Thematische Bibliographien / Guilt – Fiction

Auswahl der wissenschaftlichen Literatur zum Thema „Guilt – Fiction“

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Veröffentlicht am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Guilt – Fiction"

1

Hartley, James A. „Guilt-Edge Security“. After Dinner Conversation 2, Nr. 5 (2021): 60–70. http://dx.doi.org/10.5840/adc20212543.

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How does our limited life span determine our choices and our view on the preciousness of life? How would these views change if we lived forever? In this work of philosophical short story fiction, a traveling salesman sits at the bar after a long day drinking bourbon. He is approached and cleverly pitched a new product he has discovered on a distant rim planet, Life. The product stops the aging process. The first batch is free, and the salesman returns eight years later to get into the distribution business.
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Hartley, James A. „Guilt-Edge Security“. After Dinner Conversation 5, Nr. 5 (2024): 107–18. http://dx.doi.org/10.5840/adc20245550.

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How does our limited life span determine our choices and our view on the preciousness of life? How would these views change if we lived forever? In this work of philosophical short story fiction, a traveling salesman sits at the bar after a long day drinking bourbon. He is approached and cleverly pitched a new product he has discovered on a distant rim planet, Life. The product stops the aging process. The first batch is free, and the salesman returns eight years later to get into the distribution business.
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3

Kholifah, Rista Nur, Aulia Sahda Rahima, Nurhabibah Qurrotul 'Aini und Hidayatul Nurjanah. „Guilt and Madness in Edgar Alan Poe's "The Tell-Tale Heart”: Psychoanalysis Study“. Wanastra : Jurnal Bahasa dan Sastra 16, Nr. 1 (19.03.2024): 01–08. http://dx.doi.org/10.31294/wanastra.v16i1.20249.

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Human being has different emotions within themselves, like sadness, happiness, upset and including guilt which can come from various causes. Uncontrolled guilt can be one of the causes of someone experienced madness, which then has a bad impact on themselves and other parties because this emotion of madness can lead someone to act beyond the reason. Guilt and madness can be found in the behavior of someone who is experiencing a bad psychological condition on the daily life. Guilt and madness can also be found in the literary works and one of them is from Edgar Allan Poe with a short story entitled The Tell-Tale Heart. This is a classic of the Gothic fiction genre that uses point of view from an unnamed narrator who experienced the guild and madness that lead the narrator to killed someone. Therefore, this research is intended to examine the feelings of guilt and madness that presented in the short story The Tell-Tale Heart by Edgar Allan Poe. This research uses qualitative methods and uses Sigmund Freud's 1923 psychoanalytic theory. This research conduct to reveals the relationship between guilt, madness, and the narrator's id in The Tell-Tale Heart short-story. Researchers found that “Ego” was more dominant from guilt and madness. This finding offers a new perspective on how guilt and madness are presented in Edgar Allan Poe's short story The Tell-Tale Heart seen from psychoanalytic theory which has the potential to provide input for future field research and practice.
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Norbury, Kate. „‘On some precipice in a dream’: Representations of Guilt in Contemporary Young Adult Gay and Lesbian Fiction“. International Research in Children's Literature 5, Nr. 2 (Dezember 2012): 184–94. http://dx.doi.org/10.3366/ircl.2012.0062.

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This article explores the representation of guilt in six recent young adult novels, in which it is suggested that teen protagonists still experience guilt in relation to their emerging non-normative sexual identities. The experience of guilt may take several different forms, but all dealt with here are characterised by guilt without agency – that is, the protagonist has not deliberately said or done anything to cause harm to another. In a first pair of novels, guilt is depicted as a consequence of internalised homophobia, with which protagonists must at least partly identify. In a second group, protagonists seem to experience a form of separation guilt from an early age because they fail to conform to the norms of the family. Certain events external to the teen protagonist, and for which they cannot be held responsible, then trigger serious depressive episodes, which jeopardise the protagonist's positive identity development. Finally, characters are depicted as experiencing a form of survivor guilt. A gay protagonist survives the events of 9/11 but endures a breakdown, and, in a second novel, a lesbian protagonist narrates her coming to terms with the death of her best friend.
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Mosselaer, Nele Van de. „How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction“. Journal of Literary Theory 12, Nr. 2 (03.09.2018): 279–99. http://dx.doi.org/10.1515/jlt-2018-0016.

