Thesis (M.A.)--Trinity Evangelical Divinity School, 1991. / Abstract. Includes bibliographical references (leaves 91-96).

One Flew Over the Cuckoo’s Nest (1962) written by Ken Kesey tells the story at a ward where the patients who reside at the ward are exposed of oppression and humiliation by Nurse Ratched. One Flew Over the Cuckoo’s Nest: A Play in Two Acts (1963) written by Dale Wasserman is a theatrical play which is based on Kesey’s novel. The purpose of this essay is to argue that Nurse Ratched’s character is pictured as more evil in the novel than the play. In this essay, Ratched’s personality and outer looks was discussed as well as her methods she uses to humiliate and control the inmates. It was argued that Wasserman may have excluded information about Ratched’s character, so the actors have a chance to develop a personal view of Ratched. It was also argued that Ratched may have appeared as unnaturally evil if Wasserman had included all her evil traits, and thus picture her as a larger than life character.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de Filosofia, 2012. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-02-26T15:33:25Z No. of bitstreams: 1 2012_IltondeQueirozJunior.pdf: 708541 bytes, checksum: 4c649c3cdcecb4bac64d14bd4bc2a634 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-03-01T11:28:19Z (GMT) No. of bitstreams: 1 2012_IltondeQueirozJunior.pdf: 708541 bytes, checksum: 4c649c3cdcecb4bac64d14bd4bc2a634 (MD5) / Made available in DSpace on 2013-03-01T11:28:19Z (GMT). No. of bitstreams: 1 2012_IltondeQueirozJunior.pdf: 708541 bytes, checksum: 4c649c3cdcecb4bac64d14bd4bc2a634 (MD5) / A presente dissertação trata da análise pormenorizada da filosofia da religião de Antony Flew, das teses ateístas às deístas, apresentadas por ele para justificar sua “conversão”, como ele mesmo denomina esta mudança. Antony Flew é considerado por muitos como um dos grandes filósofos do século XX. Escreveu sobre os mais diversos assuntos dentro da filosofia, principalmente nas áreas da lógica, linguagem, política e religião. Publicou em 1950 o seu primeiro e mais famoso artigo, Theology and Falsification, publicação filosófica mais reimpressa do século passado e citação constante em textos filosóficos ateístas. Aos 81 anos, em uma entrevista realizada em 2004 para a Associated Press, Flew afirmou ter mudado seu entendimento em relação à existência de Deus e que sim, é possível existir uma mente inteligente criadora do universo conhecido. Mas não seria um Deus interventor como as religiões reveladas afirmavam, Flew declarou acreditar no chamado “deus de Aristóteles”. Dividida em três partes, a dissertação trata primeiramente das principais teses filosóficas de Flew em que ele claramente muda de opinião, principalmente na interpretação da filosofia de David Hume e nas críticas à teologia natural. Na segunda parte analisa as teses que ele não muda de opinião, como o problema do mal e na questão da imortalidade humana. Na terceira parte aborda as principais questões não respondidas por Flew, em relação a sua mudança. Por ter poucos escritos na fase deísta, várias perguntas sobre possíveis contradições na sua vida filosófica surgiram e, a grande maioria ele não pôde responder, pois faleceu seis anos após a declaração de sua mudança para o deísmo, em abril de 2010. _______________________________________________________________________________________ ABSTRACT / This dissertation deals with a detailed analysis of Antony Flew’s philosophy of religion, from the atheist theses up to his deist “conversion”, as he calls this change. Antony Flew is considered by many as one of the great philosophers of the twentieth century. He wrote about various subjects within philosophy, especially in the areas of logic, language, politics and religion. In 1950, published his first and most famous paper, Theology and Falsification, the most reprinted philosophical publication of the last century and frequent quotation in atheistic philosophical texts. At 81, during an interview in 2004 for the Associated Press, Flew said to have changed his understanding about the existence of God and that yes, it is possible there to be an intelligent creator mind of the known universe. But, it would not be an intervenient God, as the revealed religions claimed, Flew declared to believe in the "Aristotle’s god". Divided into three parts, this dissertation deals primarily with the main philosophical theses about which Flew clearly changed his opinion, especially in the interpretation of the David Hume’s philosophy and the criticisms of natural theology. The second part analyzes the theses about which he did not change his opinion, as the problem of evil and the question of human immortality, and the third, discusses the major unanswered questions by Flew, in relation to this change. Due to having few writings in the deist phase, several questions about possible contradictions in his philosophical life emerged, the great majority could not be answered by him, because he died six years after the declaration of his move to deism, in April 2010.

