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The concepts of good and evil, which can be understood and defined differently, are two broad and sapid concepts because of its diverse interpretations. The two abstract notions have been discussed throughout the centuries since the human existence and continue to be a dispute today. However, the meaning of good and evil was especially interesting in the middle Ages and Renaissance that will be introduced in the first part of this thesis. It will present the different origins of good and evil and examine how variously these concepts were perceived in the middle Ages and Renaissance. It should be pointed out that there was a great contrast in defining of good and evil in both centuries. Additionally, the second part of the thesis will explore the problems of those concepts in terms of King Lear and Macbeth. It will deal with the problems of goodness of Cordelia and Banquo, evilness of Edmund and Lady Macbeth and badness of Lear and Macbeth. It will also identify how the characters turn to good, bad or evil side, whether they become creator or victims of evil, and finally reveal who of them can be called good, bad or evil person. Finally, the third part of the thesis will present the interpretation of the final scenes where both tragedies end with the coronation of the new king. It will explore the conflict of both forces and reveal what kind of force can actually win the struggle between good and evil in both plays. It will also deal with the problem of ambivalent depiction of the characters and examine the question of what is actually good and evil and how to define it in Shakespeare ́s plays. So, the aim of the thesis is to explore the problems of the concepts of good and evil in terms of the tragedies King Lear and Macbeth and to identify to what extent the characters can be seen as good and evil.
“[Ron Rosenbaum] is one of the most original journalists and writers of our time.” –David Remnick In The Shakespeare Wars, Ron Rosenbaum gives readers an unforgettable way of rethinking the greatest works of the human imagination. As he did in his groundbreaking Explaining Hitler, he shakes up much that we thought we understood about a vital subject and renews our sense of excitement and urgency. He gives us a Shakespeare book like no other. Rather than raking over worn-out fragments of biography, Rosenbaum focuses on cutting-edge controversies about the true source of Shakespeare’s enchantment and illumination–the astonishing language itself. How best to unlock the secrets of its spell? With quicksilver wit and provocative insight, Rosenbaum takes readers into the midst of fierce battles among the most brilliant Shakespearean scholars and directors over just how to delve deeper into the Shakespearean experience–deeper into the mind of Shakespeare. Was Shakespeare the one-draft wonder of Shakespeare in Love? Or was he rather–as an embattled faction of textual scholars now argues–a different kind of writer entirely: a conscientious reviser of his greatest plays? Must we then revise our way of reading, staging, and interpreting such works as Hamlet and King Lear? Rosenbaum pursues key partisans in these debates from the high tables of Oxford to a Krispy Kreme doughnut shop in a strip mall in the Deep South. He makes ostensibly arcane textual scholarship intensely seductive–and sometimes even explicitly sexual. At an academic “Pleasure Seminar” in Bermuda, for instance, he examines one scholar’s quest to find an orgasm in Romeo and Juliet. Rosenbaum shows us great directors as Shakespearean scholars in their own right: We hear Peter Brook–perhaps the most influential Shakespearean director of the past century–disclose his quest for a “secret play” hidden within the Bard’s comedies and dramas. We listen to Sir Peter Hall, founder of the Royal Shakespeare Company, as he launches into an impassioned, table-pounding fury while discussing how the means of unleashing the full intensity of Shakespeare’s language has been lost–and how to restore it. Rosenbaum’s hilarious inside account of “the Great Shakespeare ‘Funeral Elegy’ Fiasco,” a man-versus-computer clash, illustrates the iconic struggle to define what is and isn’t “Shakespearean.” And he demonstrates the way Shakespearean scholars such as Harold Bloom can become great Shakespearean characters in their own right. The Shakespeare Wars offers a thrilling opportunity to engage with Shakespeare’s work at its deepest levels. Like Explaining Hitler, this book is destined to revolutionize the way we think about one of the overwhelming obsessions of our time.
One of the most profound problems that theologians are called on to address is the presence of evil and suffering in the world, and how this can be reconciled with the assertion of an omnipotent and morally perfect God. This book begins by showing how the problem of evil has been inextricably bound up with the problematic deity created by the philosophical theism of the Enlightenment and perpetuated ever since, demonstrating how contemporary theodicists have failed to perceive the historical and cultural determinants which affect their theorizing. Dr. Surin argues that thinking on the problem of evil consists of two fundamental perspectives. He labels these the theoretical and the practical approaches and examines the work of a number of theologians who typify each. Alvin Plantinga, Richard Swinburne, the process theologians, and John Hick exemplify the theoretical approach; Dorothee Soelle, Jurgen Moltmann, and P. T. Forsyth the practical. He uses the views of Dostoevsky's character Ivan Karamazov and the protagonists in Elie Wiesel's writing as a paradigm for evaluating the two approaches, and concludes that only the practical approach has the merit of both rooting itself in the realities of human suffering, and grounding itself in the fundamental rule of what he calls an adequate grammar of salvation, namely that God justifies himself by justifying sinners on the cross. Finally, Dr. Surin explores this grammar of the notion of an incarnate salvation with particular reference to the need for a messianic and practical solidarity with those who are afflicted. This thought-provoking book will serve both as an introduction to those new to the ideas of theodicy, and as a stimulating essay for those dissatisfied with conventional studies of theology and the problem of evil.
This unique and comprehensive volume looks at the study of literature and religion from a contemporary critical perspective. Including discussion of global literature and world religions, this Companion looks at: Key moments in the story of religion and literary studies from Matthew Arnold through to the impact of 9/11 A variety of theoretical approaches to the study of religion and literature Different ways that religion and literature are connected from overtly religious writing, to subtle religious readings Analysis of key sacred texts and the way they have been studied, re-written, and questioned by literature Political implications of work on religion and literature Thoroughly introduced and contextualised, this volume is an engaging introduction to this huge and complex field.
Study of self-consciousness in Hegel and Shakespeare.
Examines the varied, enormously sophisticated contents of the Bible and sees how certain Western authors were inspired by them.
This collection of important writings fills the need for an anthology that adequately represents recent work on the problem of evil. This is perhaps one of the most discussed topics in the philosophy of religion, and is of perennial interest to philosophers and theologians.
"This book is D.Z. Phillips' systematic attempt to discuss the problem of evil. He argues that the problem is inextricably linked to our conception of God. In an effort to distinguish between logical and existential problems of evil, that inheritance offers us distorted accounts of God's omnipotence and will. In his interlude, Phillips argues that, as a result, God is ridiculed out of existence, and found unfit to plead before the bar of decency. However, Phillips elucidates a neglected tradition in which we reach a different understanding of God's presence amidst suffering, and addresses the ultimate question of how God can be said to be with those who are crushed by life's afflictions." "An ideal text for students of philosophy, religious studies and theology, but also for anyone who reflects seriously on the danger of adding to human evils by the way in which we write and think about them."--Jacket