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Journal articles on the topic 'Thriller (Psychological)'
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1
Kottke, Dagmara. "“And (Don’t) Stay on the Path…” – Transformation of the Fairy Tale into the Psychological Thriller in the Game The Path." Annales Universitatis Mariae Curie-Skłodowska, sectio FF – Philologiae 36, no. 2 (January 18, 2019): 147. http://dx.doi.org/10.17951/ff.2018.36.2.147-159.
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<p>Celem artykułu jest próba analizy procesu transformacji baśni w thriller psychologiczny w grze komputerowej The Path. Punkt wyjścia do rozważań stanowi teoria strukturalna Vladimira Proppa, który poddał badaniom tradycyjne baśni, wyodrębniając ich elementy wspólne, takie jak funkcje i role postaci. Rosyjski strukturalista w swojej teorii jako kluczowe elementy opowieści uwypukla bohaterów i ich działania, istotne nie tylko z punktu widzenia teoretyków literatury, ale również badaczy podejmujących refleksję nad grami komputerowymi. Studium wykazuje, że funkcje i role bohaterów tradycyjnych baśni wyróżnione przez Proppa zostają w The Path zdeformowane: gra „schodzi” z wyznaczonej przez strukturę baśni ścieżki, tworząc lukę w gatunkowej przestrzeni, która zostaje wypełniona elementami właściwymi dla thrillera psychologicznego. Odwrócenie i deformacja funkcji oraz roli postaci baśniowych skutkuje przeobrażeniem opowiedzianej w grze historii w thriller. Owo przeobrażenie wydaje się niezwykle płynne dlatego, że baśń i thriller psychologiczny nie są całkowicie odmiennymi, wykluczającymi się gatunkami; przeciwnie – uzupełniają się wzajemnie. Drugi pokazuje i dopowiada to, co pierwszy przemilcza lub zataja.</p>
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Rohaeni, Rohaeni, Fatma Hetami, and Bambang Purwanto. "Anxiety and Defense Mechanism as A Means of Constructing Psychological Thriller in Hawkins’ “The Girl on The Train”." Rainbow: Journal of Literature, Linguistics and Cultural Studies 8, no. 1 (July 29, 2019): 73–85. http://dx.doi.org/10.15294/rainbow.v8i1.27917.
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The topic of this study is Anxiety and Defense Mechanism as A Means of Constructing Psychological Thriller in Hawkins’ The Girl on the Train. The objectives of this study are to describe how anxiety and defense mechanism are described in Hawkins’ The Girl on the Train and to explain how anxiety and defense mechanism construct psychological thriller as represented in Hawkins’ The Girl on the Train. The object of the study is a novel entitled The Girl on the Train written by Paula Hawkins. This study is descriptive qualitative study by applying Freudian psychoanalytic theory. The data of the study were collected by reading, identifying, interpreting, and inventorying citations from the novel. Further, the data were analyzed based on Freudian psychoanalytic theory by describing anxiety and defense mechanism described in the novel. The data were also analysed by explaining how anxiety and defense mechanism construct psychological thriller. The results show there are three kinds of anxiety and six kinds of defense mechanism. Moreover, the results prove that those anxieties and defense mechanisms become a means of constructing psychological thriller since they make the characters suffer from psychological problem and become unreliable narrator, create plot twist, and make the novel become thrilling.
Keywords: Psychological thriller; Freudian psychoanalysis; Anxiety; Defense Mechanism.
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Megela, Ivan, and Kateryna Mehela. "Psychological Profile of a Serial Killer (Based on the Novel “Silence” by Thomas Raab)." Postmodern Openings 13, no. 4 (November 29, 2022): 335–45. http://dx.doi.org/10.18662/po/13.4/520.
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The research deals with the issue of genre hybridization in the novel “Silence – Chronicle of a Killer” written by a contemporary Austrian writer Thomas Raab. An examination of the novel's composition and structure, as a text in motion, has been accomplished in the article. The novel “Silence” is an excellent illustration of how the genre of adventure has been adapted to include elements of science fiction. This novel is a love tale, a rural life saga, a formation narrative, and a psychological thriller all in one. As a fictionalized account of the life of a serial murderer with hypersensitive hearing who became a legend for his mental torment and suffering, it serves both as a biography and a thriller. Novelist Raab uses elements from classic horror novels like Frankenstein, German romantics, in particular, G. Kleist, the tale of Casper Hauser, and detective novels like Friedrich Durrenmatt's "Promise" to tell the story of Casper Hauser's disappearance in his book. A new aesthetic experience may be formed at various degrees of identification ranging from naive perception to higher levels of literary reception. Concentration is required for poetic and philosophical substance. Michel Focalut's nomadism, marginality, and authoritarian power rhetoric have been discussed in this article. The novel's ultimate content has been disclosed as the aphesis torment, emotional sublimation, as the birth of an artwork and, at the same time, death of the author, who exposes discourses, accountable for creating texts that are allocated to him.
