The Prodigal Daughter (1736) is a poem that, on the surface, appears to be an approachable text that was likely geared towards a children’s audience during New England’s first Great Awakening, within the approachable format of a chapbook. However, when explored further, The Prodigal Daughter reveals a complicated textual history during a time of theological and social revival in New England. This thesis considers the historical context of The Prodigal Daughter’s narrative, as well as the poem’s publication history. The text’s transmission is carefully examined and encapsulated in this edition—giving the reader a transcription that is the result of collating twenty-eight surviving witnesses of The Prodigal Daughter. This thesis serves as a critical edition of The Prodigal Daughter, with an introduction which includes a careful consideration of gendered theology, homiletics, the literary marketplace, and the role of the devil in the female conversion narrative during New England’s first Great Awakening.

Der Begriff "Böse" ist seinem Bedeutungsumfang nach derart allumfassend, dass es unmöglich erscheint, sich diesem substanziell zu nähern. Die Arbeit versucht daher, das Phänomen des Bösen über seine Personifikationen zu erfassen und diese anhand begriffsgeschichtlicher Methoden aufzuarbeiten. Dabei steht das Zeitalter der Aufklärung im Zentrum der Analyse, da sich in jener Epoche ein elementarer Wandel vollzog, der das bis ins 18. Jh. hinein religiös geprägte Bild des Bösen ins Reich der Mythen und Legenden verbannte, ohne jedoch seine Personifikation, den Teufel, gänzlich zu vernichten. Ausgehend von diesem wichtigen Schritt in der Geschichte des Abendlandes entwickelt die Arbeit einen roten Faden der Kulturgeschichte des Bösen, der sich von den biblischen Anfängen bis hin zu den heute geläufigen Vorstellungen zieht. Damit wird verdeutlicht, inwieweit die religiöse Vorstellung des Teufels ein Paradigma bilden konnte, welches epochenübergreifende Geltung gewann.

Vår uppsats undersöker hur unga gängkriminella framställs på sociala medieforumet ”Flashback”, vilka subjektifierande effekter som uppstår inom diskursen såväl som vilka kriminalpolitiska åtgärder som aktualiseras utifrån dessa effekter. Vårt material omfattas av fyra trådar bestående av 198 kommentarer från plattformen som samtliga berör ungas involvering i gängkriminalitet. Vi belyser både det internationella liksom det nationella forskningsfältet, som alla berör konstruktionen av sociala samhällsproblem i relation till unga, invandrare och gängkriminella. I studien använder vi oss av paraplybegreppet andrefiering i dess allmänhet såväl som Garlands kriminalpolitiska utgångspunkter kring “självets kriminologi” respektive “kriminologin om den Andre”, för att förklara våra upptäckter. I trådarna åberopas det att Sverige numer blivit otryggt. Problemframställningen av unga gängkriminella förhåller sig inte särskilt mycket kring ungdomar, utan i stället är det invandrare och vänsterblockets politik som främst diskuteras vara orsaken till problemet. I framställningen av unga gängkriminella görs antagandet att de huvudsakligen är invandrarmän, vilka andrefieras i diskursen. Dessa tillskrivs stereotypiska egenskaper, som antas vara medfödda eller religiöst påverkade. Således konstrueras invandrare som ociviliserade gentemot den civiliserade svensken. I trådarna på Flashback åberopas straffåtgärder i form av förlängd inkapacitering och utvisning men även extremare våldsamma förslag tas upp, i form av tortyr och avrättning. Förslagen för hårdare tag grundar sig i en demoniserande porträttering av invandrare, då de upplevs ha orsakat den otrygghet i Sverige som åberopas i trådarna och att allt fler unga involveras inom gängkriminaliteten.

