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Journal articles on the topic 'Depiction of violence'
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Gjelsvik, Anne. "Etiske lesninger i fiksjonens frirom." K&K - Kultur og Klasse 36, no. 106 (March 22, 2009): 120–41. http://dx.doi.org/10.7146/kok.v36i106.22027.
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Ethical Readings in the Unbiassed Sphere of Fiction:This article defends an ethical criticism of fiction film. Drawing on the so-called »ethical turn« in philosophy and literary criticism, as well as perspectives from new tendencies in cognitive film theory, Gjelsvik argues that an ethical criticism is not just possible, but unavoidable.Using contemporary American fiction film and the depiction of violence as her main case-study, she aims to show that there is no such thing as a separate fictional realm beyond the scope of ethical evaluations. A central example in her discussion is Quentin Tarantino’s Kill Bill, a movie which was regarded by the Norwegian film reviewers as a fairy-tale and »just for fun«; accordingly the movie’s depiction of violence was not subject to an ethical criticism. Gjelsvik points to several reasons why this position (close to »aestheticism« in art theory) is inadequate, and she proposes a moderate version of ethical criticism instead. She discusses the moderate position as formulated by Berys Gaut and Noël Carroll, both philosophers who also have worked extensively on film art, trying to transfer their perspectives on art onto popular culture.She argues that such an approach also needs to take into consideration the emotions evoked by the movie and by violent depictions in particular. Whereas cognitive film theorists have foregrounded the similarities between the viewers’ emotional response to film and their real-life emotions, Gjelsvik makes a case for the importance of considering the distinctive features of fiction and cinematic depictions.The overall argument is that, as the relation between moral and aesthetic values is complex, ethical criticism should not aim for categorical evaluation. On the contrary, the position should take into consideration the heterogeneousness of fiction film, for instance in the differences between different movies’ depiction of violence, and acknowledge the value of ambivalent reactions towards fiction as well.
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Snelson, Tim. "Old Horror, New Hollywood and the 1960s True Crime Cycle." Film Studies 19, no. 1 (November 2018): 58–75. http://dx.doi.org/10.7227/fs.19.0005.
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This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps, of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period.
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Miller, T. S., and Elizabeth Miller. "Tolkien and Rape." Extrapolation: Volume 62, Issue 2 62, no. 2 (June 1, 2021): 133–56. http://dx.doi.org/10.3828/extr.2021.8.
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J. R. R. Tolkien’s representation of women in his fiction has generated a number of controversies since its original publication. This essay examines two major issues: an evasiveness in Tolkien’s treatment of sexual violence against women that is not disconnected from a gendered terror that underlies several moments in his works and functions to link women’s sexuality and desiring with death. Specifically, we read the author’s depiction of Shelob and her appetitive, arachnoid monstrosity as at once displacing sexual violence onto the monstrous feminine and evoking a revulsion at the aging female body. We next explore the consequences of the author’s depictions of women and his handling of sexual violence in close connection with his own 1939 public performance of Chaucer’s Reeve’s Tale, a comic narrative turning on two rapes that Tolkien nevertheless conceals in a comparable fashion to his elision of sexual violence in Middle-earth.
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Afzal-Khan, Fawzia, and Bina Sharif. "Jihad Against Violence: A One-Act Play." TDR/The Drama Review 54, no. 2 (June 2010): 60–69. http://dx.doi.org/10.1162/dram.2010.54.2.60.
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Jihad Against Violence, a collaboration between two Pakistani American women, is a dramatic and poetic depiction of the struggle (emotional, physical, and psychological) against violence of any kind toward women in Pakistani culture.
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Edwards, Louise. "Drawing Sexual Violence in Wartime China: Anti-Japanese Propaganda Cartoons." Journal of Asian Studies 72, no. 3 (June 20, 2013): 563–86. http://dx.doi.org/10.1017/s0021911813000521.
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During the War of Resistance against Japan (1937–45), China's leading cartoon artists formed patriotic associations aimed at repelling the Japanese military. Their stated propaganda goals were to boost morale among the troops and the civilian population by circulating artwork that would ignite the spirit of resistance among Chinese audiences. In keeping with the genre, racialized and sexualized imagery abounded. The artists created myriad disturbing visions of how militarized violence impacted men's and women's bodies differently. By analyzing the two major professional journals, National Salvation Cartoons and War of Resistance Cartoons, this article shows that depictions of sexual violence inflicted on Chinese women were integral to the artists' attempts to arouse the spirit of resistance. By comparing their depictions of different types of bodies (Chinese and Japanese, male and female, soldiers' and civilians') the article argues that the cartoonists believed that the depiction of sexually mutilated Chinese women would build resistance and spur patriotism while equivalent depictions of mutilated male soldiers would sap morale and hamper the war effort. The article concludes with a discussion about the dubious efficacy of propaganda that invokes a hypersexualized, masculine enemy other.
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Nugraha, Anandika Panca. "MAKNA PERIBAHASA MADURA DAN STEREOTIP KEKERASAN PADA ETNIS MADURA (TINJAUAN STILISTIKA)." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 12, no. 2 (December 28, 2017): 90. http://dx.doi.org/10.18860/ling.v12i2.4172.
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This article studies the meaning of Madurese proverbs commonly associated with violence stereotype of the Madurese. The analysis is conducted by using stylistic approach while the data are collected by means of documentary method. The findings show that Madurese proverbs represent a number of meanings related to violence, that is, physical violence, robust conviction and advice on violence. Those meanings do not necessarily justify the violent nature of the Madurese. Rather, they much imply the principles of Madurese people to strongly uphold self dignity, courage and righteousness. Further research using larger data of Madurese proverbs and other types of Madurese proverbs is suggested in order to obtain comprehensive depiction about Madurese values.
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Zeichmann, Christopher B. "Liberal Hermeneutics of the Spectacular in the Study of the New Testament and the Roman Empire." Method & Theory in the Study of Religion 31, no. 2 (April 5, 2019): 152–83. http://dx.doi.org/10.1163/15700682-12341441.