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Abstract How can we be moved by the fate of Anna Karenina? By asking this question, Colin Radford introduced the paradox of fiction, or the problem that we are often emotionally moved by characters and events which we know don’t really exist (1975). A puzzling element of these emotions that always resurfaced within discussions on the paradox is the fact that, although these emotions feel real to the people who have them, their difference from ›real‹ emotions is that they cannot motivate us to perform any actions. The idea that actions towards fictional particulars are impossible still underlies recent work within the philosophy of fiction (cf. Matravers 2014, 26 sqq.; Friend 2017, 220; Stock 2017, 168). In the past decennia, however, the medium of interactive fiction has challenged this crystallized idea. Videogames, especially augmented and virtual reality games, offer us agency in their fictional worlds: players of computer games can interact with fictional objects, save characters that are invented, and kill monsters that are clearly non-existent within worlds that are mere representations on a screen. In a parallel to Radford’s original question, we might ask: how can we be moved to shoot zombies, when we know they aren’t real? The purpose of this article is to examine the new paradox of interactive fiction, which questions how we can be moved to act on objects we know to be fictional, its possible solutions, and its connection to the traditional paradox of fictional emotions. Videogames differ from traditional fictional media in that they let their appreciators enter their fictional worlds in the guise of a fictional proxy, and grant their players agency within this world. As interactive fictions, videogames reveal new elements of the relationship between fiction, emotions, and actions that have been previously neglected because of the focus on non-interactive fiction such as literature, theatre, and film. They show us that fictional objects can not only cause actions, but can also be the intentional object of these actions. Moreover, they show us that emotions towards fictions can motivate us to act, and that conversely, the possibility of undertaking actions within the fictional world makes a wider array of emotions towards fictional objects possible. Since the player is involved in the fictional world and responsible for his actions therein, self-reflexive emotions such as guilt and shame are common reactions to the interactive fiction experience. As such, videogames point out a very close connection between emotions and actions towards fictions and introduce the paradox of interactive fiction: a paradox of fictional actions. This paradox of fictional actions that is connected to our experiences of interactive fiction consists of three premises that cannot be true at the same time, as this would result in a contradiction: 1. Players act on videogame objects. 2. Videogame objects are fictional. 3. It is impossible to act on fictional objects. The first premise seems to be obviously true: gamers manipulate game objects when playing. The second one is true for at least some videogame objects we act upon, such as zombies. The third premise is a consequence of the ontological gap between the real world and fictional worlds. So which one needs to be rejected? Although the paradox of interactive fiction is never discussed as such within videogame philosophy, there seem to be two strategies at hand to solve this paradox, both of which are examined in this article. The first strategy is to deny that the game objects we can act on are fictional at all. Espen Aarseth, for example, argues that they are virtual objects (cf. 2007), while other philosophers argue that players interact with real, computer-generated graphical representations (cf. Juul 2005; Sageng 2012). However, Aarseth’s concept of the virtual seems to be ad hoc and unhelpful, and describing videogame objects and characters as real, computer-generated graphical representations does not account for the emotional way in which we often relate to them. The second solution is based on Kendall Walton’s make-believe theory, and, similar to Walton’s solution to the original paradox of fictional emotions, says that the actions we perform towards fictional game objects are not real actions, but fictional actions. A Waltonian description of fictional actions can explain our paradoxical actions on fictional objects in videogames, although it does raise questions about the validity of Walton’s concept of quasi-emotions. Indeed, the way players’ emotions can motivate them to act in a certain manner seems to be a strong argument against the concept of quasi-emotions, which Walton introduced to explain the alleged non-motivationality of emotions towards fiction (cf. 1990, 201 sq.). Although both strategies to solve the paradox of interactive fiction might ultimately not be entirely satisfactory, the presentation of these strategies in this paper not only introduces a starting point for discussing this paradox, but also usefully supplements and clarifies existing discussions on the paradoxical emotions we feel towards fictions. I argue that if we wish to solve the paradox of actions towards (interactive) fiction, we should treat it in close conjunction with the traditional paradox of emotional responses to fiction.
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Reimão, Sandra. „Detective literature - a panoramic approach“. Revista USP, Nr. 140 (22.03.2024): 11–24. http://dx.doi.org/10.11606/issn.2316-9036.i140p11-24.

