, neste ponto de vista, pode ser entendido como "pós-kantiano" na medida em que vai além da escola kantiana e discute novas questões culturais, estéticas e filosóficas abertas pelo próprio Kant. Essas conclusões nos permitem avançar a discussão empreendida por estes pesquisadores para a abordagem de uma temática frequente nas obras de Kleist: a quebra de limites entre os conceitos de maldade (Das Böse) e bondade (Das Gute) desenvolvidos durante a Aufklärung. Essa quebra nos parece estar fortemente associada a uma subversão do conceito de realidade extraído por Kleist da noção kantiana de apreensão da realidade pela razão e ao ceticismo muito característico da filosofia de Hume. Assim, nesta pesquisa, procuraremos demonstrar em que consiste essa quebra de limites do bem e do mal e como a com... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Recent researches on the Heinrich von Kleist's literary works (1777-1811) recovered the author's famous "Kant crisis" as a factor of great relevance in the study of his literary universe. Tim Mehigan, for example, in his book Heinrich von Kleist: writing after Kant (2011) presents a new facet of interpretation of this crisis by considering it as the starting point for Kleist's development as a great contributor to post- Kantian philosophy, because his letters (from 1800), essays and literary works reflect the clash between Kant's theory of knowledge and the limits to which self-consciousness can arrive at the apprehension of the data of empirical reality. Kleist's work, from this point of view, can be understood as "post-Kantian" in that as long as it goes beyond the Kantian school and discusses new cultural, aesthetic and philosophical issues opened by Kant himself. These conclusions allow us to advance the discussion undertaken by these researchers towards an approach of a frequent theme in Kleist's works: a break in the boundaries between the concepts of badness (Das Böse) and goodness (Das Gute) developed during the Aufklärung. This break seems to us to be strongly associated with a subversion of the concept of reality drawn out by Kleist from the Kantian notion of apprehension of reality by reason and the very characteristic skepticism of Hume's philosophy. Therefore, in this research, we will attempt to demonstrate what this break of the limits between good and evil con... (Complete abstract click electronic access below)
Doutor

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37

Lyons, Sara J. "The sacrifice of honey (fiction) ; The depiction of the media in The shark net, Evil angels and The sacrifice of honey (thesis)". University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0055.

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38

Susic, Semir. "Beyond Good and Evil : An essay on the combination of ideas and aesthetics in George Bernard Shaw's Mrs Warren’s Profession". Thesis, Stockholm University, Department of History of Literature and History of Ideas, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8314.

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The objective of this essay is to approach a larger comprehension of the drama of George Bernard Shaw. The essay studies the combination of ideas and aesthetics in the play Mrs Warren’s Profession; how theatrical and mainly literary aesthetics interplay with political ideas and what the consequence of this combination is. The study illustrates that the dramatic method consists of using ideas as effective theatrical tools to move the reader/viewer by thought and not by sentiment. The study also illustrates that a key to understanding Shaw’s drama can be found in the construction of operas and symphonies; musical theoretic constructions are an integrated dramatic technique in Mrs Warren’s Profession. The study shows that it is a play with a political and social purpose; to raise awareness of the mechanisms of prostitution. The play does not use simplifications in terms of good and evil. It questions conventionality, unveils social hypocrisy and attempts to disillusion the reader/viewer. The antithesis between realism and idealism is an important source of dynamics and constitutes one of the principal aesthetical constructions.

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39

Abdalla, Laila. "The dialectical adversary : the satanic character and imagery in Anglo-Saxon poetry". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59563.

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This thesis examines the positive role of evil in select Old English Poetry, namely The Junius Book, "Guthlac", "Vainglory", "The Whale", "Juliana", "Judith" and "Beowulf". Using a background of Augustan and Boethian thought, each adversarial character is discussed with regard to role and imagery, but specifically in relationship to the protagonist. Evil plays a surprisingly positive role when it offers the protagonist the opportunity to defeat it. The protagonists' honour at the poem's conclusion is necessarily defined by the extent of resisting the antagonists. The hero must fight evil on two levels: the temporal in humans and the metaphysical in Satan. The thesis examines the various levels of victory and indeed failure they achieve, and concludes that of all the heroes only Juliana is completely successful. Although evil itself cannot be defined as "good", this thesis discovers that in its relationship with the human hero, it can indeed give rise to goodness.