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AbstractSince 9/11, there has been a surge in interest in the topic of violence both among scholars of religion and in the humanities more broadly. This article suggests that such works operate with a “hermeneutics of the spectacular” that functions to legitimate the liberal status quo by concentrating its focus upon the most visibly heinous forms of state violence under the aegis of a politics of “resistance.” This article uses the New Testament and its depiction of the military as a site for thinking about how folk definitions come to classify certain activities as “violent” and not others, both today and in antiquity. If biblical scholarship—or the study of religion more broadly—is to be something other than an ideological repository for late capitalism, it is necessary to reconsider the issue. This article, by point of contrast, discusses three theoretical approaches to violence that may be useful: Objective-Structural Violence, Symbolic Violence, and Violent Subjectivities.
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Pagán-Teitelbaum, Iliana. "Depiction or erasure? Violence and trauma in contemporary Peruvian film." Continuum 24, no. 1 (January 28, 2010): 161–77. http://dx.doi.org/10.1080/10304310903419575.
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UI, Miyoko, Junko MIYAMAE, Hitomi TERASHIMA, Megumi MATSUI, and Midori TAKEZAWA. "Content analysis of depiction of dating violence in comic magazines." Proceedings of the Annual Convention of the Japanese Psychological Association 76 (September 11, 2012): 2PMB24. http://dx.doi.org/10.4992/pacjpa.76.0_2pmb24.
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Lestari, Rizki Widya. "KEKERASAN TERHADAP PEREMPUAN DALAM FILM INDONESIA." KANAL: Jurnal Ilmu Komunikasi 3, no. 2 (October 1, 2016): 107. http://dx.doi.org/10.21070/kanal.v3i2.303.
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This study aimed to analyze the depiction of violence experienced by women in the film "7 heart, 7 love, 7 women". These research method used textual analyses to interpret the signs that are produced in a media text are elements of violence experienced by women. The results showed that violence to the women include (a) physical violence, among others: strangling, pulling, injuring a pregnant woman, and rape, (b) symbolic violence, among others: (1) psychological violence: deceive, insult, infidelity; (2) financial violence: lack of accountability husband; (3) functional violence: restrictions on women's social role as executor of reproductive function.
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Akoi, Mohammed Rasul Murad. "Understanding Violence in Charles Dickens’ A Tale of Two Cities." Journal of University of Raparin 7, no. 1 (December 3, 2019): 38–48. http://dx.doi.org/10.26750/vol(7).no(1).paper4.
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This paper, Understanding Violence in Charles Dickens’ A Tale of Two Cities, deals with violence in its various forms in Charles Dickens’ novel, A Tale of Two Cities. The novel recounts the French Revolution of 1789. In the novel, Dickens portrays a terrifying scene of blood and brutality. Violence appears in different forms. Critics have paid attention to Charles Dickens’ own fear of a similar revolution in England. The paper attempts to find the substance of that fear. The paper will discuss the three forms of violence in Dickens’ A Tale of Two Cities; namely, violence as an inherent part of the French Revolution; violence committed by the crowds or mobs, and the evil that rises and grows as the Revolution continues. It will be argued that Dickens’ depiction of the crowd and mob behavior in A Tale of Two Cities captures the potential which is in the mentality of any crowd to grow violent. That is, a seemingly innocent start could lead to evil. A socio-psychological approach will also be consulted to analyze violence in the novel; violence as part of the revolution; violence committed by the mobs, and finally how the revolutionary masses turn evil.
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BİROĞLU, Esma. "THE DEPICTION OF VIOLENCE IN SARAH KANE'S CLEANSED: TORTURE AND MUTILATION." International Journal of Social Humanities Sciences Research (JSHSR) 6, no. 34 (January 1, 2019): 738–45. http://dx.doi.org/10.26450/jshsr.1109.
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Boyle, Mary. "‘Hardly gear for woman to meddle with’: Kriemhild’s Violence in Nineteenth-Century Women's Versions of the Nibelungenlied." Translation and Literature 30, no. 2 (July 2021): 170–97. http://dx.doi.org/10.3366/tal.2021.0462.
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This article examines the depiction of violence in early female-authored translations and adaptations of the Nibelungenlied. For sixty years, anglophone reception of this text, then frequently characterized as the German national epic, was the preserve of male writers, but in 1877, Auber Forestier published Echoes from Mist-Land, a free adaptation. By 1905 she had been followed by four other women. Margaret Armour and Alice Horton produced fairly close translations. Two others, Lydia Hands and Gertrude Schottenfels, adapted the material for children. All based their work on nineteenth-century German publications, and each took a different approach to the violence of the female protagonist, Kriemhild. These range from the exculpatory – a rewriting which eliminates female-authored violence; a legalistic defence of insanity; a subtle shifting of the blame on to male characters – to a moralizing rejection which emphasizes Kriemhild’s violence. The rationale for each approach is anchored in contemporary understandings of violent women.
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Rudy, Rudy. "THE DEPICTION OF HOMOSEXUALITY IN AMERICAN MOVIES." Jurnal Humaniora 28, no. 1 (June 4, 2016): 59. http://dx.doi.org/10.22146/jh.v28i1.11502.
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This study focuses on the depiction of homosexuality in American films. It is intended to identify the images of gays depicted in American films as well as the characteristics of American gay movies. It incorporates library research by applying an analytical descriptive approach in analyzing the data. The symbol and reflective theory is used to analyze 18 American movies and 14 gay films from other countries in the early 2000s. It shows that gay films can attract audiences by describing gays as the objects for laughs; gays revealing their sexual identities; sexual scenes of gays; masculine gay men; and violence in gay life. They appear in genres like drama, comedy, romance, detective, western, and horror/mystery with two images of gay people shown in American gay movies; they are the portrait of gays as a minority and the pessimism. However, it also shows that some American gay films picture good gay life, happy gay couples, gay marriage, etc.
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Hertzke, Allen D. "The Theory of Moral Ecology." Review of Politics 60, no. 4 (1998): 629–60. http://dx.doi.org/10.1017/s003467050005083x.
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Although scholars use the term moral ecology and commentators frequently employ environmental analogies in depicting the cultural milieu, the profound implications of such formulations remain unexplored. This article provides the first systematic analysis of the theory of moral ecology as a philosophical, empirical, and practical construct. It applies environmental thought, particularly insights from the “tragedy of the commons,” to the moral and cultural realm. It suggests that the concept of moral ecology is a compelling depiction of genuine human dynamics. Corroboration flows from the way the theory of moral ecology synthesizes a vast empirical literature on media violence, family decline, and gambling into a parsimonious nomological formulation.