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This paper is divided into two parts: in part I we address the origins and characteristics of the detective fiction literature and in part II we address detective fiction literature written by Brazilians. In each of these parts, there are three subdivisions organized as follows: Edgar Allan Poe and the birth of the detective genre; Conan Doyle’s Sherlock Holmes and Agatha Christie’s Hercule Poirot; On the detective fiction noir (part I); Around the Brazilian detective; Brazil: on crime and guilt; The expansion of Brazilian detective fiction literature in the XXIst century (part II).
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Andersen Kraglund, Rikke. „Karaktermord i 10’ernes danske skønlitteratur“. Passage - Tidsskrift for litteratur og kritik 36, Nr. 85 (12.07.2021): 7–27. http://dx.doi.org/10.7146/pas.v36i85.127959.

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In the 2010s, Danish literature triggered heated debates about the relationship between artistic freedom, defamation, responsibility, guilt and shame, and initiated negotiations of collective norms and values in connection with testimonies in autobiographical fiction. The article establishes that there is a need to consider how differently character assassinations appear in and outside autobiographical fiction, taking into account that autobiographical fiction establishes ambiguous statements that are not found in the media coverage.
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Aba shaar, Mohammed Yassin. „Self-reconstruction through the Sense of Guilt: A Study of Select Masterpieces in the American Fiction“. British (Jurnal Bahasa dan Sastra Inggris) 9, Nr. 2 (26.09.2020): 48. http://dx.doi.org/10.31314/british.9.2.48-62.2020.

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Abstract:Reconstruction is considered as a comprehensive transformation of one’s attitude with respect to one’s ego; one’s action; the object of guilt and the temporal-existential experience. The process of reconstruction stems from the need for improvement of the self. Any human being gets exposed to the feelings of sadness, despair, envy, shame, embarrassment and many other emotions that could leave him psychologically disabled. Anyway, guilt is a part of self-conscious emotions that the individual involves for the sake of self-evaluation. It is developed when the person feels that he doesn’t live up to the standard behaviours that are appropriate, good or correct. The feelings of guilt spur the process of reparation that reduces the consequences of negative actions. Feelings of guilt are produced as emotions of social control; they are different from one place to another depending on the culture, norms, social context and structure. This paper aims to study the feelings of guilt and their influence on self-reconstruction in three prominent, famous fictional works which are Toni Morrison’s Beloved (1987), Khalid Hosseni’s The Kite Runner (2003) and Nathenial Hawthorn’s The Scarlet Letter (1850). It is going to inspect how the feelings of guilt foster the development of a stable trend towards order and improvement.
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Sanders, Mark. „Culpability and Guilt: Child Soldiers in Fiction and Memoir“. Law and Literature 23, Nr. 2 (Juli 2011): 195–223. http://dx.doi.org/10.1525/lal.2011.23.2.195.

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Knežević, Jelena, und Aleksandra Nikčević-Batrićević. „In Search of Lizzie Borden: Between Fact and Fiction“. Transylvanian Review 32, Nr. 3 (12.01.2024): 109–39. http://dx.doi.org/10.33993/tr.2023.3.06.

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The paper discusses the representation of Lizzie Borden in true-crime and crime-fiction prose texts, as well as in a stage production. It centers on the hypothesis of sociocultural aspects which constitute the accounts written about her and feminist readings. Regardless of genre, these nar ratives portray Lizzie Borden in various ways—from a female tormenter to a guilt-free spinster. Both true-crime books and crime-fiction novels, together with the ballet, are modified by socio cultural factors and are also subject to intertextuality. In addition, the lines between fiction and non-fiction literary works of primary concern are blurred.
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Dissertationen zum Thema "Guilt – Fiction"

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Svedberg, Katarina. „Guilt, Shame, and the Function of Unreliable Narration and Ambiguity in John Banville’s The Book of Evidence“. Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100711.

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In a confessional, first person narrative, the concept of truth and how it is constructed and perceived is important. Truth in fiction can be created and interpreted in a number of different ways, and when the narrative that portrays it in addition is unreliable and ambiguous, discerning truth becomes a decidedly complex process. This essay interprets the confessional testimony of the narrator in John Banville’s The Book of Evidence, in order to examine the function of these narrative devices and how they affect the understanding of what is true in Banville’s unreliably narrated novel. It does so by following literary theories regarding unreliable narration by Tamar Yacobi and others, as well as theories of truth in fiction as first presented by David Lewis and expanded upon by Ben Levinstein and others. The different types of ambiguity suggested by William Empson are also considered. The novel’s narrative is analyzed specifically in relation to the understanding of how the protagonist eludes to his feelings of guilt and shame. These emotions are chosen for their prevalence in conventional confessions. The essay claims that the narcissistic narrator harbors neither of these feelings pertaining to the crime he has committed, but rather that he admits to being guilty and is ashamed of being caught, and that this is portrayed through the structure of the narrative rather than its content.
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Miller, James R. „The Waiting Unknown: Stories“. Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3440.

