The seven deadly sins are a popular theme, but they are often brushed off as antiquated, the product of stringent moral rules, or just arbitrary. In this thesis, I explain morality from a different perspective: evolutionary psychology. Using the Seven Deadly Sins as an example, I provide a user-friendly understanding of why we have the moral rules that we have. Boyd and Richerson (1992) demonstrated that, through the use of punishment, any rule---no matter how capricious---can be upheld. What I seek to explain is that moral rules, in this case the Seven Sins, are not arbitrary---or, at least, they were not arbitrary in the environment in which our innate moral faculties developed, though these rules may seem ascetic today. I suggest that much of what falls under the conceptual umbrella of morality can be better understood when framed as problems of cooperation. The Seven Sins are a useful example of the usefulness of moral rules, and psychopathy provides a comparison for understanding the importance of conscience.

Cette recherche se propose de mettre en exergue la place du péché dans les discours déclinés dans le duché de Bretagne du XIIe au début du XVIe siècle. Elle se fonde aussi bien sur les sources écrites (productions pastorales,textes normatifs de l’Église et l’État breton, oeuvres littéraires et moralisantes de la cour ducale) que sur l’iconographie, à travers les sculptures de l’époque romane et de la fin du Moyen Âge.Le péché y apparaît comme une clef de compréhension du monde et de son évolution : présenté comme une causalité historique majeure depuis le début de l’humanité, son instrumentalisation permet de représenter lesvices de l’altérité, liée à l’ethnie ou à la religion, d’appréhender les identités collectives de tout ordre (professionnelles, de classe, d’ordre, de genre), en même temps qu’il rappelle la place de l’individu dans la société. L’association constante des dominés avec les péchés du corps, ainsi que la mise en place d’une véritable géopolitique des princes « pécheurs » ennemis de la Bretagne (cupides, paresseux, homosexuels…), ne sont que deux exemples d’une utilisation socio-Politique des vices.Instrument de culpabilisation issu de la morale chrétienne, le recours massif au péché dans les discours dominants en Bretagne est d’abord lié à la réforme « grégorienne » du XIIe siècle, avant que les lettrés de la courducale des Montfort ne s’approprient ces discours pour légitimer le pouvoir de leur prince. Dans tous les cas, le péché s’impose comme un vecteur essentiel dans l’effort de normalisation morale de la société et du pouvoir au Moyen Âge / This research aims to highlight the place of sin in discourses in the Duchy of Brittany from the 12th to the early 16th century. The study is based on both written and iconographical sources (pastoral care production, normative documents of the Church and the State Breton, literary and moralistic works of the ducal court, sculptures from Romanesque period and late Middle Ages).Sin appears to be a key to understanding the world and its evolution : it is a major historical causality since the beginning of mankind ; it serves the representation of the ethnic or religious otherness ; it is an useful device to apprehend collective identities of any kind (professional, class, order, or gender identities) ; finally, it establishes the place of the individual in society. The recurring association of dominated classes with the sins of the flesh and the appearence of a ‘political geography’ of princes ‘sinners’ enemies of Britain (greedy, lazy, homosexual...) are two examples of a such socio-Political use of vices.As an instrument of guilt trip from Christian morality, the massive use of sin in the dominant discourses in Britain come up from the "Gregorian" reform of the twelfth century. Later, the scholars of the ducal court of Montfort begin to use these discourses to legitimize the power of their prince. In both cases, sin becomes a powerful agent in theeffort to moral normalization of society and power in the Middle Ages

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This thesis examines Hieronymus Bosch's Table Top of the Seven Deadly Sins and the Four Last Things. Instead of using an iconographical analysis, the thesis investigates the relationship between Bosch's art and the Devotio Moderna, which has been speculated by many Bosch scholars. For this reason, a close study was done to examine the Devotio Moderna and its influence on Bosch's painting. Particular interest is paid to the seven day prayers of the Devotio Moderna, the subjects depicted in Bosch's painting, how Bosch's painting blesses its viewer during the time of one's prayer, and how the use of gaze ties all of these ideas together.