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Dowling, David O. "Documentary games for social change: Recasting violence in the latest generation of i-docs." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 287–99. http://dx.doi.org/10.1386/cjcs_00033_1.
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The evolutionary trajectory of digital journalism has been fuelled by the convergence of visual storytelling unique to documentary filmmaking with the graphics and procedural rhetoric of digital games. The reciprocal influences between gaming and documentary forms coalesce in this new highly engaging interactive journalism. This research demonstrates how game mechanics, design and logics combine with cinematic storytelling conventions in documentary games published since 2014. As forms of civic engagement more intimate and immersive than traditional print and broadcast journalism, documentary games leverage alternative depictions of violence for social critique. Case studies examine products of independent developers including the documentary games We Are Chicago by Culture Shock Games and iNK Stories’ 1979 Revolution: Black Friday along with its related vérité virtual reality experience, Blindfold. These cases represent major advances in the activist depiction of oppressed populations in narrative documentary journalism. All these projects feature atypical video game protagonists anathema to those of mainstream games.
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Vähäpassi, Valo. "User-generated reality enforcement: Framing violence against black trans feminine people on a video sharing site." European Journal of Women's Studies 26, no. 1 (March 28, 2018): 85–98. http://dx.doi.org/10.1177/1350506818762971.
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While some scholars have addressed the common cultural tropes about trans people, the way media might sometimes legitimate violence against trans people, and even take part in forms of violence, has not been analysed. This is what this article sets out to do, through an examination of how a verbal and physical attack against black trans women, videotaped and uploaded on a platform for user-generated entertainment, was framed in a way which repeated the symbolic violence (reality enforcement) already at play in the physical (face-to-face) encounter. The article addresses the way this depiction of real violence, framed as entertainment, and coupled with identity invalidation both legitimizes physical violence and delegitimizes black trans feminine people as victims of violence.
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Riyanto, Geger. "Where is the violence in identity-related violence? The generative potentiality of violence in ethno-religious conflict and mass purging in Indonesia." Journal of Social Studies (JSS) 16, no. 1 (September 30, 2020): 83–102. http://dx.doi.org/10.21831/jss.v16i1.34715.
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This article argues that we have to address the generative potentiality of violence in drawing a rigorous depiction of identity-related violence. Works on identity-related violence often explain the violence as culminating from the perpetrators’ sense of identity. Even though to some extent such an explanation sheds light on the perpetrators’ motivation, it is prone to reducing the actuality of violence to a mere epiphenomenon. In actual circumstances of conflict and purging, the frightening and engrossing horror of violence convincingly imposes the antagonistic discursive boundary of self and other on the involved subject’s senses. As an efficacious embodiment of identity, violence also entails the subjects perpetually performing it in a way that reinforces the facticity of the fictive categories of identity and eventually escalates the violence. This article makes its case through an examination of two incidents of massive violence in Indonesia: the 1966-69 communists purging and the 1999-2002 ethno-religious conflict in Maluku.
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Baudin, Rodolphe. "Aeromania and Enlightenment: The Politics of Hot Air Balloons in Karamzin's "Letters of a Russian Traveler"." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 7 (November 19, 2020): 1–20. http://dx.doi.org/10.21900/j.vivliofika.v7.606.
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This paper focuses on Karamzin’s depiction, in Letters of a Russian Traveler, of Abbé Miolan’s failed hot air balloon flight in Paris in July 1784. After briefly tracing the history of aeromania in late eighteenth-century France and England, as well as its contemporary Russian reception, notably by Catherine the Great, the paper identifies Karamzin’s sources of information on the event and analyses the reasons why the Russian writer mentioned it in his travelogue. It demonstrates that Karamzin’s depiction of a physical experiment embodying European capacity for innovation in the late eighteenth century was not an expression of scientific curiosity. Instead, the young writer used the episode as a metaphor of social and political management, in order to reflect on the questions of social autonomy and the relation of the enlightened public with State power in both France and Russia. By depicting Miolan’s failed flight as a condemnable nuissance to public order, reminiscent of the revolutionary trouble he had witnessed during his journey through France, Karamzin showed his endorsement of Catherine’s conservative conception of the Enlightenment. By depicting how the French public sphere dealt with Miolan and possibly implicitly comparing it with the way Catherine had dealt with Radishchev, he nevertheless showed the superiority of self-regulation over political violence in managing the nobility’s growing longing for autonomy.
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May, David M. "The sword-violence of Luke’s gospel: An overview of text segments." Review & Expositor 117, no. 3 (August 2020): 395–401. http://dx.doi.org/10.1177/0034637320948001.
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Though most readers of the Gospel of Luke are familiar with Jesus’s well-known statement about “taking up a sword” (Luke 22:49), Gospel also references other sword-violence text segments. The first reference occurs at Jesus’s birth (Luke 2:34, 35), and the last ends with Jesus’s arrest (Luke 22:47–53). This expository article focuses upon reading Luke’s sword-violence passages with a wholistic lens that includes the theological, cultural, and social cues within the text. In this integrated reading approach, one captures the Lukan depiction of various dimensions of violence via a sword and the implicit and explicit challenge to resist sword-violence as the way for followers of Jesus.
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Marilungo, Francesco. "The City of Terrorism or a City for Breakfast." Middle East Journal of Culture and Communication 9, no. 3 (2016): 275–93. http://dx.doi.org/10.1163/18739865-00903005.
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This article focuses on the image of the city of Diyarbakir as it is presented in the TV series Sultan (28 May 2012 to 29 October 2012). It considers the sense of place as portrayed on screen and assesses the sociopolitical implications of the spatial representations of the TV series. It questions the concept of a real image of the city, as discussed by commentators and viewers of Sultan, to show how ‘public chatter’ (Öncü 2011) about the show reinforces arbitrary depictions of Diyarbakir. Finally, this article considers how efforts to commodify the city for the tourist market affect Sultan’s depiction of urban space. All traces of political conflict, violence and traumatic memory are erased, while a tacit ‘ethnic hierarchy’ (Scalbert-Yücel 2015) that structures the Turkish mosaic of cultures informs the series.