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These collected stories are a narrative exploration of a collective life in middle‐class suburbia. Here the reader is introduced to a troop of characters who share a community but yet they are adrift in the atmosphere between identity and memory. At times, as in “When to Lie” and “Afraid of the Question” we see conflict arise when the suburban religious dogma alters character identity, leaving behind haunting memories and scar tissue. Memory and identification play an important roll when, as in “Rx” the protagonist is faced with the sudden loss of his family as he struggles to keep their memories alive—without their memory he is no longer a father or a husband. Whether the characters are looking to re‐engage in society after being done wrong, as is the case in “Playing the Game” or coming to terms with sudden loss, afflicting memories play an important role in each narrative.
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Mickael, Melissa Louise. „then moored“. Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363302588.

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Pendrill, Michael Laurie. „A guilty satisfaction : detective fiction and the reader“. Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40838/.

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The purpose of this thesis is to explore the reasons why readers choose to read detective fiction. Taking Thomas De Quincey's satirical identification of the aesthetic quality of murder, I look at Edgar Allan Poe's detective fiction to find a non-satiric version of the same argument that emphasises the balancing quality of the ethical to the aesthetic. W.H. Auden's essay “The Guilty Vicarage” offers an argument concerning the reader's position in relation to these opposite components. I explore the ways in which Auden's arguments build into Freud's understanding of guilt, daydreams, the moral conscience, jokes, the uncanny and the death drive, and how these can be applied to the genre to help illustrate the reader's experience. Concurrent to this I offer an analysis of how the parallel developments in literary theory, particularly those of Barthes and Shklovsky, can be incorporated to enrich the understanding of these Freudian positions within the modern reader's experience. It is my intention to open up a field of study within the genre that differs from the traditional Marxist approach. Particular emphasis is placed on the role of the experience of pleasure found when moments of commonality between the aesthetic and the ethical are reached– how these are often unsatisfactory– necessitating a repetition of the literary experience. It is my argument that such an approach to the reader's position within the genre has not been explored in such a detailed fashion, centring as it does upon the active role of guilt in pleasure felt by the reader as the motivation to repeat. To illustrate that this is an argument that is applicable to different historical phases of detective fiction the study undertakes analysis of the following authors: Arthur Conan Doyle, Wilkie Collins, Agatha Christie, Raymond Chandler, Graham Greene and John Fowles.
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Lechler, Ron. „The Best Medicine“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801938/.

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The Best Medicine is an animated documentary that explores the true stories behind the live performances of stand-up comedians. The film juxtaposes live stand-up performances with candid interview footage combined with animation and illustration. Three subjects– Michael Burd, Casey Stoddard, and Jacob Kubon– discuss alcoholism, childhood abuse, and sexual anxiety, respectively. Their candid, intimate interviews reveal personal information, creating a new context with which to understand live stand-up comedy performance. This illustrates themes of finding humor in dark or painful circumstances and the cathartic nature writing and performance.
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Walton, Samantha. „Guilty but insane : psychology, law and selfhood in golden age crime fiction“. Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7793.

