Academic literature on the topic 'Sympathy for Mr. Vengeance'

Motivados por un sentimiento vengativo, que fomenta un círculo continuo de ira y resentimiento, los personajes de la “trilogía de la venganza” de Park Chan-wook, conformada por Sympathy for Mr. Vengeance, Oldboy y Lady Vengeance, van dejando de ser ellos mismos conforme van logrando sus objetivos. Una vez que cruzan la línea de víctima a victimario, no hay vuelta atrás. Caminan hasta convertirse en algo irreconocible, dejándonos una gran incertidumbre: una vez consumada la venganza, ¿qué es lo que sigue?

This paper provides a comparative analysis of Quentin Tarantino’s Kill Bill Vol.1-2 (2003, 2004), Death Proof (2007) and Park Chan Wook’s Sympathy for Lady Vengeance (Chinjeolhan Geumjassi, 2005). The primary objectives of this study are: (1) to reveal the gender-biases inherent to the fundamental discursive structures of the foregoing films; (2) to compare and contrast the films through an analysis of the ‘gaze(s)’ and possible ‘pleasures’, which are inherent in their narratives, in relation to Laura Mulvey’s and Carol Clover’s approaches; and (3) to distinguish Kill Bill Vol.1-2 from the foregoing two and the ‘avenging female’ clichés of the other horror/violence movies in the context of the replaced positionings of its protagonist and antagonist inherent in its distinct narrative style.

Despite the neat treaties of diplomats and precise agreements of generals, wars like the Second World War end untidily. Amidst the ruins of cities and the wash of refugees, the cessation of international hostilities gives way to the settling of domestic accounts, which in 1944–5 was called the purge of collaborators. As common and as compelling as the purge was, historians have paid relatively little attention to it. The French purge, for instance, remains somewhat of an historical enigma, in part because of the archival laws that shield the judicial records, but also in part because of the apparently obvious nature of the purge. Who cannot sympathise, even if reluctantly, with the bereaved survivors who took vengeance on the collaborator who murdered their husbands or wives, fathers, daughters or beloved friends? But such easy sympathy has misled scholarly analysis into dividing the French purge into a legal purge of court action and a popular purge of vigilante violence.

This paper is a research report on the analysis of utterances of Mr. Joko Widodo as President of Indonesia and vloggers in vloggers’ vlogs. This study analyzes the rules of Mr. Joko Widodo as President conducting his utterances at vlog as social media. He realized that nowadays people of Indonesia always tuning in digitalization. In this media, people can see directly his activities as a president. Both the vlogs showed the interactions with Mr. Joko Widodo in different purposes and styles. The vlogs taken from Skinnyindonesia24 which has 66.000 subscribers and Arif Muhammad which has 92.000 subscribers. The data taken and analyzed both qualitative and quantitative data . The result of this research imply both of the vlogs Mr. Joko Widodo applies politeness strategies even in informal situation both vlogs. He acts extraordinary pragmatic forces and high politeness. So that, the audience gets the emotion, sympathy and persuasion of those who watches of them at vlog.Keywords: president, politeness, speech acts, vlog

Abstract Why has the “Adam Smith Problem” recently been discussed in the literature? Although most historians of economic thought regard the problem solved, these discussions cast doubt on this apparent solution. This article suggests that the “Adam Smith Problem” may originate from the concept of the human being developed by Smith in the “Theory of Moral Sentiments”: in this book, human beings can be understood as composed of an empirical and a (quasi) transcendental side, in the form of the impartial spectator. It is argued that it is the tension between these two parts which creates supposed inconsistencies between aspects of the “Theory of Moral Sentiments” and the “Wealth of Nations” like, for example, the role of sympathy and self-interest in each of these books.

Sentential implicature is something meant or implied that is proposed to avoid impoliteness in making harmonious conversation. For the sake of politeness it was postulated cooperative politeness and maxims; tact maxim, approbation maxim, generosity maxim, modesty maxim, agreement maxim and sympathy maxim. The measurement of politeness or impoliteness is also determined by the four factors; power, range, distance and familiarity. In “Laskar Pelangi” the movie, it was found some maxims with Indonesian cultural background for its politeness. Politeness was shown by addressing someone just by name or by saying “Mr.” and “Mrs”, according to the power and relationship, minimizing dispraise of others, and mentioning something or someone indirectly.