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Akşehir-Uygur, Mahinur. "Crush Humanity One More Time: Martin McDonagh's The Pillowman in Žižekian Terms." New Theatre Quarterly 33, no. 4 (October 11, 2017): 360–70. http://dx.doi.org/10.1017/s0266464x17000495.
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Martin McDonagh's The Pillowman dramatizes the interrogation and torture of a horror fiction writer, Katurian, whose stories have been re-enacted in ‘real’ life without his knowledge. The audience gradually finds out that the murders are the crimes of Michal, Katurian's mentally retarded brother, who had been physically tortured by his parents in childhood, until Katurian murdered them. Upon Michal's confession, Katurian has to kill his brother to save him from the suffering and torture to come. Subsequently, it becomes clear that the two interrogators also suffer from the violent childhoods they re-enact with the violence they inflict on their suspects. It appears that all kinds of violence in the play are somehow justified, and treated in such a complex way that it becomes hard to draw boundaries between victims and perpetrators. The depiction of violence can, however, also be examined in dimensions that trigger and shape each other: the violence of the totalitarian state directed against the individual and the artist; domestic violence; the fictional violence found in Katurian's stories. Read through Slavoy Žižek's theory of violence, which also highlights the interconnected nature of its several kinds, The Pillowman can be observed to create a panoramic view of its subject. Mahinur Akşehir-Uygur is an Assistant Professor in the Department of English, Manisa Celal Bayar University in Manisa, Turkey. Her areas of interest are satirical literature, contemporary fiction, and women's literature.
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이영철. "Toni Morrison’s Depiction of Violence: The Embodiment of Facticity and On-the-spot Sense." English21 31, no. 2 (June 2018): 101–25. http://dx.doi.org/10.35771/engdoi.2018.31.2.005.
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Smail, Daniel Lord. "The Inner Demons of The Better Angels of Our Nature." Historical Reflections/Réflexions Historiques 44, no. 1 (March 1, 2018): 117–27. http://dx.doi.org/10.3167/hrrh.2018.440112.
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The Better Angels of Our Nature makes a bold contribution to the deep history of human violence. By laying out a framework for understanding this history, Steven Pinker has provided an important point of departure for all future scholarship in this area. Pinker’s depiction of violence in medieval Europe, however, includes serious misrepresentations of the historical reality of this period; his handling of the scholarship on medieval Europe raises doubts about his treatment of other periods. This article also offers a brief review of recent psychological literature that suggests that subjective well-being is historically invariant. In light of this review, I argue that Better Angels is best understood not as a work of history but as a study in moral and historical theology, and recommend that the history of violence should feature the cognitive experiences of victims rather than aggressors.
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Körömi, Gabriella. "Écrire la guerre sans fin : le roman Syngué Sabour. Pierre de patience d’Atiq Rahimi." Dialogues francophones 21, no. 1 (December 1, 2015): 9–18. http://dx.doi.org/10.1515/difra-2015-0001.
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Abstract Atiq Rahimi’s Syngué Sabour is not a classical war novel, in spite of the fact that war is the organizing theme of the novel. The plot of the novel may be set in Afghanistan, a country where war has been a permanent and integral part of the people’s everyday life for generations. How is it possible to describe a never ending, dreadful war without making the writing sensationalist or pathetic? What kinds of language tools and stylistic devices are used by Rahimi to describe the violence of war? When words are not adequate for the depiction of the violence of war, what extralinguistic strategies can the writer employ? These are the research questions the article explores.
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Williams, James S. "The Time Is Now: Pressure, Guerrilla, and the (Re)invention of Black British Cinema and History." Film Quarterly 72, no. 1 (2018): 26–38. http://dx.doi.org/10.1525/fq.2018.72.1.26.
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James Williams considers how and why John Ridley's acclaimed 2017 television series Guerrilla (Sky Atlantic/Showtime) 'reradicalizes' early black British radical cinema, specifically Horace Ové's 1975 film, Pressure, the first feature-length work by a black British director. For Guerrilla's fictional narrative about a Black Power terrorist cell in London in 1972 pursues an option that Pressure, about the gradual radicalization of a young black British teenager in West London, resolutely avoids, namely militant violence. A close comparative study of both works in terms of characterization, cinematic style, the depiction of urban space, and the representation of violence highlights the originality and overlooked significance of Ové's pioneering film. It also suggests that Ridley reinvents the story of Black Power in early 1970s Britain in order to intervene in more contemporary debates taking place in the US about diversity and the function of revolutionary violence to effect social change.
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McFerrin, Randy, and Douglas Wills. "High Noon on the Western Range: A Property Rights Analysis of the Johnson County War." Journal of Economic History 67, no. 1 (March 2007): 69–92. http://dx.doi.org/10.1017/s0022050707000034.
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Wyoming's Johnson County War of 1892 is the historical basis of later popular depictions of the West as violent, and it influenced the development of Wyoming. Many see this era as the end of the open range system and the ascendancy of stock ranching and farming. Popular depiction argues that the event was an act of vigilantism of large foreign-owned firms against small individual settlers. We argue that the war was a conflict of property rights systems and use a model developed by Alston, Libecap, and Mueller to explain why violence broke out in Johnson County in 1892.Richer (the Rancher): We made this country. Found it and we made it … Made a safe range out of this. Some us died doin' it. We made it. Then people move in who never held a rawhide through the old days. Fenced off my range. Fenced me off from water. Some of them like you paw ditches, and take out irrigation water, and so the creek runs dry sometimes, and I got to move my stock because of it. And you say we have no rights to the range.Stark (the Homesteader): You talk about rights. You think you got the right to say that nobody else has got any. Well, that ain't the way the government looks at it. Shane [Paramount Pictures, 1953]
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Galiné, Marine. "The 1798 Rebellion: Gender Tensions and Femininity in the Irish Gothic." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 105–18. http://dx.doi.org/10.32803/rise.v2i2.1897.
