Thesis (doctoral)--Erlangen, 1912. / Includes bibliographical references (p. [vii]-x).

Thesis (doctoral)--Universität Köln.

Thesis (doctoral)--Universität Köln.

Thesis (doctoral)--Friedrich-Wilhelm-Universität zu Breslau.

Thesis (doctoral)--Universität Marburg, 1927. / Includes bibliographical references (p. [iii]-vii).

The aim of this essay is to show the significant effect censoring Oscar Wilde’s The Picture of Dorian Gray had on the protagonist’s moral standing. I compare the original uncensored version of The Picture of Dorian Gray with the censored version. The uncensored version, published by the Belknap Press and edited by Nicholas Frankel, has only been available to the public for three years. My comparison proves that a great deal has been changed in terms of content between the two versions of the novel. This essay will outline and discusses the changes made in order to make the text acceptable in terms of late Victorian moral conventions. It also illustrates the changes by comparing quotes. The function of the censorship applied to the novel is to make Dorian seem more callous and immoral in the 1891 book version, since only then can Oscar Wilde’s story approach the standards of late Victorian morality. Indeed, a significant change has been effected in the character Dorian Gray’s morality between the two versions of the novel. / Syftet med den här uppsatsen är att visa vilken betydande effekt censureringen av Oscar Wildes The Picture of Dorian Gray hade på huvudkaraktärens moraliska ståndpunkter. Jag jämför den ocensurerade versionen av The Picture of Dorian Gray med den censurerade versionen. Den ocensurerade versionen som publicerades av Belknap Press och redigeradesav Nicholas Frankel, har bara varit tillgänglig för allmänheten i tre år. Min jämförelse visar att en stor del av innehållet har förändrats mellan de båda versionerna av romanen. Den här uppsatsen visar samt diskuterar förändringarna som har gjorts för att texten ska bli mer acceptabel i förhållande till senviktorianska moraliska konventioner. Uppsatsen illustrerar förändringarna genom att jämföra citat. Poängen med att censurera den här romanen var att få Dorian att verka mer hjärtlös och omoralisk  i bokversionen från 1891. Bara då kunde Oscar Wildes berättelse närma sig den viktorianska moralen. Man kan se en tydlig förändring av karaktären Dorian Grays moral mellan de två versionerna.

This research introduces the unique context of immoral inaction—situations in which consumers have the opportunity to engage in virtuous behaviors but opt against doing so. Through five studies I demonstrate that in such contexts, embarrassment—a negatively valenced self-conscious moral emotion evoked by the perception that one's behavior is worthy of judgment by others—interacts with the use of approach-motivated coping strategies to lead consumers to engage in prosocial compensatory behaviors. Though extant literature suggests that marketers seeking to evoke prosocial behaviors should employ communications and promotions framed to elicit consumers' guilt, such studies are based in contexts whereby individuals feel guilty and/or embarrassed because of something they have done, not for something they did not do. This research suggests that that the condition of immoral inaction serves to evoke a contrasting psychological mechanism that reverses these findings, making embarrassment a more effective driver of desired outcomes when marketers seek to promote overcoming past inactions. These findings are discussed in light of their implications for research and application.

Univ., Diss.--Freiburg (Breisgau), 2001.

This thesis explores the problematic relationship between ethics and aesthetics as reflected in the works of six highly controversial French and American authors of the Twentieth century. The study sets out to investigate the possible reasons why we keep on reading, cherishing and rejoicing in the works of writers who present us with an extremely unsettling ethical situation. Using the notion of Sublime Evil as it plays out in the works of Louis-Ferdinand Celine, Pierre Drieu La Rochelle, Jean Genet, Vladimir Nabokov, William Burroughs and Michel Houellebecq, I explore the mechanism through which works of literature, thoroughly reprehensible from the point of view of conventional morality, prove to be compelling and irresistible. By analyzing at length the escape vaults of love, religion, art, ideology, drugs anti-social behavior such as Nazism, anti-Semitism, pedophilia, prostitution, homicide and theft, in the seven novels, I demonstrate that ultimate dejection ends up paradoxically and inextricably bound with supreme aesthetic beauty.

Thesis (MA)--Stellenbosch University, 1968. / No Abstract Available