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「大師與瑪格麗特」的主要構思以三十年代的莫斯科市為背景，當時在該市突然出現了一群「黑暗之神」及其黨羽。作者安排這些惡徒以擬人化形式出現，不被任何邏輯法規所規範。撒旦－沃藍德，就是所謂的「黑暗之神」，他出現在莫斯科市，企圖考驗作品中的各個角色；賜予主角大師及瑪格麗特應得的獎賞－即「相愛」及「互信」；懲罰貪污、卑鄙者及叛徒。作品中受懲罰者是以作者心目中最高真理的標準來審判而非以世俗所認定的人類法律為準。 本論文提供了創新學術視野，將布爾加科夫的「大師與瑪格麗特」做學術性深入的研究。研究的對象是在主旨及文藝思想關係極為複雜的一群角色，即所謂「惡魔的體現者」。在論文中探討這些角色的起源、作者對其之詮釋及各角色在作品中的演變轉換現象。特別專注在邪惡勢力在小說中的功能，並分析每一個惡魔角色在文中的行為舉止。另外，本論文並分析作品中所謂邪惡勢力之各個角色之結構形成和作用。 / The novelty of this paper lies in a profound, academic research on Bulgakov’s “Master and Margarita”. The research has been focused on the theme of the story and the characters with complex relations of artistic thoughts, i.e., operators of demonic deeds. This paper explores the origin and the evolution of these characters as well as the author’s interpretations of each character. Special attention is paid to an analysis of the function of the evil power and of the conducts of each demon character in the novel. The purpose of the research is to analyze the formation of each demon character and its function.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Ce mémoire propose une analyse de la théorie de la volonté en relation avec le mal dans la pensée de Thomas d’Aquin. Le mal est une privation d’être et l’être est identique au bien. La volonté est une forme intellectuelle d’appétit, ainsi que la gouvernante des puissances inférieures, mais aussi de la raison qui est à la fois son principe. L’appétit est un mouvement vers ce qui est le bien d’une nature, il est donc difficile d’accepter que la volonté puisse élire son contraire qui est le mal. La thèse de Platon selon laquelle le mal n’est désiré que par ignorance est écartée, puisque le propos de Thomas est d’expliquer le consentement en faveur du mal connu. Or, si le mal peut être voulu, on ne peut le vouloir sans le référer au bien. Ainsi, le libre arbitre, bien qu’ayant Dieu pour principe, est le principe du premier mauvais choix. La compréhension de la problématique passe par la division de ce qui appartient à l’extérieur de la volonté et ensuite à l’intérieur. De soi, un acte extérieur peut être immoral, comme le vol, mais la volonté d’une intention bonne qui choisit cet acte devient mauvaise, bien qu’elle garde le mérite de sa bonne intention. Son choix mauvais est parfois dû à une certaine ignorance, mais, puisque nous n’ignorons pas toujours le mal, il faut attribuer une faiblesse à la volonté, car elle n’accomplit pas pleinement sa nature. Quand elle répète ses actes de faiblesse à l’égard du mal, elle se dispose à accueillir l’habitus de la malice, et alors elle cherche d’elle-même le mal. Aucun de ces principes, cependant, ne peut s’appliquer à l’homme originel ni au diable. Ceux-ci n’auront pour principe de leurs choix que l’orgueil dans le libre exercice de la volonté. / This paper proposes to analyse the theory of will in interaction with evil in Thomas Aquinas’s thought. Evil is a privation of being, and being is identical to good. The will is an intellectual form of appetite, as well as the governor of lower faculties and of reason, which is also its principle. Appetite is a movement towards the good of a nature; it is therefore difficult to accept that will could elect its opposite, which is evil. Plato’s thesis consisting of attributing the will towards bad to ignorance is discarded, because Thomas’s explanation concerns the consent towards evil witch is known. Now, if evil can be wanted, we cannot want it without referring it to good. In that way, free will, though having God for principle, is the principle of the first bad choice. The comprehension of the problem has to go through the division of that which belongs to the will’s exterior and to it’s interior. In itself, an exterior act can be immoral, like stealing, but the good intentioned will that choses this act then becomes evil, keeping nonetheless the merit of its good intention. The bad choice is sometimes attributable to ignorance, but since we do not always ignore evil, we have to accuse a certain weakness in the will for not being able to fulfill its nature. When it repeatedly acts weakly towards evil, it makes itself available for the mischievous habitus, and it then, on its own, searches the evil act. None of these principles, though, can apply to the original man or for the devil. They will not have any other principle for their choice than that of pride in the free exercise of their will.