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The year 2018 marks the 220th anniversary of the Irish rebellion of 1798. As Susan B. Egenolf points out, this short-lived but devastating conflict between Irish insurgents and Loyalist soldiers was felt as an attack on domesticity, as rebels and loyalists alike 'invade[d] private homes'. Several scholars have already discussed the (re)writing of such a traumatic event in Protestant women's narratives, shedding light on how these women filtered their emotions with the languages of chivalry, sensibility, and the gothic. Indeed, the gothic is generally seen as a polymorphous prism through which one can apprehend anxieties, tensions and violence. This paper seeks to confront the dynamics of genre and gender through the depiction of violence (be it domestic or national) in Irish Gothic texts using the 1798 rebellion as a contextual backdrop. In Maturin's The Milesian Chief (1812) and Mrs Kelly's The Matron of Erin (1816), the (Protestant) female gothic heroine exposes her body to private and public religious and political violence.
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Hlabane, D. M. "The war poems of Mongane Serote: The Night Keeps Winking and A Tough Tale." Literator 21, no. 3 (April 26, 2000): 91–108. http://dx.doi.org/10.4102/lit.v21i3.500.
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For many South Africans who saw themselves as victims of a racist society, the twentieth century was a period of one hundred years of political turmoil and segregation. Representations of racism and the kinds of subjects it created were provided by various writers during specific historical periods. I consider the 1980s as a period in which the political conflict between the repressive white state and those who wanted change was largely undertaken through violence. This article therefore looks at the depiction of violence in Mongane Serote’s poems of the 1980s - The Night Keeps Winking (1982) and A Tough Tale (1987). As its title suggests, the article analyses these poems as “war poems”. It focuses on the political themes Serote develops in the poems. The Night Keeps Winking (1982) and A Tough Tale (1987) offer horrifying images of war and the senseless bloodletting characteristic of South African life in the 1980s. These poems, as the article will show, reveal how people's lives were damaged by the apartheid state to the extent that many people resorted to violence as a method of liberation.
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Javangwe, Tasiyana. "VULGAR ACTS OF ENTRENCHMENT: THE DEPICTION OF THE ZIMBABWEAN POSTCOLONY IN CHENJERAI HOVE’S PALAVER FINISH." Imbizo 5, no. 1 (June 23, 2017): 60–70. http://dx.doi.org/10.25159/2078-9785/2830.
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This paper seeks to interpret Chenjerai Hove’s depiction in Palaver Finish of the Zimbabwean postcolony in the period leading into the new millennium. It seeks to argue that the portrayal of political developments in Zimbabwe in that period presents the nation as plunging into a state of vulgarity where human life and dignity are sacrificed at the expense of political power. Vulgarisation in this sense refers to gross distortions by the ruling party and state authority and the machinery of discursive processes, morality, culture and social life – all in an attempt to retain power. It also refers to the manner of doing things, to the use of the obscene, whether this is through the ab/use of language in its literal or metaphorical sense, dehumanizing sex or violence or disregard of civic etiquette.
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Rabo, Annika, Paula Estrada Tun, and Emma Jörum. "Syrians in Sweden: Constructing Difference Regarding Gender and Family." Journal of Refugee Studies 34, no. 2 (June 1, 2021): 1291–306. http://dx.doi.org/10.1093/jrs/feab007.
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Abstract In this article, we look at the discourse used by the Swedish state in describing non-European migrants, among them Syrians, and how this has constructed cultural divisions between ‘native’ Swedes and Syrian migrants. We reveal how non-European immigrants are depicted and treated by the state as coming from ‘patriarchal’ and ‘collectivist’ cultures and are therefore in need of development. We then connect this framing of migrant culture to how honour-related violence is constructed by the state and public institutions and explain how such a framing of violence is problematic. We also look at how some Syrian migrants have in turn employed stereotypical language in their depiction of Swedish culture and the Swedish state. Engaging with existing work on ethnic groups and boundaries, we find that this boundary-making process by both migrants and the state produces a perception of difference among groups.
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Hu, Jasmine. "Symmetry, Violence, and The Handmaiden's Queer Colonial Intimacies." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (September 1, 2021): 33–63. http://dx.doi.org/10.1215/02705346-9052788.
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Abstract The Japanese annexation of Korea (1910–45) implicates a crisis of representation in South Korean national history. Both the traumatic wounds and complex intimacies of Japan's rule over its Korean subjects were met with postcolonial suppression, censorship, and disavowal. This article examines Park Chan-wook's The Handmaiden (Ah-ga-ssi, South Korea, 2016), a period film set in 1930s Korea under Japanese rule, in relation to the two nations’ fraught but interconnected colonial and postcolonial histories. By analyzing the film's explicit sexual depiction through discourses of ethnicity, gender, and nation, it argues that the lesbian sex scenes encode and eroticize latent anxieties and tensions surrounding Japan-Korea relations, making explicit the ambivalent longing and lingering identification shared between the colonizers and the colonized. Furthermore, through intertextual reference to the intertwined and imitative relations between the national cinemas of Japan and Korea—relations mediated and elided by a long history of state censorship—Park's film repudiates an essentialist South Korean identity propped up by both nationalist narratives and market liberalization policies. Through palimpsestic projection of the colonial era onto South Korea's neoliberal present, the film invites parallels between colonialism's unresolved legacy and contemporary modes of cultural production. Simultaneously, the film offers a utopian vision of a national self that surfaces—rather than suppresses—the violence and pleasure incurred in confrontations with the colonial or transnational other.
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Parr, Connal. "Something Happening Quietly: Owen McCafferty's Theatre of Truth and Reconciliation." Irish University Review 47, supplement (November 2017): 531–48. http://dx.doi.org/10.3366/iur.2017.0308.
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This article concerns the Belfast dramatist Owen McCafferty (1961–) and his play Quietly, which debuted at the Abbey's Peacock Theatre in November 2012. Considering antecedents in McCafferty's earlier work, it illustrates how the play reflects a longstanding and contemporary condition whereby individuals in Northern Ireland deal with the legacy of the Troubles on their own terms, essentially bypassing elected representatives engaged in polemical disputes over the past. Based on a real bombing in 1974, the production's development is outlined prior to discussions of the play's depiction of violence, racism, women, and the prospects of an independent truth commission and ‘healing’.
