Literature

In the world, there are two kinds of pain: the natural, everyday pain that is emotional, physical, and mental, which effects our everyday lives. The second pain, and the focus of this paper, is the moral evil, the pain of magnitude—pain which wipes out significant numbers of the population, without any evidence of divine intervention. The greatest example is the Holocaust. In Elie Wiesel’s 'Night', a record of the ordeals he endured at the Nazi death camp Auschwitz, one gets a true sense of the evil which flourished in the Nazi death camps. In response to the terror of Auschwitz, Richard Rubenstein in his 'After Auschwitz', details the theological responses to the Holocaust and death of God theology. The problem of pain continues to compromise religion. However, there are ways to reconcile faith, with the presence of evil in our world. To the harsh reality of pain, C.S. Lewis will present his theodicy in his 'The Problem of Pain'. The topic question is, is religion a human need to overcome suffering? How do these theologians attempt to understand the problem of pain and suffering with the concept of an all good and loving God? What conclusions do they make?

"It is the right of the strong to take from the weak." (Martin, 758)

The sociopolitical structure of the Dothraki people is governed by the strong, with tribal communities gravitating around warriors who have proven their greatness in battle. This is seen most evidently when Khal Drogo's khalasar is disbanded as soon as his strength begins to falter, prompting several of his strongest subordinates to name themselves new Khals to form new khalasars with whoever will follow. This ideology is the reason why none of the Dothraki had any respect for Viserys, who had no true strength of his own, but felt entitled to the Iron Throne by being a descendant of the old dynasty. Though the Targaryen reign was ushered in by the brute strength of Aegon the Conqueror and his dragons (a method of asserting one's right to rule much in line with this Dothraki system), the establishment of a monarchy after the victory changed the game (of thrones).
Discuss the differences between these two methods of governance. Which one might prove to be more effective for selecting leaders (both in Westeros and in the real world)? How does the Dothraki reverence for individuals with power reflect the Nietzschean view of the ubermensch? How might it mirror the real-life rises to power of autocratic leaders from Julius Caesar, to Napoleon Bonaparte, to Fidel Castro? In what ways might this need to respect the ruler illustrate a sort of precursor to our modern democracy?

A look into the way mentally ill characters are treated in their stories: why, in most cases, their depressions/anxiety is not discusses, why the idea of getting therapy is not more common in stories to normalize the idea that this is a healthy thing to do. Why mental illness is either romanticized unhealthily or completely disregarded? This would be an interesting thing to think about in YA lit.

Explore the trend of famous authors' first drafts and unfinished novels being published. Should authors publish these unfinished works? Or does it take away from the canon of their own literature?

Initially coined as an insult, the term 'Space Opera' has now become synonymous with melodramatic space adventure: books written as colourful and dramatic pieces of literature which largely explore the human condition and entertain the question of where humanity might fit among other, fictional races in the stars. To what extent is this insinuation that Space Opera might not be as high-brow compared to other books in the wider Science Fiction genre, correct? Is Space Opera the so-called 'Soap' of the Science Fiction genre, or is it more than its title would suggest? Indeed, would you agree with the negative connotations that imply this subgenre is a 'lesser' form of sci-fi, outworn and tacky? Or is it merely a different, and more interesting, strand of Science Fiction that is less concerned with the intricacies of actual science? Probably worth discussing some of the more popular, and well known, Space Opera books and series and explaining why they might be so popular (as some examples, see: Douglas Adams' 'Hitchhikers Guide', Frank Herbert's 'Dune', Orson Scott-Cards 'Ender's Game', Kevin J. Anderson's 'Saga of the Seven Suns').

Provide the typology of famous detective's sidekicks and analyse the way they have changed over the years. What makes a likable sidekick in modern detective literature. Is the fact that Robin Ellacott is a woman dictated by the feminist trend, by the plot or by any other factors? Does the detailed characterisation of the sidekick make for a better novel? What kind of detective – sidekick tandem would you like to read about in future?

Analyse whether or not dystopian young adult novels have become essential reading or a completely redundant genre. Make sure to include examples like The Hunger Games and Divergent and discuss how they have increased the popularity of dystopian fiction for younger readers. Also evaluate newer titles and their impact on the publishing industry (whether or not they serve a purpose, are simply a cash grab, etc.).

Trace the history and development of polyvocality (a work having multiple narrators, or following varied narrative voices and perspectives from different characters) as a literary form. From its humble beginnings in the canonisation of the Gospels – combining four distinct accounts of Jesus' ministry and death by separate authors into one collected volume of scriptural authority – to the epistolary style of Samuel Richardson and Bram Stoker, all the way to Modern novels by William Faulkner, Lawrence Durrell, and George RR Martin. How have methods of polyvocal narration developed over time? What social and aesthetic factors may have given it more prominence at certain historical periods? How have these authors' choices to present their stories from multiple perspectives been reactionary to the long tradition of single narrators, whether omniscient 3rd person or limited 1st person? How is this reflected in contemporary literary styles and trends?