Embora haja um intervalo de mais de um século entre a publicação de Moby-Dick (1851) e a de Grande sertão: veredas (1956), o romance de João Guimarães Rosa apresenta, quer na forma, quer no conteúdo ou em seus respectivos desdobramentos alegóricos, muitos pontos em comum com o livro de Herman Melville. Produtos de literaturas periféricas de países ainda em processo de formação, essas obras são narrativas híbridas que não se encaixam na concepção original do romance moderno europeu (ou novel): ambas resgatam e transformam a épica e a tragédia, os chamados gêneros altos, para dar voz a um indivíduo que, à margem da sociedade de seu tempo, erra por um vasto espaço inóspito enquanto empenha-se em combates mortais. O propósito deste estudo é analisar, sob um ponto de vista comparativo, passos de Moby-Dick e Grande sertão: veredas, divididos de acordo com os gêneros literários que abarcam e, destacando semelhanças e diferenças, propor Moby-Dick, livro que Guimarães Rosa tinha em sua biblioteca pessoal, como uma das fontes inspiradoras do Grande sertão. / Although written more than a century apart, American Herman Melvilles Moby-Dick (1851) and Brazilian João Guimarães Rosas The Devil do Pay in the Backlands (1956) sharewhether in format, content, and even in their allegorical significancemany common traits. As products of peripheral literatures of countries undergoing a formative process, both are hybrid narratives that do not fit into the original concept of the European novel; their authors resort to, and transform, the so-called high genres, the epic and the tragedy, to give voice to an individual who, at the margin of the society of his time, wanders through a vast and hostile space whilst engaged in lethal combats. In telling his memories, that individual also outlines a survey of the society from which he is excluded, mixing his history with that of his country. The purpose of this study is to examine and compare extracts from Moby-Dick and The Devil to Pay in the Backlands, divided according to the literary genres that both used and transformed, and, by highlighting similarities and differences, identify Moby-Dick, a book that Rosa had in his personal library, as one of the literary sources for The Devil to Pay in the Backlands.

Made available in DSpace on 2016-04-28T19:58:40Z (GMT). No. of bitstreams: 1 Natalia Gaubeur Rosinholi.pdf: 5854505 bytes, checksum: 6a7da29ad1d00ba664215e2f8fc8b7e7 (MD5) Previous issue date: 2011-05-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of this dissertation is to give some thought to the representations of the Devil as a character in literature within Brazilian oral tradition. In order to discover what elements connected to the actions of this personality either remain the same and/or vary in such representatives, we have applied Propp s function theory, which has been especially developed in Morphology of the marvellous tale, with possible alterations, to a corpus made up of 31 tales taken from eight classical anthologies of our popular culture, as follows: Histórias da avozinha and Histórias da baratinha, by Figueiredo Pimentel, Contos tradicionais do Brasil and Literatura oral no Brasil by Luís da Câmara Cascudo; Estórias do diabo, by Altimar Pimentel; Folclore brasileiro: contos populares do Brasil, by Sílvio Romero; Contos populares brasileiros by Lindolfo Gomes; and Território da danação, by Mário Souto Maior. During this investigation, special attention has been given to the way in which the character concerned carries out his role in the narrative pieces studied, particularly in regard to his role as an antagonist and a false hero: the standards as defined by Propp are followed with regard to functions; such standards suffer radical transgression; or there is an indication of a certain ambivalence between good and evil, normally associated to certain popular representations of popular culture. For this purpose, this work has been divided into three chapters: the first seeks a better understanding of the universe which includes the Devil as a literary character in Brazil, therefore being subdivided into: popular culture; literature from the oral tradition; the myth, the tale and the brief story. The second chapter is dedicated to the methodology adopted, including the identification, within the literary corpus, of the excerpts in which the Devil takes on the role of an antagonist or a false hero, showing such a survey through a series of comparative tables, each of which is dedicated to one of the Propp functions selected for the study considered. The second chapter also tries to