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Count Dracula is an example of a villain in classic literature and film. Theme from Mysterioso Pizzicato, a cliché silent movie cue for villainy Play ⓘ. A villain (also known as a "black hat" or "bad guy"; the feminine form is villainess) is a stock character, whether based on a historical narrative or one of literary fiction.
Illustration by Gustave Doré of Baron Munchausen's tale of being swallowed by a whale. Tall tales, such as those of the Baron, often feature unreliable narrators.. In literature, film, and other such arts, an unreliable narrator is a narrator who cannot be trusted, one whose credibility is compromised. [1]
Othello (left) and Iago (right) from Othello by William Shakespeare.Much of the tragedy of the play is brought about by advice Iago gives to Othello in bad faith. Bad faith (Latin: mala fides) is a sustained form of deception which consists of entertaining or pretending to entertain one set of feelings while acting as if influenced by another. [1]
Evil, by one definition, is being bad and acting out morally incorrect behavior; or it is the condition of causing unnecessary pain and suffering, thus containing a net negative on the world. [1] Evil is commonly seen as the opposite, or sometimes absence, of good.
Hanlon's razor is an adage or rule of thumb that states: [1]. Never attribute to malice that which is adequately explained by stupidity. It is a philosophical razor that suggests a way of eliminating unlikely explanations for human behavior.
Schadenfreude (/ ˈ ʃ ɑː d ən f r ɔɪ d ə /; German: [ˈʃaːdn̩ˌfʁɔʏ̯də] ⓘ; lit. Tooltip literal translation "harm-joy") is the experience of pleasure, joy, or self-satisfaction that comes from learning of or witnessing the troubles, failures, pain, suffering, or humiliation of another.
Social criticism can be expressed in a fictional form, e.g. in a revolutionary novel like The Iron Heel (1908) by Jack London, in dystopian novels like Aldous Huxley's Brave New World (1932), George Orwell's Nineteen Eighty-Four (1949), Ray Bradbury's Fahrenheit 451 (1953), amd Rafael Grugman's Nontraditional Love (2008), or in children's books or films.
Christensen's (1988) review of the literature found "that research participants do not perceive that they are harmed and do not seem to mind being misled". Furthermore, those participating in experiments involving deception "reported having enjoyed the experience more and perceived more educational benefit" than those who participated in non ...