Criticism of Graham Greene often centers around what has been termed Greene's "obsessions." Much has been made of his "formula" of the hunted man. The suggestion usually is that Greene's "obsessions" and his "formula" are a blemish in his work. Since Greene's artistry in other respects is seldom questioned, it would seem to me that there is an explanation of what seems to be a blemish. The word "obsession" itself suggests an unconscious activity, an unconscious urge. It occurred to me that the recurrence of Greene's themes, and his "formula" could be explained as an unconscious urge translated into symbols which reflect his basic concern. Drawing on Jung's theory of "the collective unconscious," and examining the theory of archetypal terminology in literary criticism as used by such literary critics as Northrop Frye, and Maud Bodkin -- in her Archetypal Patterns in Poetry -- I attempt to show that Greene's heroes are symbols in a mythic structure. This structure, with varying artistic differences, is what we see as Greene's individual novels and "entertainments." The novels and entertainments represent the fusion of Greene's literary artistry, his unconscious symbolism, and his conscious ordering of experience. Greene's heroes, his "archetypes," are recurrent images which evince his theme: that man can only be spiritually regenerated through experience. The word "recurrent" helps to explain the term "formula" which has been applied to Greene's plots. I attempt, too, to relate Greene's mythology to his “obsession." The reason that Greene chooses to call some of his work "entertainments," and others "novels," is that these represent two different literary modes which roughly parallel two general modes in art and literature: the comic and the tragic. The two entertainments examined here, The Confidential Agent and The Ministry of Fear, are discussed as representative of the comic mode, and the two serious novels, The Power and the Glory and The Heart of the Matter, are discussed as "tragic." The entertainments represent not comedy, but the integrative urge; that is, in comedy the tendency is to integrate the hero into his society. Both Arthur Rowe, the hero of the entertainment, The Ministry of Fear, and "D," the hero of the entertainment, The Confidential Agent, are reintegrated into their society through the love of women. On the other hand, the tendency in the tragic mode is to isolate the hero from his society. For example, the whiskey priest of The Power and the Glory, and Scobie of The Heart of the Matter, are in conflict with their society and are not physically reintegrated into it. I also examine Greene's use of melodrama. I attempt to expose the link between his use of melodrama and the comic mode. The necessity for a happy ending in the comic mode is mainly the reason that Greene uses melodramatic formulae in his plot resolution in the entertainments. It soon becomes clear that Greene's use of melodramatic formulae is ironic. This is so because of Greene's basic theme that one should be aware of both good and evil in human nature. His heroes and the minor characters are his medium of expression of this theme. / Arts, Faculty of / English, Department of / Graduate

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Master of Science

Master of Science

Uma das principais características do Behaviorismo Radical de B. F. Skinner (1904-1990) é sua crítica sistemática às explicações mentalistas para o comportamento. Contudo, o próprio conceito de Mentalismo pode ter muitos sentidos. O objetivo do trabalho foi descrever o que Skinner definia por Mentalismo e que críticas fazia a ele no período de 1931-1959. Após a análise de alguns trabalhos de Skinner nesse período, observou-se que o Mentalismo criticado entre os anos 30 e 40 foi principalmente o presente na Fisiologia Conceitual e nos Behaviorismos de Tolman, Hull, Boring e Stevens. Do final dos anos 40 até 1959, a crítica era dirigida especialmente à Psicanálise de Freud e à Psicologia da Consciência. Em relação aos tipos de críticas feitas por Skinner, não foram observadas mudanças significativas na argumentação de Skinner. As objeções foram apoiadas principalmente na natureza não científica de tais explicações, em sua circularidade, no seu reducionismo, no seu efeito negativo de afastar o estudo do comportamento em si mesmo, impedindo dessa forma a identificação das causas reais da ação, atrasando assim a criação de uma tecnologia do comportamento capaz de ajudar na solução de problemas humanos. Discute-se também como o Antimentalismo seria a principal razão de existir do Behaviorismo Radical, que teria a responsabilidade de abrir espaço para uma Ciência do Comportamento que viesse a substituir a própria Psicologia. As possibilidades dessa missão ser bem sucedida também são avaliadas. / One of the main characteristics of B. F. Skinner's Radical Behaviorism (1904-1990) is his constant criticism against mentalistic explanations for behavior. However, the concept of Mentalism itself may have several different meanings. The purpose of this work is to describe what Skinner meant by Mentalism and what criticism he made against it between 1931 and 1959. After analyzing some of Skinners' works at that period, it was noticed that the Mentalism criticized between the 30's and 40's was the one that was found at Conceptual Physiology and at Tolman, Hull, Boring and Stevens' Behaviorism. From the late 40's to 1959, criticism was directed specially towards Freud's Psychoanalysis and to the Psychology of Consciousness. In relation to the type of criticism made by Skinner, no meaningful change in his argumentation was found. The objections were mainly supported by the non-scientific nature of such explanations, their circularity and reductionism, their negative effect of avoiding the study of behavior in itself, in this way, preventing the identification of the real causes of action, then delaying the creation of a behavioral technology capable of helping to find the solution to human problems. It was also discussed how Antimentalism would be the main reason for the existence of Radical Behaviorism which would be responsible for leading the way to a Science of Behavior that would replace Psychology itself. The possibilities of success of such endeavor will also be evaluated.