The secular angel in contemporary children's literature: David ...

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THE SECULAR ANGEL IN CONTEMPORARY C
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ABSTRACT This thesis explores the r
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ACKNOWLEDGMENTS I believe this thes
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Faith vs. Science & Innocence vs. E
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INTRODUCTION This thesis explores t
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to one’s morality based on the et
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part-angel, part-human, and through
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subject of angels, is indicative of
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the Book of Enoch (or 1 Enoch) and
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God with the scientific notion of D
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(Keck, 1998, 69). McNish’s angels
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your small existences?’ ‘But yo
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1980, 7). In order to grasp Blake a
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and, in the final analysis, its som
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was the strongest and kindest of al
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This reference to Blake points to o
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deconstruction-, its function “is
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childhood. Almond has mainly used d
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argument, and the heroes of the sto
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act of killing God, to the slow sec
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mentioned, the intertextual element
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meaning of words” (Allen, 2000, 3
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Transformation Transformation is a
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narrative the process is set into m
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secondly, it bears testament to Fre
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the crude awakening of the fact tha
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CHAPTER ONE DAVID ALMOND’S SKELLI
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appalling at first. His first meeti
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him, and serves as a mirror through
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are some of the parallels that can
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Blake & Intertextuality William Bla
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With these verses she is signalling
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Blakean passages that Almond has in
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a process which ultimately leads hi
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Michael’s mother, who faces a cer
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are not only symbolic and allegoric
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the first time, whereas Skellig has
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Mina read the sentences out loud. S
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see and closely observe the two met
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Mina is the one who teaches Michael
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however, does not constitute the ep
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that such a change in our nature an
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trepidation, there is no surprise w
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doctors whose responsibility it is
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have ultimately learned and exercis
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This very process of change, of bot
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may be offered along the way, this
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of by doctors, Michael tries to hel
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this entire process for Michael and
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in Almond and McNish’s work, as b
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witnesses the wings on his own back
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character and an idea. The artist
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Pullman wished for this story to re
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concepts. As a result, the Fall’s
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case of these three authors it is i
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Malone, who often voices opinions s
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Roger, true fear and loneliness ove
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egins by gathering all the elements
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intertextual umbrella under which t
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driven by malevolence and revenge.
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have to be considered as they are d
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drawn between the two girls, Lyra a
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the end of the GC where Lord Asriel
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considered preferable or superior i
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act is what brought sin into the wo
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punishment for disobedience is not
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work of the General Oblation Board
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Especially in the case of Asriel, h
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Lyra finds Dr. Mary Malone, a scien
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opposite to the religious one; whil
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subject to the laws of optics. They
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homosexuality to child readers as p
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could be, according to Schweizer, a
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as adults. Although she knows what
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conception of the angel Uriel” as
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however, could be intentional on th
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‘I propose to send a man to find
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substitution of this erroneous fait
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come after death. In this way, Pull
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towards adulthood is not always rel
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Pullman parallels childhood and inn
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double significance. In Lyra’s ca
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Instead, he seems to willingly and
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and its innocence, as well as the s
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eligious views myself, and therefor
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The issue of intertextuality is not
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style: shining, fully-robed, [their
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fails to pass the first time. Freya
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McNish appears to harbour the idea
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species closer together to the poin
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this point, it is important to atte
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guardian angels was as conscious as
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has created his own moral code and
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where Luke and Tate are standing in
Page 189 and 190: 2011, 100). He writes that the Jewi
Page 191 and 192: with this everlasting feeling of de
Page 193 and 194: to assist and comfort each other. W
Page 195 and 196: Faith vs. Science and Innocence vs.
Page 197 and 198: education, and social structures wh
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Page 201 and 202: McNish’s portrayal of innocence a
Page 203 and 204: All this changes when Freya first m
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Page 207 and 208: The debate between state-school edu
Page 209 and 210: or strict, he also draws attention
Page 211 and 212: following peer victimization” (Tr
Page 213 and 214: Stephanie feel accepted and more se
Page 215 and 216: house. Furthermore, he has also had
Page 217 and 218: Stephanie wants to become her frien
Page 219 and 220: called from the window. ‘It’s n
Page 221 and 222: elationship with Stephanie and its
Page 223 and 224: This he exemplifies both in Mestraa
Page 225 and 226: thesis, however, it was argued and
Page 227 and 228: increasingly accurate perceptions o
Page 229 and 230: interesting things” (Franks, 2011
Page 231 and 232: strength of the book, and I made ea
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Page 237 and 238: Anonymous, “A Dark Agenda?” Sur
Page 239: Bleich, D. (1978) Subjective Critic
Page 243 and 244: Damon, S.F., Eaves, M. (1988) A Bla
Page 245 and 246: Fairer, D. (2002) “Experience Rea
Page 247 and 248: Gibbs, N. (1993) “Angels Among Us
Page 249 and 250: Hunt, P. (1994) An Introduction to
Page 251 and 252: Kochenderfer-Ladd, B., Troop-Gordon
Page 253 and 254: Manlove, C. (1999) The Fantasy Lite
Page 255 and 256: Mishna, F., Scarcello, I., Pepler,
Page 257 and 258: Pfeiffer, J. (1999) “‘Dream not
Page 259 and 260: Rosenblatt, L. M. (1982) “The Lit
Page 261 and 262: Squires, C. (2004) Philip Pullman
Page 263 and 264: Warner, N.O. (1982) “The Iconic M
Page 265: Yampbell, C. (2005) “Judging a Bo
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