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Lyons, Sara J. Lyons Sara J. "The sacrifice of honey (fiction) : The depiction of the media in The shark net, Evil angels and The sacrifice of honey (thesis) /". Connect to this title, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0055.

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Mamelouk, Douja. "Redirecting al-nazar contemporary Tunisian women novelists return the gaze /". Connect to Electronic Thesis (ProQuest) Connect to Electronic Thesis (CONTENTdm), 2010. http://worldcat.org/oclc/649823780/viewonline.

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Persson, Penzer Anna. "Modern Day Fairy Tales : A comparative study between Amy Plum's Die for Me and the Western Fairy Tale Tradition". Thesis, Högskolan Dalarna, Engelska, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24632.

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Biscaia, Maria Carolina Vazzoler. "\"Beleza, perversidade, vício e doença\": um passeio pela literatura do mal de Mário de Sá-Carneiro". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-28082013-094108/.

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Esta tese discorre sobre como a obra do escritor português Mário de Sá-Carneiro apresenta uma ligação com o mal, tomando como sustentação teórica as discussões propostas por George Bataille, Elizabeth Roudinesco e Martin Heidegger. A tese aponta como as personagens e os eu líricos optam pelo escapismo para outras realidades, para lugares míticos e para as múltiplas identidades, como forma de serem mais livres e de burlarem as regras morais que estão postas pela sociedade portuguesa da época. É por meio deste escapismo que se tem a possibilidade de criar uma vida envolta em mistério e repleta de momentos singulares. Com a ausência de uma moral que possa tolher o indivíduo de seus mais íntimos segredos é que a literatura de Sá-Carneiro envereda para a morte, o suicídio, o crime, o incesto, o homossexualismo e outros comportamentos que podem sugerir sua ligação com o mal. Com um universo deslocado do real, os textos têm como cena as noites parisienses, os refinados e sofisticados artistas e a crença de que a arte é sagrada e que, como tal, elege seus poucos representantes, e estes passam a ter seus caminhos ungidos por tal distinção. São as relações entre o escapismo, o mistério, a morte, as perversões e a arte que dão os subsídios para a inscrição da obra de Mário de Sá-Carneiro como um receptáculo daquilo a que chamamos de literatura do mal.
This paper describes how Mário de Sá-Carneiros works have a connection with evil. The theory is supported by George Bataille, Elizabeth Roudinesco and Martin Heideggers proposed discussions. The thesis notes how characters and poetic personae choose escaping to other realities, mythical places and multiple personalities as means of setting free or bending the moral rules which the Portuguese society held during that period. This escapism enables a mysterious, particular lifestyle. By lacking morals that may curb peoples most secret desires, Sá-Carneiros literature trails towards death, suicide, crime, incest, homosexuality and other unrighteous behaviors. By detaching from reality, the texts portray Parisian nights and sophisticated artists. It was believed that art was sacred and for that reason few were chosen to represent it. As a result, artists were allegedly annointed for such a distinction. The relationship between escapism, mystery, death, perversions and art shapes Mário de Sá-Carneiros work into what we call literature of evil.

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Angeles, Marie. "On the Matter of God’s Goodness: An Examination of the Failure of Theodicies, Herman Melville, and an Alternative Approach to the Problem of Evil". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/475.