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Writers of golden age crime fiction (1920 to 1945), and in particular female writers, have been seen by many critics as socially and politically detached. Their texts have been read as morality tales, theoretically rich mise en scenès, or psychic fantasies, by necessity emerging from an historical epoch with unique cultural and social concerns, but only obliquely engaging with these concerns by toying with unstable identities, or through playful, but doomed, private transgressions. The thesis overturns assumptions about the crime novel as a negation of the present moment, detached and escapist, by demonstrating how crime narratives responded to public debates which highlighted some of the most pressing legal and philosophical concerns of their time. Grounded in meticulous historical research, the thesis draws attention to contemporary debates between antagonistic psychological schools – giving equal space to debates within psychoanalysis and adaptive neuroscience – and charts how these debates were reflected in crime writing. Chapter two explores the contestation of the M’Naghten laws on criminal responsibility in light of Ronald True’s case (1922), followed by readings of crime narratives in which perpetrators have ambiguous and controversial legal status in regard to criminal responsibility. At the intersection of psychiatric discourse and the popular literary imagination, a critical and ethical perspective developed which not only conveyed a version of psychological discourse to a wider public, but profoundly reworked the foundations of the genre as the ritual unveiling of deviancy and the restoration of the rational institutions of society. In similar vein, chapter three explores the status of the ‘Born Criminal’ in law and medicine, and looks at crime writer Gladys Mitchell’s efforts to expose both the pitfalls of categorisation, and competing discourses’ limitations in adequately accounting for crime. Chapter four, whilst maintaining close medical-legal focus, opens up the study to consider how understandings of deviant selfhood in modernist writing inflected crime writers’ representations of unconscious and epileptic killers. Finally, chapter five continues this intertextual approach by asserting that certain crime novels express an exhaustion with the genre’s classic rational and scientific heroes, and turn instead to the affective epistemologies and notions of subconscious synthesis concomitantly being celebrated in modernist writing. Altering the position of the authoritative detective in ways that profoundly alter the politics of the form, the chapter and the thesis in total propose a reading of golden age crime fiction more responsive to cultural, psychological and legal debates of the era, leading to a reassessment of the form as neither escapist nor purely affirmative of the status quo.
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Thode, Rick D. (Rick Davis). „Sex-Guilt and the Effects of a Subliminal Sex-Related Stimulus on the Libidinal Content of Fictional Narratives“. Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc501267/.

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Fictional narratives of 68 female undergraduates classified as either high or low on sex-guilt were rated for libidinal content following subliminal exposure to either a sex-related or a neutral stimulus. Separate dependent measures were obtained for libidinal derivatives bearing either a transparently "close" or a symbolically "distant" relationship to the sex-related stimulus. Subjects in the sex-related stimulus condition expressed significantly fewer close libidinal derivatives than subjects in the neutral condition. High sex-guilt subjects' distant derivative production revealed a near-significant trend toward repression in the neutral condition, but the greatest amount of expression in the sex-related condition. Type of defenses employed are discussed as a function of subliminally perceived stimulus threat.
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Kampf, Raymond William. „Fauxtopia“. VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/749.

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To all who come to this fictitious place:Welcome.Fauxtopia is your land. Here, age relives distorted memories of the past, and here, youth may savor the challenge of trying to understand the present. Fauxtopia is made up of the ideals, the dreams and the fuzzy facts which have re-created reality... with the hope that it will be a source of edutainment for all the world.Ray KampfFauxtopia DedicationApril 1st, 2004
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Slabbert, Mathilda. „Inventions and transformations : an exploration of mythification and remythification in four contemporary novels“. Thesis, 2006. http://hdl.handle.net/10500/2267.

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The reading of four contemporary novels, namely: Credo by Melvyn Bragg, The Catastrophist by Ronan Bennett, Everything You Need by A.L. Kennedy and American Gods by Neil Gaiman explores the prominent position of mythification and remythification in contemporary literature. The discussion of Bragg's novel examines the significance of Celtic mythology and folklore and to what extent it influenced Christian mythology on the British Isles and vice versa. The presentation of the transition from a cyclical, pagan to a linear, Christian belief system is analysed. My analysis of Bennett's novel supports the observation that political myth as myth transformed contains elements and qualities embodied by sacred myths and investigates the relevance of Johan Degenaar's observation that "[p]ostmodernism emphasises the fact that myth is an ambiguous phenomenon" and practices an attitude of "eternal vigilance" (1995: 47), as is evident in the main protagonist's dispassionate stance. My reading of Kennedy's novel explores the bond that myth creates between the artist and the audience and argues that the writer as myth creator fulfils a restorative function through the mythical and symbolic qualities embedded in literature. Gaiman's novel American Gods focuses on the function of meta/multi-mythology in contemporary literature (especially the fantasy genre) and on what these qualities reveal about a society and its concerns and values. The thesis contemplates how in each case the original myths were substituted, modulated or transfigured to be presented as metamyth or myth transformed. The analysis shows that myth can be used in various ways in literature: as the data or information that is recreated and transformed in the creative process to establish a common matrix of stories, symbols, images and motifs which represents a bond between the author and the reader in terms of the meaning-making process; to facilitate a spiritual enrichment in a demythologized world and for its restorative abilities. The study is confirmed by detailed mythical reference.
English Studies
(D. Litt. et Phil. (English))
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Xaba, Andile. „Temporality and the past: recollections of apartheid in selected South African novels in English“. Diss., 2014. http://hdl.handle.net/10500/19242.

