Download Free Villains And Heroes Or Villains As Heroes Essays On The Relationship Between Villainy And Evil Book in PDF and EPUB Free Download. You can read online Villains And Heroes Or Villains As Heroes Essays On The Relationship Between Villainy And Evil and write the review.

What constitutes a villain? How does villainy differ from evil? Do villains created for children's fiction differ from those created for adults? The villains considered in this volume come from an eclectic range of sources - from comic books to film and from novels to television serials - and a broad selection of times and places. Villains continue to raise troubling questions about the role of narrative in both fiction and real life.
What constitutes a villain? How does villainy differ from evil? Is Captain Hook a villain - or is Peter Pan? Do portrayals of villainy from places as far apart as the Yemen, Italy and Ireland show common characteristics? Do villains created for children's fiction differ from those created for adults? This volume attempts to answer these questions.Rev. and enlarged papers from the second interdisciplinary conference on 'Villains and Villainy' held at Oriel College, Oxford, in September 2010.
Hercules, Jesus, James Bond, Luke Skywalker, Gandalf, Frodo, Harry Potter, Buffy Summers, Spiderman, Batman, Captain Kirk, Dr. Who, Darth Vader, Sauron, Voldemort, Lex Luthor, Dr. Doom, the Daleks, the Borg. Almost anybody living in the developed West would be able to group these individuals into two camps: the heroes and the villains. However, what criteria they may use to do this is less clear. Mike Alsford introduces us to a range of heroic and villainous archetypes on a journey through film, television, comic books, and literature. On the way, he addresses questions such as: What is a true hero? What is a true villain? Have we misunderstood these terms? What kind of societal values do our mythical heroes and villains represent? In trying to understand the extremes of hero and villain we are made more aware of our own ethical standards and given a space in which to explore contemporary concerns over notions of right and wrong, good and bad.
Obscene poetry, servants' slanders against their masters, the diabolical acts of those who committed massacre and regicide. This is a book about the harmful, outward manifestation of inner malice—villainy—in French culture (1463-1610). In pre-modern France, villainous offences were countered, if never fully contained, by intersecting legal and literary responses. Combining the methods of legal anthropology with literary and historical analysis, this study examines villainy across juridical documents, criminal records, and literary texts. Whilst few people obtained justice through the law, many pursued out-of-court settlements of one kind or another. Literary texts commemorated villainies both fictitious and historical; literature sometimes instantiated the process of redress, and enabled the transmission of conflicts from one context to another. Villainy in France follows this overflowing current of pre-modern French culture, examining its impact within France and across the English Channel. Scholars and cultural critics of the Anglophone world have long been fascinated by villainy and villains. This book reveals the subject's significant 'Frenchness' and establishes a transcultural approach to it in law and literature. In this study, villainy's particular significance emerges through its representation in authors remembered for their less-than respectable, even criminal, activities: François Villon, Clément Marot, François Rabelais, Pierre de L'Estoile, Christopher Marlowe, Ben Jonson, John Marston, and George Chapman. Villainy in France affords legal-literary comparison of these authors alongside many of their lesser-known contemporaries; in so doing, it reinterprets French conflicts within a wider European context, from the mid-fifteenth century to the early seventeenth century.
One-of-a-kind cultural critic and New York Times bestselling author Chuck Klosterman “offers up great facts, interesting cultural insights, and thought-provoking moral calculations in this look at our love affair with the anti-hero” (New York magazine). Chuck Klosterman, “The Ethicist” for The New York Times Magazine, has walked into the darkness. In I Wear the Black Hat, he questions the modern understanding of villainy. When we classify someone as a bad person, what are we really saying, and why are we so obsessed with saying it? How does the culture of malevolence operate? What was so Machiavellian about Machiavelli? Why don’t we see Bernhard Goetz the same way we see Batman? Who is more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still haunted by some kid he knew for one week in 1985? Masterfully blending cultural analysis with self-interrogation and imaginative hypotheticals, I Wear the Black Hat delivers perceptive observations on the complexity of the antihero (seemingly the only kind of hero America still creates). As the Los Angeles Times notes: “By underscoring the contradictory, often knee-jerk ways we encounter the heroes and villains of our culture, Klosterman illustrates the passionate but incomplete computations that have come to define American culture—and maybe even American morality.” I Wear the Black Hat is a rare example of serious criticism that’s instantly accessible and really, really funny.
Philip has spent his whole school life feeling invisible. He's used to being the loner, the odd one out. When Philip's class is asked to keep diaries about any heroes and villains, tensions rise as battlelines are drawn. They discover heroes and villains who ruled nations or fought oppression, who were persecuted or persecuted others, and who struggled for justice and changed the world forever. But Philip and his class soon learn that there are heroes and villains much closer to home and that they come in many disguises. From award-winning author Elizabeth Fensham comes a book with heart for the hero in us all.
This book gathers contributions on the topic of astrology in the West during the twentieth and twenty-first centuries, from 1914–2022. It is the first collection exclusively devoted to a period that has been mostly neglected by historians of astrology, who have mostly devoted themselves to the ancient, medieval and early modern periods. Uninterested in vindicating or debunking astrology, contributors consider its cultural impact, its relation to historical events, and the ways in which it has changed in the last century. The broad range of subjects on modern Europe and the US include the relation of astrology with indigenous thought, interwar Polish astrology, and the relation of American astrologers to COVID. A bibliography of studies of modern astrology on a global basis is also included. This collection is a thoughtful contribution to the history of astrology and the sociology of belief as well as carrying significant implications for twentieth and twenty-first century history broadly.
The American Villain: Encyclopedia of Bad Guys in Comics, Film, and Television seeks to provide one go-to reference for the study of the most popular and iconic villains in American popular culture. Since the 1980s, pop culture has focused on what makes a villain a villain. The Joker, Darth Vader, and Hannibal Lecter have all been placed under the microscope to get to the origins of their villainy. Additionally, such bad guys as Angelus from Buffy the Vampire Slayer and Barnabas Collins from Dark Shadows have emphasized the desire for redemption—in even the darkest of villains. Various incarnations of Lucifer/Satan have even gone so far as to explore the very foundations of what we consider "evil." The American Villain: Encyclopedia of Bad Guys in Comics, Film, and Television seeks to collect all of those stories into one comprehensive volume. The volume opens with essays about villains in popular culture, followed by 100 A–Z entries on the most notorious bad guys in film, comics, and more. Sidebars highlight ancillary points of interest, such as authors, creators, and tropes that illuminate the motives of various villains. A glossary of key terms and a bibliography provide students with resources to continue their study of what makes the "baddest" among us so bad.
Masculinity and Patriarchal Villainy in the British Novel: From Hitler to Voldemort sits at the intersection of literary studies and masculinity studies, arguing that the villain, in many works of contemporary British fiction, is a patriarchal figure that embodies an excess of patriarchal power that needs to be controlled by the hero. The villains' stories are enactments of empowerment fantasies and cautionary tales against abusing patriarchal power. While providing readers with in-depth studies of some of the most popular contemporary fiction villans, Sara Martín shows how current representations of the villain are not only measured against previous literary characters but also against the real-life figure of the archvillain Adolf Hitler.