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Lorentia, Helena. "Cheated: The Psychoanalysis on a Transgender Person." K@ta Kita 5, no. 2 (November 16, 2018): 38–44. http://dx.doi.org/10.9744/katakita.5.2.38-44.
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This creative works tells a story about a husband who hides his true identity from his wife. He is actually a transgender person who has a desire to be a woman, but he represses his desire and tries to live as a man. I choose the transgender topic because there are a lot of transgender people around us who repress their true sexuality because of the society norms and beliefs. Therefore, my story wants to explore more on this topic with the help of the theory of defense mechanism by Freud to explain why and how the husband represses his sexuality, and to explain the effects caused by the repression. The story is presented through the drama and psychological thriller genre to suit the style of the creative work which focuses on the psychological state of the main characters and the complexity within them,
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Bhattacharya, Saradindu. "Gender, Genre, and the Idea of the Nation." Pedagogy 21, no. 3 (October 1, 2021): 549–58. http://dx.doi.org/10.1215/15314200-9131947.
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Abstract This article examines the construction of and contestation over the idea of the nation through contemporary popular cinema in India. Building on his experience of discussing the Bollywood spy thriller Raazi (2018) in an English class, the author proposes that “reading” the film in terms of gender and genre can not only help students apply modes of textual analysis to narratives in other media but also alert them to the location of such narratives within larger discursive frameworks of defining national identities. Raazi presents a critical and ideological counterpoint to the generic conventions of the spy thriller within the increasingly polarized sociopolitical context of the Indian subcontinent. The film presents an unlikely female protagonist as both the physical agent and the psychological subject of the violence integral to the “action” of an espionage film. It also interrogates the oppositional relation between the patriotic “self” and the foreign “other” that lies at the basis of the militaristic conception of the nation and ultimately reveals the shared human vulnerability of both to the traumatic effects of pursuing the idea(l) of nationalism at the expense of individual moral integrity. Thus a close reading of the film's narrative structure and conventions, as well as a critical engagement with the historical context of its production and reception, can be pedagogically fruitful ways of understanding and critiquing the processes through which a nation is collectively imagined into being.
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Jancovich, Mark. "‘Frighteningly real’: Realism, social criticism and the psychological killer in the critical reception of the late 1940s horror-thriller." European Journal of American Culture 31, no. 1 (April 9, 2012): 25–39. http://dx.doi.org/10.1386/ejac.31.1.25_1.
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Glant, Tibor. "1956 at Ten and Beethoven’s Tenth." Acta Neerlandica, no. 15 (July 10, 2020): 185–99. http://dx.doi.org/10.36392/actaneerl/2019/15/9.
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This article looks at Edward Alexander, an American diplomat who served in Hungary between 1965 and 1969, and his various writings. An Armenian-American man of letters, Alexander served in psychological warfare in World War II, then joined cold war radios and later the Foreign Service. Our focus is on the years 1965-67, when he served as Press and Cultural Affairs Officer at the Budapest Legation. Available sources include his official diplomatic reports, his rather large Hungarian state security file, a lifetime interview conducted under the aegis of the State Department in the late 1980s, a book on Armenian history, and a semi-autobiographical intelligence thriller he penned in 2000. These sources allow for a complex evaluation of his performance in Hungary and of his writing skills on account of his attempt to fictionalize his own exploits.
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Marsena, Jennifer Gracia, and Sonny Angjaya. "EXPOSING SOCIAL INEQUALITY FROM THE MENTALLY ILL REPRESENTATION IN TODD PHILLIPS’ JOKER." Lire Journal (Journal of Linguistics and Literature) 6, no. 1 (March 29, 2022): 37–52. http://dx.doi.org/10.33019/lire.v6i1.135.
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Social inequality has continuously become a problem especially towards marginalized group. Such topic is presented in Todd Phillips latest psychological thriller, Joker (2019). Whilst other researches focus on the psychological aspect of the film, this study takes on the perspective of the sociological/socio-political aspect in the film which is social inequality. In analyzing the social inequality aspect of the film, this study uses theory of structural discrimination by Link, et al. which theorizes that laws, policies, or other practices. are discriminating a marginalized group. To analyze the film itself, the writers analyzed the mise-en- scène and cinematography aspects of the film. The purpose of this study is to find if government’s policies have any involvement of impact to the life of a mentally ill person. Method used for this analysis is qualitative data research. In analyzing the film, it is found that Fleck’s life as a mentally ill and poor person is deliberately sabotaged by the discriminative policies and laws applied in Gotham city. In conclusion, this film represents Joker as more than just a Batman’s main film but rather used as a vehicle to criticize the state of social inequality in the world.