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Within Judeo-Christianity there is a belief in an all perfect God who is omniscient, omnipotent, and omnibenevolent. However, in this world evil and suffering exists, so how is it possible that an all perfect God can exist? This is called the problem of evil. This thesis examines the problem of evil and how philosophers like Alvin Plantinga, John Hick, and Richard Swinburne attempt to solve the problem of evil through different theodicies. In this paper I argue that all three philosophers and their theodicies fail to solve the problem of evil. I then turn to the writings of Herman Melville, specifically Mardi: and a Voyage Thither and Moby-Dick; or, The Whale, and consider how he, as an author, struggled with the problem of evil and religion. While Melville may have struggled I argue that within his works we can find part of the solution to the problem of evil. Through these two novels Melville demonstrates that God is not good. My final chapter considers this fact that God is not good and also considers how God is not evil. In the end I argue that God is neither good nor evil which allows us to no longer have to face the problem of evil.

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Sääf, Ida. ""In my experience well-read people are less likely to be evil" : En studie om intertextualitet och kulturellt kapital i Lemony Snickets A series of unfortunare events". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-166066.

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Syftet med studien har varit att se vilka funktioner intertextualiteten i Lemony Snickets serie A series of unfortunate events har och vad författaren uppnår med den. Studien studerar seriens intertextualitet på olika nivåer som bär olika funktioner. Med hjälp av Pierre Bourdieus teori om kulturellt kapital, Aleida Assmanns teori om kulturellt minne och Harold Blooms tankar kring den västerländska kanon diskuteras intertextualitetens nivåer och dess betydelser. Av dessa intertexter kan kulturellt kapital läsas samt en tro om den goda litteraturen och den goda läsningen. Studien lyfter fram Snickets verk som en serie som förhåller sig till barnlitterära traditioner i sin form men använder sig av vuxenlitteraturens referenser för att förhöja statusen av serien såväl som barnboken.

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Toll, Klara. "“Could that be diabolical, and really spotted with unseen evil, which was so spotless to the eye?” : Discipline and Homosexuality in Walter Pater's "Emerald Uthwart" and "Apollo in Picardy"". Thesis, Stockholms universitet, Engelska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144523.

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In Walter Pater’s work there are often mentions of discipline and ascesis in an explicitly positive way. But, in some of his work, discipline, although not ascesis, seem to be taking on a more negative form. Critics have nonetheless seemed satisfied with Pater’s explicit praise for discipline and the area is thus not very thoroughly researched. One area that is well researched is the homoerotic subtexts that are evident in a lot of Pater’s work, which critics have examined in a variety of different ways. I suggest analysing the imaginary portraits “Emerald Uthwart” and “Apollo in Picardy,” to argue that Pater contrasts the Ancient Greek notion of ascesis with the nineteenth century understanding of discipline in order to question the legal restrictions on homosexuality in late nineteenth century England. Due to the historical context of the 1885 Criminal Law Amendment Act, which criminalised homosexuality, and Pater’s regular use of—as well as his admiration for—Ancient Greece, I have found that there is a connection between discipline, ascesis, and homosexuality. In the essay I make use of some of Foucault’s theories, especially from The History of Sexuality Vol. 1 and Vol. 2., to argue that the juxtaposition between homosexuality and discipline and ascesis in the two portraits provides new insights to the intricacies of Pater’s work. Keywords: Walter Pater; discipline; ascesis; homosexuality; “Apollo in Picardy”; “Emerald Uthwart”; Imaginary Portraits

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Tokdemir, Gokce. "Worlds Subverted: A Generic Analysis Of The Lion, The Witch And The Wardrobe, The Subtle Knife, And Harry Potter And The Philosopher". Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/3/12609698/index.pdf.

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This dissertation aims to study three very important works in English children&rsquo
s fiction: C. S. Lewis&rsquo
s The Lion, the Witch and the Wardrobe, Philip Pullman&rsquo
s The Subtle Knife, the second book of his trilogy His Dark Materials, and J. K. Rowling&rsquo
s Harry Potter and the Philosopher&rsquo
s Stone. The novels will be analyzed in terms of their approaches toward the conventions of fairy tale, fantasy and romance
to this end, the novels are to be evaluated in relation to their concept of chronotope, and the quest of good versus evil. While the secondary world or multiple worlds presented are going to be analyzed in terms of their perception of time and space along with the presentation of the supernatural elements, the characters will be evaluated in terms of the common classification good versus evil. The main argument of this study concentrates on the gradual estrangement from the crystal clear distinctions of the fairy tale genre to a more shadowy, pessimistic, and ambivalent vision of the fantastic in the children&rsquo
s literature.

