<p><strong> </strong></p><p> </p><p>The concept of outsiders has been argued to be one of the main themes in childhood fairy tales in general and in J.K. Rowling's <em>Harry Potter</em> novels in particular. Severus Snape is one of the most evident outsider characters in the novels, described as an unpleasant, ugly man presented as a double agent with uncertain allegiances. When the truth is revealed, in the very last pages of the series, he is discovered to have been an undercover spy for the good side all along. This essay examines Snape as an outsider, and analyzes his effect on the novel, especially his relation to the three characters with whom he interacts most: Dumbledore, Voldemort and Harry. All three of these characters are main characters and are also outsiders themselves in different ways. Examining the relations between good and evil and showing that these concepts are closely tied to choices and reactions towards being an outsider, the essay argues that the analysis of Snape as an outsider helps distinguish between aspects of good and evil in the novel. By focusing on Snape and the concept of the outsider, different dimensions of the novels become visible. Snape is here an instrumental character on his own, and may well be seen as the main character. Although the series in some aspects has been described as a fairy tale, the complex character of Severus Snape gives the novels a further depth appealing not only to children, but to adults as well.</p>

Thesis (Th. M.)--Dallas Theological Seminary, 2006. / Includes bibliographical references (leaves [56]-68).

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.

Краткое описание. В данной работе будут рассмотрены знаки и коды пара��игмы страдания в кинотексте по методу семиотической коммуникации, акцентирующей понимание передачи информации как конструкцию кодов, знаков и культуры, которые создают свои з��ачения. Конотация и денотация значений зависит от эмоционально-культурных ценностей. Взаимодействуя друг с другом, знаки создают кодовое сообщение на вербальном и невербальном уровне. Слова и визуальные символы занимают важное место в коммуникативном процессе при передаче и декодации, как утверждает Д. Фишке (J. Fiske (13, 64)). Таким образом, сравнивая два произведения, мы рссматриваем философию страдания в библейском дискурсе в романе М. Булгакова «Мастер и Маргарита» и в художественном фильме Мела Гибсона «Страсти Христовы». В ходе исследования нами было установлено, что есть общего и противоположного между ними и их ближайшими источниками: Обоим произведениям характерен жанр драмы, мистерии. В романе «Мастер и Маргарита» – это мистерия-буфф с элементами языческих ритуалов. В художественном фильме «Страсти Христовы» - это христианская мистерия с элементами противопоставления гротеска кощунства в изображении демонической силы зла. Оба произведения несут некую общность не только в жанровой структуре в области свободы функционирования, но и в области органичного наложения и своеобразного сложного сочетания текста и интертекста в сюжетных элементах. Финалы мистерий ставят как... [полный текст, см. далее] / SANTRAUKA Kančios filosofija – ši tėma tiesiogiai susijusi su blogio ir gėrio, melo ir tiesos, tamsos ir šviesos atsiradimu. Žmonijos kančios tema domino daugelį filosofų per amžius. Šis klausimas plačiai nagrinėjamas Šventajame Rašte ir turi keletą aspektų. Mūsų darbas analizuoja biblinio diskurso sklaidą, kančios filosofijos rakurse M.Bulgakovos romane „Meistras ir Margarita“ ir Melo Gibsono meniniame filme „Kristaus kančia“. Analizuojant, buvo nustatyta, kad abiems kūriniams būdingas misterijos žanras. Romane tai pagoniška misterija-buf, o filme – krikščioniška misterija, abu su grotesko elementais. Pasireiškia siaubo, juodo humoro ir sarkazmo susipynimas. Visi pagrindiniai herojai paženklinti kančios antspaudu. Romane gėrio ir blogio kova išsivysto fantasmagoriškame fone. Ji priešpastatoma kančios sakrališkumui meniniame filme. Mitologinio, folklorinio ir apokrifinio plano ryškėjimas būdingas abiems kūriniams. Darbe nagrinėjamas kančios aspektas neverbalinės komunikacijos rakurse, kino teksto verbalumas, ikonografiškumas, sakrališkumas. Darbo eigoje buvo nustatyta, kad M.Bulgakovos romane biblinio diskurso sklaida vystosi kaltės ir bausmės aspektu velnio, žmogaus ir Dievo santykiuose. Atskleidžiama pragaro ir skaistyklos tipologija. Būdingas lyginamasis aspektas su Getes „Fausto“ poema, kuri atskleidžia pagrindinių herojų kančios individualumą, o taip pat... [toliau žr. visą tekstą] / Summary The issue of the philosophy of pain is connected with existence of good and evil, truth and lie, light and darkness. Human pain was the matter of interest for many philisophers all through the human history. This issue is deeply analysed in the Bible and has got some of its aspects. In this research the problem of pain is analysed through the dispersion of biblical discourse in M. Bulgakov's novel „Master and Margarita“ and M. Gibson's movie „Tha Passion of Christ“. All main characters in above mentioned pieces of art have got a sign of pain. In the novel the battle of evil and good develops in fantasmagoric background. In the film the pain has got it sacralic dimension. Both works obtain mythological, folklore and apocalypsis features. During this research it was defined that the dispersion of biblical discourse in the M. Bulgakov's novel develops through the aspect of guilt and fear in the relationships of the devil, man and God. The dispersion of biblical discourse in the M. Gibson's film is seen through the aspects of inocent sacrifice. Jesus Christ's sacrifice is a perfect example of sacralic act of pain. It is a symbol of the new convenant between God and man. In this research different kinds of analysis are used: sociological, communicative, analitical, psychological, hermeneutic, theological, comparative and descriptive.