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BROOKES, JAMES. "Images in Conflict: Union Soldier-Artists Picture the Battle of Stones River, 1862–1863." Journal of American Studies 54, no. 5 (April 22, 2019): 870–99. http://dx.doi.org/10.1017/s0021875819000112.
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The Civil War marked a revolution in the use of visual culture, during which imagery became a soldier's tool. Engagement with imagery presented both an opportunity and a dilemma, forcing some soldier-artists to abandon existing artistic conventions, whilst others fortified them, in search of ways to represent both the war's violence and tedium. The visual idealization of war jarred uncomfortably with the depiction of the conflict's realities. The creation of a diverse grassroots archive ran parallel to the mainstream narrative, examination of which offers new insight into how some soldiers visualized the war in opposition to themes exhibited in popular culture.
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Haeri, Medina, and Nadine Puechguirbal. "From helplessness to agency: examining the plurality of women's experiences in armed conflict." International Review of the Red Cross 92, no. 877 (March 2010): 103–22. http://dx.doi.org/10.1017/s1816383110000044.
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AbstractAlthough women routinely display remarkable resilience and fortitude by adopting new roles and taking on new responsibilities when confronted by the ravages of war, they continue to be depicted by many humanitarian actors as being intrinsically weak and vulnerable – a depiction that results in the perceptible absence of women from decision-making bodies both during and in the wake of conflict. This article argues for the need to consider the plurality of women's experiences in war, including as female heads of households, as victims (and survivors) of sexual violence, as community leaders, and as armed combatants.
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Vijayalakshmi, Akshaya, Russell Laczniak, and Deanne Brocato. "Understanding parental mediation of violent television commercials." Journal of Consumer Marketing 36, no. 5 (August 12, 2019): 551–64. http://dx.doi.org/10.1108/jcm-08-2017-2325.
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Purpose This study aims to uncover in-depth examples of how emergent media affects parents’ views and socialization efforts. The study examines these views and efforts in the context of violent commercials. Design/methodology/approach The authors collected data for this paper using two studies. In Study 1, they collected data from the internet. Comments related to “violent ads” or “violent commercials” were collated and analyzed. For Study 2, they conducted in-depth interviews with mothers on their views on parental mediation and impact of media on their children. Findings The internet data helped develop a parental definition of violent ads and identify that parents lie on a continuum regarding their concerns about violent commercials. Further in-depth questioning of parents on the above finding led to the identification of four clusters of parents. “Media managers” attempt to control and restrict their child’s media environment while educating their child about the effects of violent commercials. “Enablers” spend abundant time co-viewing primetime TV while engaging their child in conversations on violence, but not on violent ads. To maintain harmony in the household, “Harmonizers” merely restrict viewing of violent commercials without educating their child about its effects. Finally, “Agent evaluators” are likely to co-view violent commercials, without discussing them with their child. Research limitations/implications First, several of the parental segments (media managers, enablers and harmonizers) tend to note some concerns with violence in advertising. Importantly, this concern for violence appears to be limited to gore and use of physical weapon. Second, while parents do not have homogenous views on violent ads, those who are concerned also have differing roots of concern. This influences their mediation efforts. Third, socialization is bi-directional at times. Practical implications Many parents do not approve are the use of physical violence, use of weapons and depiction of blood/gore even in ads for movies or videogames. Advertisers might be wise to avoid such content in ads directed to children. Second, if media and marketing managers could plan to sponsor TV shows (vs placing violent ads) that offer ad-free program time, parents might respond positively. Third, as socialization is bi-directional, advertisers could consider using ad scenarios where parents and children engage with the pros and cons of a certain product or content, thus enabling parent-child conversations to make an informed decision. Social implications Many parents notice violence in ads; policymakers could consider developing ratings for ads that consider the amount and type of violence while rating an ad. Second, a focus on increasing parental awareness on the harms of constantly exposing children to violent commercials might change the views of some parents who currently believe that a few or no violent commercials are being aired during children’s programs. Finally, parents envisage a greater role for media in their lives, and policymakers will have to suggest ways to effectively integrate media content in one’s lives rather than just suggest bans or restrictions. Originality/value The contributions of this paper include viewers’ (vs researchers’) definition of violent commercials, showcasing that parents are likely to manage media using new media options such as Netflix, and some parents are likely to co-create rules with their children.
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Ting, Grace En-Yi. "Ogawa Yōko and the Horrific Femininities of Daily Life." Japanese Language and Literature 54, no. 2 (September 25, 2020): 551–82. http://dx.doi.org/10.5195/jll.2020.97.
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In Ogawa Yōko’s (b. 1962) writing from the late 1980’s and 1990’s, female narrators often revel in the fantastical beauty of youthful masculinities, while they themselves cannot escape the disgusting disorder of feminized domestic spaces. First, I read death and violence in kitchens depicted in the story collection Revenge (1998) to show how Ogawa rewrites this space associated with the housewife and her duties as one of horrific possibilities overturning idealized images of domesticity. Next, building on earlier readings of food, I argue that spectacles of sweetness—cakes, jam, and ice cream desserts—play a particularly crucial role in articulating female desire and violence, such as with the earlier works “Pregnancy Diary” (1991) and Sugar Time (1991). Returning to Revenge, I observe how “sweet” images appear in scenes of violence to outline how female homosocial gazes reflect a constant engagement with femininities seen in other women, particularly those marked by the transgression of anger and murderous desire. I end by considering ways in which Ogawa’s self-reflexive depiction of the woman writer in Revenge playfully problematizes the “mad” fantasies of women who write.
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Bowden, Anna M. V. "Getting Jesus off the altar: Undoing atonement readings in Revelation." Review & Expositor 118, no. 1 (February 2021): 54–61. http://dx.doi.org/10.1177/0034637321998617.