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Lundblad, Johanna. ""It's rare to capture the sound of pure evil on tape, but here it is." : En retorisk analys av gestaltningen av brott och rättssystem i poddsändningen Sword and Scale". Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-432426.

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Vad är det hos berättelser om mord och brott som fascinerar oss människor? I den här uppsatsen undersöks hur brott, gärningsmän och brottsoffer samt rättssystem porträtteras inom en true crime-text. I denna studie är det poddsändningen Sword and Scale som står i fokus. Vidare undersöks true crime-genren utifrån ett retorisk perspektiv för att utröna hur texten kommunicerar med och övertygar sin mottagare. Uppsatsen tar sina teoretiska utgångspunkter i Kenneth Burkes teori om identifikation och Edwin Blacks teori om the second persona för att kunna utröna ideologiska implikationer hos true crime-narrativet. Resultaten visar att mördare konsekvent porträtteras som onda och fördömda gentemot offret som istället beskrivs som oskyldigt och rättfärdigt, och poddsändningen kan därmed ses konstruera ett etablerat förhållande mellan gott och ont på individnivå. Vidare har analysen visat att rättssystemet beskrivs som en beskyddande, bestraffande och auktoritär makt. Trots detta uppvisas en potential hos anklagande true crime att kritisera rättssystemet, där kritiken riktas mot att rättssystemets beskyddande makt inte utövas tillräckligt eller korrekt. Anklagande true crime fyller därmed även en legitimerande funktion genom att inte att kritisera systemets grundläggande strukturer.

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Baumgarten, Joseph Ephraim. "Combating the Banality of Evil: Portrayals of the Literary Female Villain in GÃ¼nter Grass's Danziger Trilogie and Novella, Im Krebsgang". BYU ScholarsArchive, 2005. https://scholarsarchive.byu.edu/etd/653.

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In Günter Grass's Danzig Trilogy and novella, Im Krebsgang, an antagonistic female type makes a repeated appearance. She appears in the guise of Susi Kater and Luzie Rennwand in Die Blechtrommel, and as Tulla Pokriefke in the other works, Katz und Maus, Hundejahre, and Im Krebsgang. This antagonistic female type is not like other women in these works. A review of Le Deuxième Sexe by feminist Simone de Beauvoir reveals several crucial components contributing to woman's position in society. Most essentially, a woman's natural attributes and (dis)abilities and the conventions of society have enforced her historical submission to man. This thesis analyzes how the antagonistic female type, or villain, compares and contrasts with other female figures in these works by Grass, according to a paradigm derived from Beauvoir's description of woman. From this analysis, a better understanding of the female villain's nature emerges. Indeed, such a comparison demonstrates that certain female figures in the works of Grass transcend their historically oppressed or subdued status by refusing to submit to those natural handicaps and societal restrictions identified by Beauvoir, and thus become a threat to man's status or security as an antagonistic female type, or villain. However, the villain figure is not always inherently evil, but possesses the capacity to change. The villain and victim can reconcile their differences and may even form a friendly relationship. This evolving villain-victim duality becomes most clear in Grass's work, Im Krebsgang, and suggests the possibility of assuaging contemporary conflicts as educators sympathize with the experiences of both extremist groups and victimized parties and help them come to terms with their differences.

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Noren, Mary Elizabeth. "Beneath The Invisibility Cloak: Myth and The Modern World View in J.K. Rowling’s Harry Potter". Wright State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=wright1189447038.

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Teses / dissertações sobre o tema "Evil ; Literature"

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