La trilogie de la vengeance de Park Chan-Wook, "Sympathy for Mr. Vengeance", "Old Boy", "Sympathy for Lady Vengeance" constitue le coeur du corpus de ce travail de recherche, auquel "J. S. A. " a été ajouté à titre de source stylistique, thématique et comme encrage à la dimention "territoriale" attachée à la vengeance. Le terme "oeuvre" est entendu dans le titre à la fois comme acte, action humaine jugée au regard de la loi morale et/ou religieuse, et en tant que production artistique (d'où le "s" entre parenthèse). "La vengeance mise en oeuvre(s)" revêt ainsi un double sens, compris comme mise en application, comme réalisation de la vengeance au sein des films, et qui pose la question dont relève le sujet d'étude. La réflexion se focalise ainsi sur le point de jonction de trois axes : la vengeance en tant que phénomène psychologique, social, culturel ; sa représentation cinématographique, et le regard qu'y porte le réalisateur, lequel est dépositaire d'une culture et d'une histoire qui trouvent des échos dans son travail de mise en scène, dans ses figures esthétiques, thématiques, narratives
The Park Chan-Wook's vengeance trilogy, "Sympathy for Mr. Vengeance", "Old Boy", "Sympathy for Lady Vengeance", constitutes the heart of the corpus of this research work, to which "J. S. A. " was added as stylistic, thematic source and as anchoring in the "territorial" dimension attached to the vengeance. The term "work" is understood in the title as act, human action considered in the eyes of moral and/or religious law, and as artistic production (that's why the "s" is in brackets). "The works of vengeance" takes a double sens, included as application, as realization of the vengeance within movies, and which asks the question from which raises the subject of study. So, the reflection focuses on the junction point of three axes : the vengeance as psychological, social, cultural phenomenon ; its film representation, and the vision which the director has of it, who is also an agent of a culture and a history which find echoes with his work of direction, his aesthetic, thematic, narrative figures

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O presente trabalho tem por objetivo investigar a obra do cineasta sul-coreano Park Chanwook, partindo da hipótese de que seu universo fílmico é fortemente marcado por uma retórica excessiva, que se manifesta através do modo como a narrativa se estrutura e mediante a manipulação dos materiais da linguagem e da técnica cinematográfica. Acreditamos que Park articula seu trabalho artístico sobre uma retórica de representação exacerbada da violência, construção hiperbólica dos protagonistas, além de colocar em primeiro plano os dramas, dores e sentimentos dos personagens. Sendo assim, esta pesquisa se estrutura sobre duas abordagens principais a respeito do excesso cinemático. A primeira delas leva em consideração os materiais plásticos e sonoros postos em cena de modo exagerado; enquanto a segunda perspectiva caracteriza o excesso a partir da construção de cenas e sequencias, cujos elementos estilísticos trabalham para produzir um engajamento emocional no espectador. A fim de limitarmos o corpus analítico, optamos por nos concentrar no exame dos filmes concernentes à Trilogia da vingança, a saber, Mr. Vingança (Boksuneun Naui Geot, 2002), Oldboy (idem, 2003) e Lady Vingança (Chinjeolhan Geumja-si, 2005), pois, dentro da filmografia do diretor, são as obras que melhor contemplam as singularidades de Park, uma vez que suas particularidades estão impressas na construção plástica, narrativa, temática, sonora, etc. Tendo essas questões em mente, nossos problemas de investigação são: 1) averiguar como o excesso é construído na trilogia e; 2) identificar quais são os efeitos programados para causar efeitos sentimentais no âmbito da apreciação. Além disso, tais questões serão contempladas levando em consideração o contexto de produção (campo) em que Park Chan-wook se insere, comparando sua obra com outras produções sul-coreanas, na tentativa de mostrar as distinções e semelhanças entre os trabalhos. Nossa pesquisa foi guiada por dois pressupostos teóricos vinculados à poética: o Neoformalismo, método de autoria dos pesquisadores David Bordwell e Kristim Thompson; e a poética do cinema, metodologia desenvolvida pelo pesquisador Wilson Gomes. Ambos os métodos consideram o filme um material expressivo, formado por programas e estratégias de conformação. Por fim, para auxiliar na observação das emoções fílmicas, chamamos em causa as pesquisas desenvolvidas pelos cognitivistas, especialmente as premissas de autoria de Noël Carroll. Atrelado a isso, pretende-se também lançar luz a um fenômeno presente na cinematografia mundial: a consolidação de uma indústria cinematográfica sul-coreana. Acreditamos que a ênfase em um diretor do país acrescentará questões relevantes para discussões sobre o assunto.
The pres ent study aims to investigate the work of South Korean filmmaker Park Chan - wook, assuming that its film ic universe is strongly marked by excessive rhetoric, which is manifested through the way the narrative structure s itself and the manipulation material o f language and cinematic technique. We believe that Pa rk articulates his artwork on rhetoric of representation exacerbated violence, hyperbolic construction of the protagonists, beyond put in the foreground the tragedies, pains and feelings of the characte rs. Thus, this research is structured on two main approaches regarding the cinematic excess. The first one takes into accou nt the plastic and sound effects put in place in a much exaggerated way , while the second perspective is based on the construction of scenes and sequences, whose stylistic elements work to produce an emotional engagement in the viewer. In order to limit the analytical corpus , we chose to focus on the examination of films concerning the Revenge Trilogy : Sympathy For Mr. Vengeance ( Boksun eun Naui Geot , 2002), Oldboy ( idem , 2003) and Sympathy For Lady Vengeance ( Chinjeolhan Geumja - si , 2005) , because, in the director's filmography, those works contemplate better the singularities of Park ’s work since these peculiarities are printed on its pl astic construction, narrative, thematic , sound, etc.. With these aspects in mind, our research problems are: 1) find out how the excess is built in the trilogy and, 2) identify what the effects are progr ammed to cause emotional reactions in the spectator . Moreover, such issues will be addressed taking into account the context of production ( field ) in which Par k Chan - wook is located , comparing his work with other South Korean productions in an attempt to show the differen ces and similarities between those wo rks. Our research was guided by two theoretical assumptions related to poetry : the Neoformalism , method authored by researchers David Bordwell and Thompson Kristim, and the Poética do Cinema , methodology developed by researcher Wilson Gomes. Both methods c onsider the film an expressive material, consisting of programs and strategies conformation. Eventually , to assist in the observation of fil mic emotions, this work call into attention the research developed by cognitivists, especially the assumptions writt en by Noël Carroll. Linked to this, the aim is also to shed light on a phenomenon present on cinematographic world: the consolidation of a South Korean film industry. We believe that the emphasis on a country director add relevant questions to discussions about this subject.