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The interpretive history of Revelation is overrun with descriptions of Jesus as a sacrificial lamb. Yet, John never uses the popular phrase to describe him. By drawing attention to four significant omissions in the text, I argue against atonement readings of “the Lamb” in Revelation. Revelation is not a theological treatise on the meaning of the cross. It feeds questions about power and violence and admonishes the seven churches against participation in their imperial context. John’s slaughtered lamb, therefore, does not evoke a paschal sacrifice; it points to Rome’s penchant for violence. Joining the other bloodied bodies in Revelation, the lamb’s blood further incriminates Rome. Everywhere one looks in John’s depiction of empire, violence lurks. Finally, the only altar in Revelation is the heavenly altar, and this altar is not a place for sacrifice. The heavenly altar is a place where the laments of the suffering are heard, a place for worshipping God, and a place where Rome will meet its judgment. John’s Jesus is not a self-sacrificing spiritual savior; he bears witness to the bloodthirsty, massacre-loving beast-of-all-beasts. Churches must choose their allegiance.
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Gildersleeve, Jessica. "‘A friend who stabs you’: Abjection, violence and the female clique in film." Australasian Journal of Popular Culture 9, no. 1 (March 1, 2020): 25–37. http://dx.doi.org/10.1386/ajpc_00013_1.
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This article establishes a unique subgenre of film (the ‘female clique film’) in which the clique (and its disruption) is central to the film’s plot. It discusses four female clique films – Heathers (1989), The Craft (1996), Jawbreaker (1999) and Mean Girls (2004) – in order to consider their depiction of physical rather than relational aggression: extraordinary and even sociopathic violence occurs both within and outside these female relationships as part of the ritualized identity of the clique. It uses the logic of abjection to analyse the figure of the outsider as well as the female body, showing how social abjection and abject bodies are linked by the clique when they commit both relational and physical aggression against other girls. The article argues that the female clique film must be understood in terms of Alison Yarrow’s ‘bitchification’ – the failures of feminism in the later decades of the twentieth century.
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MCBRIDE, IAN. "THE PETER HART AFFAIR IN PERSPECTIVE: HISTORY, IDEOLOGY, AND THE IRISH REVOLUTION." Historical Journal 61, no. 1 (August 23, 2017): 249–71. http://dx.doi.org/10.1017/s0018246x17000139.
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AbstractPeter Hart's monograph, The IRA and its enemies: violence and community in Cork, 1916–1923, has been the subject of a rancorous debate in Ireland since its publication in 1998. In academic journals, in the press, and in the electronic media, Hart has been accused repeatedly of deliberately distorting evidence. The controversy turns on Hart's depiction of Irish revolutionary violence, and in particular upon a chapter entitled ‘Taking it out on the Protestants’, in which the IRA was portrayed as fundamentally sectarian. This article seeks to address a question that must occasionally trouble all of us: what are historical disagreements really about? To achieve a wider perspective on the Peter Hart affair it considers the famous row over historical ‘fabrication’ ignited by David Abraham's The collapse of the Weimar Republic (1981) and Keith Windschuttle's assault on Lyndall Ryan's book The Aboriginal Tasmanians (1981; 2nd edition 1996). The comparison suggests that when historians fall out over footnotes there is more involved than scholarly propriety.
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Fahs, Breanne, and Jax Gonzalez. "The front lines of the “back door”: Navigating (dis)engagement, coercion, and pleasure in women’s anal sex experiences." Feminism & Psychology 24, no. 4 (June 27, 2014): 500–520. http://dx.doi.org/10.1177/0959353514539648.
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Despite the frequent depiction of heterosexual anal sex in pornography, and growing indications that heterosexual couples engage in anal sex, almost no research has examined women’s subjective experiences with receptive anal sex with men. This study draws upon qualitative interviews with 20 American women (mean age = 34, SD = 13.35) from diverse ages and backgrounds to illuminate five themes in women’s narratives about receptive anal sex: (1) initial resistance followed by submission; (2) initial interest followed by withdrawal from subsequent anal sex experiences; (3) violence and coercion surrounding anal sex; (4) social norming (e.g. men’s male friends normalizing heterosexual anal sex; seeing anal sex as normative after watching pornography); and (5) pleasurable experiences with anal eroticism. Implications for the re-evaluation of consent, imagining a continuum of sexualized violence, heteronormative assumptions about access to and power over women, silences surrounding non-penetrative anal eroticism, and women’s (dis)engagement with anal sex are explored.
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Meaning, Lindsay. "Adaptations of Empire: Kipling's Kim, Novel and Game." Loading 13, no. 21 (September 14, 2020): 55–73. http://dx.doi.org/10.7202/1071451ar.
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This paper addresses the depiction of colonialism and imperial ideologies in video games through an adaptation case study of the 2016 indie role-playing game Kim, adapted from the Rudyard Kipling novel of the same name. I explore the ways in which underlying colonial and imperial ideologies are replicated and reinforced in the process of adapting novel to game. In the process of adaptation, previously obscured practices of colonial violence are brought to the forefront of the narrative, where they are materialized by the game’s procedural rhetoric. However, the game fails to interrogate or critique these practices, ultimately reinforcing the imperial ideological framework in which it was developed.
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Oyebode, Femi. "Fictional narrative and psychiatry." Advances in Psychiatric Treatment 10, no. 2 (March 2004): 140–45. http://dx.doi.org/10.1192/apt.10.2.140.
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This article addresses how mental illness and psychiatry are dealt with in fictional narrative. The starting point is Charlotte Bronte's novel Jane Eyre. The characterisation of madness in that novel provides the basis for exploring how the physical and psychological differences of mentally ill people are portrayed, and how violence and the institutional care of people with mental illnesses are depicted. It is also argued that the fact that in Jane Eyre, Bertha Mason, the madwoman in the attic, is rendered voiceless is not accidental but emblematic of the depiction of mentally ill people in fiction. A number of novels are used to illustrate these issues.
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Walsh, Richard. "“Realizing” Paul's Visions: The New Testament, Caravaggio, and Paxton's Frailty." Biblical Interpretation 18, no. 1 (2010): 28–51. http://dx.doi.org/10.1163/092725610x12547454150523.