Rousseau's work often seems contradictory, but the author himself insists that his works comprise a consistent system based on the principle that man is naturally good. In order that individuals might live up to this natural goodness in society, Rousseau advocates a division of labour between general and particular aspects of reason. This division is exemplified in the different roles that Rousseau assigns to the sovereign and the government in the political sphere, and men and women in the domestic sphere. The difficulties faced by man in the absence of these divisions of labour are illustrated in Rousseau's autobiographical writings. When his various works are examined in light of the principle of man's natural goodness, the apparent contradictions between democratic and authoritarian aspects of his thought and between the roles his ascribes to men and women are resolved.

No description available.

Classic Christian theology regards evil as the product of sin, the emphasis in traditional African religion and culture is on human sin as the result of evil forces. This thesis investigated the way in which African Christian theologians understand the relationship between sin and evil. The question, which was addressed was, does sin lead to evil or evil lead to sin.

Classic Christian theology regards evil as the product of sin, the emphasis in traditional African religion and culture is on human sin as the result of evil forces. This thesis investigated the way in which African Christian theologians understand the relationship between sin and evil. The question, which was addressed was, does sin lead to evil or evil lead to sin.

People of late antiquity were subjected to the universal and perennial human woes - injustice, affliction, adversity and pain - that cause suffering. The experience of suffering is subjective. There are however, common sources of and expressions of suffering in humans. The fourth century was a period of significant cultural and social changes which drew responses from pagans that not only reflected traditional knowledge but also engaged with new sets of ideas. This thesis examines the problem of evil and suffering as experienced by pagans of the fourth century of the Common Era. Having received imperial sanction from the emperor Constantine after his conversion in 312, Christianity was gaining momentum in both membership and strength. The Graeco-Roman world had become one where Christianity, it seemed to some, had effectively surpassed pagan state cult Against this backdrop of religious change, pagans had taken on a self-consciousness that engendered a rethinking of many traditional ways of coping with and explaining the evils of the world and the suffering that could result from them. Some rules and conditions had changed, so how and where could pagans seek explanation for, protection from or alleviation of their suffering? The study addresses this question by posing and responding to further questions. Firstly, how did pagans understand the presence of evil and suffering in the world? Secondly, from what sources, natural or supernatural, could they draw hope in the face of evil and suffering? And thirdly, what degree of autonomy could pagans claim in approaching the problem? Religion and philosophy might be perceived by pagans to contain the answers to why there was evil and suffering in the world. The addition of science and the occult to religion and philosophy offered further ways through which pagans might seek to deal with the problem. By drawing primarily on extant literary evidence from the period as well as selected material evidence (predominantly pagan, but including some Christian), the research will trace the evolution of ideas regarding evil and suffering that pagan thinkers were bringing to the contemporary debate. / Thesis (M.A.) - University of Adelaide, School of Humanities, 2008

Thesis (Th. M.)--Dallas Theological Seminary, 2006. / Includes bibliographical references (leaves [101]-106).