At first glance, Strange Case of Dr. Jekyll and Mr. Hyde is a tale that reinforces binaries. One of these is the self/other binary that is central to David Hume's and Adam Smith's theories of sympathy that conceive of a self imaginatively identifying and experiencing fellow-feeling for an other. However, this notion is complicated because Jekyll and Hyde are the same person. Further, many critics argue that Stevenson actually challenges binary thinking. While Hume and Smith do not challenge the self/other binary in connection with sympathy, trauma theory critics do challenge a self/other binary that lies at the heart of sympathy: the victim/perpetrator binary. Noted trauma theorist Dominick LaCapra develops a method of empathizing called empathic unsettlement where a secondary witness listens with empathy to a victim's traumatic witness while recognizing the difference of his or her position as a witness. He argues that perpetrators may also warrant understanding, but this understanding does not come through empathy. However, one of the hallmarks of empathic unsettlement is that it does not neatly resolve or replace traumatic narratives. Therefore, I argue that empathic unsettlement could also be a useful method for allowing a perpetrator to witness. While practicing empathic unsettlement for a perpetrator may not be worth the risk in real life, performing a thought experiment in literature can test how using empathy might provide a better way to theorize perpetration. Using two witnesses who attempt to practice empathic unsettlement for Jekyll and Hyde, Dr. Hastie Lanyon (who fails), and Mr. Gabriel John Utterson (who succeeds), I will show how empathic unsettlement could be used for both a victim and perpetrator to tease out the complexities of assessing a traumatic situation.

Alongside Park Chan-wook (Pak Ch’an-uk), famous for his Vengeance Trilogy of films comprising Sympathy for Mr. Vengeance (Poksu nǔn na ǔi kǒt; 2002), Oldboy (Oldǔ poi; 2003), and Lady Vengeance (Ch’ingǒlhan Kǔmjassi; 2005), Kim Ki-duk is one of the most acclaimed Korean filmmakers in the Western world. As of 2011, an unprecedented ten of Kim’s seventeen feature-length motion pictures are commercially available in the U.S. home-video market: ...

Matters went very badly indeed in the parsonage-house at Hogglestock. On the Friday morning, the morning of the day after his committal, Mr Crawley got up very early, long before the daylight, and dressing himself in the dark, groped his way downstairs. His wife...

Matters went very badly indeed in the parsonage-house at Hogglestock. On the Friday morning, the morning of the day after his committal, Mr Crawley got up very early, long before the daylight, and dressing himself in the dark, groped his way downstairs. His wife...

Chapter 3 examines how Rhee and the Korean independence movement utilized this constituency to place pressure on American policymakers during the fight over the ratification of the Versailles Treaty and during the Washington Naval Conference of 1921–1922. The chapter pays special attention to the common cause the Korean activists and their American supporters made with the so-called Irreconcilables in the US Senate. The Korean independence movement provided these senators with an “internationalist” justification for opposing the treaty and thus an answer to the charge that they were advocating isolationism. The Koreans in return received an airing of their views in the US Senate and even a vote on a Korean reservation to the Versailles Treaty. While scholars have examined the importance of the issue of the Shantung Peninsula to the case against the Versailles Treaty in the Senate, few have realized that it was the brutal Japanese suppression of the March First Movement that injected such passion into the debate over the Shantung. While Korean activists’ passionate invocations of the American mission during both the fight over the Versailles Treaty and the Washington Naval Conference did not result in any official policy changes toward Korea, they significantly shifted American perceptions of the Japanese colonization of Korea and brought much of informed American public opinion on the situation into sympathy with the Koreans.

That was the last terrible crisis of temptation Janet had to pass through. The goodwill of her neighbours, the helpful sympathy of the friends who shared her religious feelings, the occupations suggested to her by Mr Tryan, concurred, with her strong spontaneous impulses towards...

Miss Woodley, for the first time, disobeyed the will of Mr. Sandford; and as soon as Miss Milner and she were alone, informed her of all he had revealed to her; accompanying the recital with every testimony of sympathy and affection.—But had the genius...