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Ce mémoire considère trois œuvres littéraires des décennies d'après-guerre dans lesquelles le contrôle social est omniprésent, soit Nineteen Eighty-Four de George Orwell, Player Piano de Kurt Vonnegut, et One Flew Over the Cuckoo's Nest de Ken Kesey. L'analyse propose que ces auteurs examinent les réponses individuelles et collectives possibles face au contrôle socio-sonique, incluant le conformisme et la déviance, à travers la musicalité de leurs personnages. Mon approche repose sur des théories reliées à la sociologie, la musicologie et les études sonores afin d'élaborer une perspective holistique des paysages sonores de la modernité qui caractérisent les romans. Ce cadre théorique permet de traiter deux idées centrales, soit le contrôle social par l'institutionnalisation de cultures sonores et la musicalité sous forme de carrière déviante. Mon argument principal est qu'Orwell, Vonnegut, et Kesey présentent la réception sonore de leurs personnages comme étant doublement liée à leurs réactions face à la répression. D'une part, les auteurs représentent la musique et le son en tant qu'outils de contrôle produits et utilisés par des pouvoirs autoritaires. Dans les romans, ces pouvoirs établissent des normes socio-soniques qui supportent un système social basé sur la subjugation de la population sous une idéologie hégémonique. D'autre part, les auteurs présentent la musicalité en tant que moyen de résistance : ils établissent un parallèle entre les réactions déviantes de leurs protagonistes envers le son et les postures contre-culturelles de ceux-ci. La musique et le son font partie intégrante de la prose d'Orwell, Vonnegut, et Kesey; je soutiens que leurs représentations de musicalité traduisent une évaluation des notions d'agentivité et d'opposition contre-culturelle à l'autoritarisme. Ce mémoire offre une approche innovatrice à l'analyse des œuvres de par son interdisciplinarité, qui mène à de nouvelles considérations illuminant la relation entre le contrôle socio-sonique et la musicalité déviante dans les dystopies antiautoritaires d'après-guerre. / This thesis considers three literary works from the postwar decades in which social control is omnipresent: George Orwell's Nineteen Eighty-Four, Kurt Vonnegut's Player Piano, and Ken Kesey's One Flew Over the Cuckoo's Nest. The analysis posits that these authors depict potential individual and collective responses to socio-sonic control, including conformism and deviance, through the musicality of their characters. My approach, grounded in theorizations related to sociology, musicology, and sound studies, develops a holistic perspective of the soundscapes of modernity that characterize the novels. This theoretical framework allows for an examination of two central notions in the narratives; namely, the institutionalization of sonic cultures for purposes of social control, and the concept of musicality as part of a deviant career. My main argument is that Orwell, Vonnegut, and Kesey present their characters' reception of sound as being doubly tied to their reactions to repression. On one hand, the authors represent music and sound as tools of control produced and used by authoritarian powers. In the novels, such powers enforce socio-sonic norms that support a social system based on the subjugation of the population under a hegemonic ideology. On the other hand, the authors present musicality as means of resistance: they interlink their protagonists' deviant reactions vis-à-vis sound and their countercultural postures. Music and sound are an integral part of Orwell's, Vonnegut's, and Kesey's prose; I argue that, through their portrayals of musicality, they foreground the possibility for individual agency and countercultural resistance to oppose authoritarianism. The thesis offers an innovative approach to the narratives, as its theoretical interdisciplinarity leads to new considerations illuminating the relationship between socio-sonic control and deviant musicality in postwar anti-authoritarian dystopias.