The subject matter of the study is happiness and psychological well-being. The object matter of the study is communication of happiness and psychological well-being with observance of moral norms. The master's thesis consists of an introduction, two chapters, a conclusion, a list of literature (60 sources) and an appendix, which includes the forms of the applied methodologies. The volume of the master's thesis is 137 pages, on which are placed 9 figures and 6 tables. The introduction reveals the relevance of the research problem, the development of the problematics, the purpose and objectives of the research are set, the object and the subject of research are determined, the basic and additional hypotheses are formulated, the methods and the empirical base are specified, as well as the stages of the research, the scientific novelty, the theoretical and practical significance of the work. The first chapter includes a review of foreign and domestic literature on the topic of happiness, psychological well-being, morality, sin and vice as a moral norm-prohibition. The sections devoted to the connection of happiness, psychological well-being and morality are presented. Conclusions on the first chapter are the results of the study of theoretical material. The second chapter is devoted to the empirical part of the study. It provides a description of the organization and methods of the study and the results obtained using all the methods used: the Oxford Happiness Inventory, the methodology “The scale of psychological well-being of K. Riff”, the tests “Greed”, “Anger”, “Pride”, “The Sin of Lust”, “Gluttony”, “Envy”, “Despondency” (Yu.V. Scherbatykh). The chapter also presents a correlation analysis of the results of the study. The findings of Chapter 2 are the main results of the empirical study. In conclusion, the results of the theoretical and empirical parts of the work, as well as conclusions on the hypotheses put forward, are presented in a generalized form, the practical significance of the study is substantiated and possible prospects for further development of this problem are described. / Объектом исследования явилось счастье и психологическое благополучие. Предметом исследования стала связь счастья и психологического благополучия с соблюдением нравственных норм. Магистерская диссертация состоит из введения, двух глав, заключения, списка литературы (60 источников) и приложения, включающего в себя бланки применявшихся методик. Объем магистерской диссертации 137 страниц, на которых размещены 9 рисунков и 6 таблиц. Во введении раскрывается актуальность проблемы исследования, разработанность проблематики, ставятся цель и задачи исследования, определяются объект и предмет исследования, формулируются основная и дополнительные гипотезы, указываются методы и эмпирическая база, а также этапы проведения исследования, научная новизна, теоретическая и практическая значимость работы. Первая глава включает в себя обзор иностранной и отечественной литературы по теме счастья, психологического благополучия, нравственности, греха и порока как нравственной нормы-запрета. Представлены разделы, посвященные связи счастья, психологического благополучия с нравственностью. Выводы по первой главе представляют собой итоги по изучению теоретического материала. Вторая глава посвящена эмпирической части исследования. В ней представлено описание организации и методов проведенного исследования и результатов, полученных по всем использованным методикам: методике Обновленный Оксфордский опросник счастья (Oxford Happiness Inventory), методике «Шкала психологического благополучия К. Рифф», тестам «Алчность», «Гнев», «Гордыня», «Грех похоти», «Чревоугодие», «Зависть», «Уныние» (Ю.В. Щербатых). Также в главе представлен корреляционный анализ результатов исследования. Выводы по главе 2 включают в себя основные результаты эмпирического исследования. В заключении в обобщенном виде изложены результаты теоретической и эмпирической частей работы, а также выводы по выдвинутым гипотезам, обоснована практическая значимость исследования и описаны возможные перспективы дальнейшей разработки данной проблематики.

To the modern critic, La vida de Lazarillo de Tormes y de sus aventuras y adversidades poses many problems. One cannot arrive at the book's precise meaning because the author remains unknown. If critics were to know who wrote the book, they would identify similarities between the book and the author's life to approximate the book's moral, or its lack of one. Additionally, some commentators view the book as incomplete or unfinished; although the author developed the first three tratados, the final four tratados seem short and incomplete. Does this diminish the book's purpose? Can the readers still fruitfully discover the book's meaning in an "incomplete" story? Modern critics have utilized the book's artistic elements, such as its linguistic structure, themes and temporal structure, to arrive at an interpretation of it. Others have compared the book with classical European folklore and other period literary works. This thesis proposes a synthesis of the latter two approaches. This thesis will analyze, using irony and foreshadowing, how the seven tratados correlate or fail to correlate with the seven deadly sins.

Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication. / Art History, Visual Arts & Musicology / M.A. (History of Art)

Pieter Bruegel the Eider's paintings De verkeerde wereld, Het gevecht tussen Karnava/ en Vasten, Luilekker/and, Dulle Grief and Landschap, met Icarus' val are interpreted as sixteenth-century parodies using the paradoxia epidemica as a tropic means for interpreting the artist's wit, irony, parody and picaresque stance towards his source material and his milieu. Where applicable, other works relating to a particular argument are also discussed. As a result of this investigation, an original contribution has been made in the literature on both Bruegel and parody as a form of visual communication. / Art History, Visual Arts and Musicology / M.A. (History of Art)