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AbstractThis essay examines three different attempts to realize visionary experiences aesthetically: New Testament authors' depictions of Paul's conversion; Caravaggio's paintings of the same; and Bill Paxton's cinematic depiction of the horrific visions of a modern day seer in Frailty. The resulting aesthetic objects are not all realistic, but they all have the potential for an imperial impact upon their audiences' realities. The New Testament accounts of Paul's conversion are not realistic. They are mythic assertions of divine authority demanding obedient belief. Bill Paxton's Frailty contemporizes similar demands in its horrifying account of apocalyptic visionaries and violence. While the film does not offer a specific interpretation of Paul's conversion, its realization of apocalyptic visions raises important reservations about any imperialist vision, even that of the canon. By contrast, Caravaggio's paintings of Paul's conversion are far less imperialistic. While the chapel location of and the use of light within the second Conversion of St. Paul confer mythic authority upon it, the realistic, contemporizing of the episode in the painting itself demands interpretation, not simple belief. Before it, one is responsible for what one chooses to believe more obviously than one is before the New Testament accounts of Paul's conversion or the visions of Paxton's Frailty.
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Marcantonio, Carla. "Roma: Silence, Language, and the Ambiguous Power of Affect." Film Quarterly 72, no. 4 (2019): 38–45. http://dx.doi.org/10.1525/fq.2019.72.4.38.
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FQ's new books editor Carla Marcantonio reflects upon her experience serving as Netflix's official translator for Yalitza Aparicio, the Indigenous Mexican woman who plays the housekeeper in director Alfonso Cuarón's Roma. Marcantonio explores themes that emerged over the course of the film's promotional campaign, ranging from the expected (the film's social impact and depiction of a makeshift matriarchy) to those less discussed, such as the film's significant political context and critique of patriarchy, masculinity, and violence. In closing, she offers a counter-argument to the interpretation that Cuarón denies Cleo her agency by limiting her spoken lines, arguing that Cuarón's masterful use of cinematic language allows Cleo's voice to come through loud and clear.
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Sifana, Amaliah. "Treating Arab Women in Jean Sasson’s Princess Sultana’s Daughters." NOBEL: Journal of Literature and Language Teaching 9, no. 1 (April 30, 2018): 18–25. http://dx.doi.org/10.15642/nobel.2018.9.1.18-25.
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Arabian life is depicted through the novel of Jean Sasson’s Princess Sultana’s Daughters. There are some different treatments accepted by Arab men and women, for example the culture which more honor towards men than women. This case causes the violence and injustice faced by the women. The Arabs often treat them such that by using Islamic teachings as the basis to strengthen their deed. This thesis focuses on analyzing the background of Arabian culture in treating women. This article basically uses Cultural Studies perspective and concept on patriarchy which mainly focuses on Arabian culture making women subordinated. The result shows that the depiction of treating Arab women is based on the cultural tradition.
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Somfai, Péter. "The Loss of Innocence: Catullan Intertexts in Vergil’s Eclogue 8 and the Camilla Episode of the Aeneid." Sapiens ubique civis 1, no. 1 (December 1, 2020): 121–39. http://dx.doi.org/10.14232/suc.2020.1.121-139.
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In ancient Rome, some elements of the wedding ritual (e.g. the raptio or the defloration) could be associated with aggression and death. In Catullus 62 and 66 – two poems dealing with the topic of marriage –, these connotations get a special emphasis, in part due to the motif of cutting symbolizing violence and changing. In this paper, I examine the way the above mentioned poems constitute the background for the allusion to Medea in Vergil’s Eclogue 8 and the depiction of Camilla in Book 11 of the Aeneid. It will be of fundamental importance to observe the way aggressiveness – being a traditional characteristic of men – gets transferred to women, by means of intertextual connections.
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Whitehead. "Abject Realism and the Depiction of Violence in Late Imperial Russian Crime Fiction: The Case of N. P. Timofeev." Modern Language Review 114, no. 3 (2019): 498. http://dx.doi.org/10.5699/modelangrevi.114.3.0498.
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Sarkar, Abhishek. "Shakespeare, "Macbeth" and the Hindu Nationalism of Nineteenth-Century Bengal." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (April 22, 2016): 117–29. http://dx.doi.org/10.1515/mstap-2016-0009.
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The essay examines a Bengali adaptation of Macbeth, namely Rudrapal Natak (published 1874) by Haralal Ray, juxtaposing it with differently accented commentaries on the play arising from the English-educated elites of 19th Bengal, and relating the play to the complex phenomenon of Hindu nationalism. This play remarkably translocates the mythos and ethos of Shakespeare’s original onto a Hindu field of signifiers, reformulating Shakespeare’s Witches as bhairavis (female hermits of a Tantric cult) who indulge unchallenged in ghastly rituals. It also tries to associate the gratuitous violence of the play with the fanciful yearning for a martial ideal of nation-building that formed a strand of the Hindu revivalist imaginary. If the depiction of the Witch-figures in Rudrapal undercuts the evocation of a monolithic and urbane Hindu sensibility that would be consistent with colonial modernity, the celebration of their violence may be read as an effort to emphasize the inclusivity (as well as autonomy) of the Hindu tradition and to defy the homogenizing expectations of Western enlightenment
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Gushue, Kelsey, Chelsey Lee, Jason Gravel, and Jennifer S. Wong. "Familiar Gangsters: Gang Violence, Brotherhood, and the Media’s Fascination With a Crime Family." Crime & Delinquency 64, no. 12 (January 6, 2017): 1612–35. http://dx.doi.org/10.1177/0011128716686340.
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Media reports can have a significant and lasting impact on public perceptions about crime and criminals. Jonathan, Jarrod, and Jamie Bacon gained notoriety in Vancouver through substantial media coverage for their involvement in gang-related shootings and criminal activity. The present study examines how the media have portrayed the Bacon brothers and their importance in the region’s gang scene. We examine all articles published in the area’s largest newspaper, the Vancouver Sun, mentioning the Bacon family between 2008 and 2015 ( N = 401). Specifically, we explore the media’s depiction of the Bacons through developing a thematic content analysis, with themes tested in a keyword analysis using a corpora comparison with a set of reference articles. We argue that the Bacon brothers’ family relationship, tumultuous gang alliances, and alleged involvement in Vancouver’s worst gang-related shooting led to the media overreporting and sensationalizing their criminal activity and prominence in the local gang landscape. In addition, we contend that the popular theme of crime families provided the media with a narrative that proved useful in a context where the police and the courts were simultaneously trying to adapt to the emerging reality of violent gang conflict.