discuss and analyse the data collected and presented in the tables, with the reference for this discussion being the work of the Russian formalist. Finally, the third chapter presents the conclusions obtained from these analyses / Esta dissertação tem por finalidade refletir sobre as representações do diabopersonagem na literatura de tradição oral do Brasil. A fim de descobrir que elementos ligados às ações dessa personagem se mantêm e/ou variam em tais representações, aplica-se, com as possíveis adequações, a teoria das funções de Propp, especialmente desenvolvida em Morfologia do conto maravilhoso, a um corpus constituído por 31 contos extraídos de oito antologias clássicas da cultura popular brasileira: Histórias da avozinha e Histórias da baratinha, de Figueiredo Pimentel, Contos tradicionais do Brasil e Literatura oral no Brasil, de Luís da Câmara Cascudo; Estórias do diabo, de Altimar Pimentel; Folclore brasileiro: contos populares do Brasil, de Sílvio Romero; Contos populares brasileiros, de Lindolfo Gomes; e Território da danação, de Mário Souto Maior. No decorrer desta investigação, atenta-se especialmente para o modo como a personagem em questão desempenha seu papel nas narrativas estudadas, especialmente no que toca às funções do antagonista e do falso herói: se segue os padrões definidos por Propp em relação às funções; se transgride radicalmente tais padrões; ou se aponta para certa ambivalência entre bem e mal, geralmente vinculada a certas representações próprias da cultura popular. Para tanto, este trabalho divide-se em três capítulos: o primeiro destina-se à melhor compreensão do universo que abarca o diabopersonagem no Brasil, subdividindo-se assim em: cultura popular; literatura de tradição oral; o mito, o conto e o causo. O segundo capítulo, por sua vez, se dedica à metodologia adotada, qual seja, a identificação, no corpus literário, das passagens em que o diabo assume os papéis de antagonista ou falso herói, demonstrando tal levantamento por meio de tabelas comparativas, cada qual dedicada a uma das funções de Propp selecionadas para o estudo em questão. O segundo capítulo procura ainda discutir e analisar os dados levantados e apresentados nas tabelas, tendo como referencial dessa discussão o trabalho do formalista russo. Finalmente, o terceiro capítulo oferece as conclusões dessas análises

Embora haja um intervalo de mais de um século entre a publicação de Moby-Dick (1851) e a de Grande sertão: veredas (1956), o romance de João Guimarães Rosa apresenta, quer na forma, quer no conteúdo ou em seus respectivos desdobramentos alegóricos, muitos pontos em comum com o livro de Herman Melville. Produtos de literaturas periféricas de países ainda em processo de formação, essas obras são narrativas híbridas que não se encaixam na concepção original do romance moderno europeu (ou novel): ambas resgatam e transformam a épica e a tragédia, os chamados gêneros altos, para dar voz a um indivíduo que, à margem da sociedade de seu tempo, erra por um vasto espaço inóspito enquanto empenha-se em combates mortais. O propósito deste estudo é analisar, sob um ponto de vista comparativo, passos de Moby-Dick e Grande sertão: veredas, divididos de acordo com os gêneros literários que abarcam e, destacando semelhanças e diferenças, propor Moby-Dick, livro que Guimarães Rosa tinha em sua biblioteca pessoal, como uma das fontes inspiradoras do Grande sertão. / Although written more than a century apart, American Herman Melvilles Moby-Dick (1851) and Brazilian João Guimarães Rosas The Devil do Pay in the Backlands (1956) sharewhether in format, content, and even in their allegorical significancemany common traits. As products of peripheral literatures of countries undergoing a formative process, both are hybrid narratives that do not fit into the original concept of the European novel; their authors resort to, and transform, the so-called high genres, the epic and the tragedy, to give voice to an individual who, at the margin of the society of his time, wanders through a vast and hostile space whilst engaged in lethal combats. In telling his memories, that individual also outlines a survey of the society from which he is excluded, mixing his history with that of his country. The purpose of this study is to examine and compare extracts from Moby-Dick and The Devil to Pay in the Backlands, divided according to the literary genres that both used and transformed, and, by highlighting similarities and differences, identify Moby-Dick, a book that Rosa had in his personal library, as one of the literary sources for The Devil to Pay in the Backlands.