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The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative past as the histoire, and the narrative present as the récit. Retrospective events are constructed as memories, thereby are complemented by Bergson’s psychological and philosophical theory in the analysis and interpretation of the dualistic interaction between the apartheid and post-apartheid temporal centres adopted within the novels. The representation of apartheid may be seen as sub-themes and time as configurations of temporal zones.
Afrikaans & Theory of Literature
M.A. (Theory of Literature)
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Bücher zum Thema "Guilt – Fiction"

1

Xilahe. Guilt. London: Chatto & Windus, 2012.

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Schirach, Ferdinand von. Guilt: Stories. New York: Knopf, 2012.

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Lescroart, John T. Guilt. New York: Delacorte Press, 1997.

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Lescroart, John T. Guilt. Rockland, MA: Wheeler Pub., 1997.

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Kellerman, Jonathan. Guilt. New York: Random House Large Print, 2013.

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Garfield, Leon. Guilt and gingerbread. Harmondsworth: Puffin, 1987.

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Clark, Marcia. Guilt by association. Oxford: ISIS, 2012.

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Ashford, Jeffrey. Illegal guilt. London: Severn House Large Print, 2008.

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Barbara, Parker. Suspicion of guilt. London: Headline, 1995.

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Barbara, Parker. Suspicion of guilt. London: Headline Feature, 1995.

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Buchteile zum Thema "Guilt – Fiction"

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Hutchinson, Colin. „Liberal Guilt and American Fiction“. In Reaganism, Thatcherism and the Social Novel, 65–89. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230594906_4.

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Bradbury, Richard. „Sexuality, Guilt and Detection: Tension between History and Suspense“. In American Crime Fiction, 88–99. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19225-0_7.

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Gomel, Elana. „Human Skins, Alien Masks: Allegories of Postcolonial Guilt“. In Science Fiction, Alien Encounters, and the Ethics of Posthumanism, 117–46. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137367631_5.

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Garnett, Rhys. „Dracula and The Beetle: Imperial and Sexual Guilt and Fear in Late Victorian Fantasy“. In Science Fiction Roots and Branches, 30–54. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20815-9_4.

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5

Bedore, Pamela. „Storytelling, Guilt, and Games in Margaret Atwood's Post-apocalyptic Crime Fiction“. In The Routledge Introduction to Canadian Crime Fiction, 214–26. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003125242-16.

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6

Weaver-Hightower, Rebecca. „Settler Guilt and Animal Allegories“. In Frontier Fictions, 117–56. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00422-4_4.

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7

Bergman, Kerstin. „The Good, the Bad and the Collaborators: Swedish World War II Guilt Redefined in Twenty-First-Century Crime Fiction?“ In Imagining Mass Dictatorships, 183–210. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137330697_10.

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8

Weaver-Hightower, Rebecca. „Guilt and the Settler–Indigene Relationship“. In Frontier Fictions, 41–80. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00422-4_2.

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9

Duruaku, Chioma. „Guilt (Short story)“. In ALT 36: Queer Theory in Filmand Fiction, 232–40. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787443730.018.

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10

Jay, Elisabeth. „Women’s Sphere“. In Mrs Oliphant: Fiction to Herself’, 47–72. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198128755.003.0003.

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Annotation:
Abstract In 1859 Florence Nightingale had privately printed her passionate outburst, Cassandra, on the lot of women of the mid-nineteenth-century leisured classes. Silent suffering, she claimed, had been enshrined by a patriarchal society, as the highest way in which women could emulate the life of Christ. Presenting women with this passive or negative ideal encouraged guilt and self-doubt inasmuch as it refined the moral instincts without providing a sphere in which to exercise them. Women who had been taught to repress and deny their passions wasted their undervalued time in guilty dreams of an Ideal all too often located in a male saviour figure. Marriage did not liberate; it merely completed the systematic robbery and enslavement of women who had been brought up to believe that there was no time they could call their own, without fear of offending or hurting someone. Ironically, Nightingale suffered this bitter denunciation of the psychological deprivations of women, which she had originally assembled as early as 1852, to be silenced by the advice of two male counsellors: J. S. Mill and Benjamin Jowett.
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