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Angelina, Ayu Mella, Zainal Abidin, and FX Yatno Karyadi. "FILM FIKSI TUAN X: Pendekatan Gestur sebagai Penanda Psikologi Tokoh Utama." Capture : Jurnal Seni Media Rekam 10, no. 1 (December 21, 2018): 14. http://dx.doi.org/10.33153/capture.v10i1.2186.
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<p><em>The film Tuan X is a fictional film with the theme of psychology. This film is very closely related to one's personal life. Films that tell about the condition of someone who is experiencing severe frustration so that his psychological was disturbed and it made him did things that are not normal. The production of </em><em>Tuan X</em><em> film is based on the concepts of directing, videography, editing, and sound that have been set before. From the film that was successfully created, it appears that gestures can be used to show a psychological picture of a character. The right gestures can be supported by repetition of movements so that it strengthens a character of the figure, so that the intensity of the tension / thriller of the story in reaching a climax is in accordance to the genre raised. In addition, the gestures succeeded in becoming a signifier of the psychological reality of the character.</em></p><p><strong><em>Keywords</em></strong><em>: Film, Tuan X, </em><em>psychology</em><em>, signifier, and gesture</em></p>
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Steckenbiller, Christiane. "Rethinking the multiple meanings of the Mediterranean through Lawrence Osborne’s Beautiful Animals (2017)." Journal of European Studies 52, no. 2 (June 2022): 129–44. http://dx.doi.org/10.1177/00472441221090714.
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Lawrence Osborne’s Beautiful Animals (2017) thematizes the arrival of refugees on Europe’s shores and the division of Europe into core and peripheral regions. The psychological thriller tells the story of two young wealthy white women whose daily routines of swimming and sunbathing are interrupted when they meet a Syrian refugee on a secluded beach. In this article, I argue that the novel overlays geographies of forced migration with those of Greek national history, myth, travel, crime, and violence. The murder committed on a Greek island compels readers to examine what might be considered the larger ‘crimes’ of Europe – exclusionary refugee policies, the meddling in Greek affairs, and the legacies of colonialism and imperialism. In doing so, the novel asks us to rethink the multiple meanings of the Mediterranean as holiday destination, deadly outer border, and Southern Other, both intra- and extra-European at the same time.
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Kutrzeba, Kacper. "Polish Romanticism and the Discourses of Madness and the Mental Asylum." Ruch Literacki 58, no. 2 (March 1, 2017): 117–32. http://dx.doi.org/10.1515/ruch-2017-0021.
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Summary This article deals with the problem of representation of psychiatric discourse and the mental asylum in the literature of Polish Romanticism. I am interested in both sides of the argument, i.e. the attempts to legitimize confinement in psychiatric institutions as well as the reasoning of the critics of that policy. My analyses, which draw on texts ranging from literary classics like Juliusz Słowacki’s Kordian to popular fiction (e.g. Ludwik Sztyrmer’s psychological thriller Phrenophagos and Phrenolestes and Józef Ignacy Kraszewski’s short story Bedlam), suggest that the psychiatric discourse in 19th-century literature employed three basic strategies of representation, i.e. legitimation, subversion and functionalization. If a fresh interest in institutionalized psychiatry was one of the key characteristics of the rise of modern society, the literature of Polish Romanticism was certainly part of it, even if its approach was dominated by ideas and attitudes that were hardly novel.
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Kurniawan, Jeffry. "Prey: Cyberbullyings Consequences Toward Victims Mental Health and His Social Life." K@ta Kita 9, no. 2 (October 23, 2021): 243–52. http://dx.doi.org/10.9744/katakita.9.2.243-252.
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This screenplay project focuses on cyberbullying's impacts on its victims, both mentally and physically. The goal is to shed light into this action of crime that is often overlooked, to make a better cyberspace environment, and to raise awareness to the public, especially cyberbullying perpetrators, to stop what they are doing. To do so, this creative thesis uses the cyberbullying concept that points out how cyberspace bullying can trigger paranoia and depression among many other mental disorders. The work is based on theories on paranoia, depression and cyberbullying itself. From the screenplay, it is shown how the main characters got cyberbullied, and later went from a healthy, hardworking, resilient man to a mentally broken human being as a consequence. By understanding the impact the act of cyberbullying can have on a person’s life, cyberspace users can be more responsible and refrain themselves from the act of cyberbullying.Keywords: Cyberbully, Screenplay, Depression, Paranoia, Psychological Thriller.
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Grigore, Rodica. "Memory, Fiction and Reality in Antonio Muñoz Molina’s Novels." Sæculum 47, no. 1 (July 1, 2019): 97–105. http://dx.doi.org/10.2478/saec-2019-0009.
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AbstractOften compared to Jorge Luis Borges or even to William Faulkner for the intricate and symbolic structure of his work, the Spanish writer Antonio Muñoz Molina always tried to evaluate within his novels the complex relationship between reality and fiction. The Spanish Rider (1991), one of his most exquisite creations also deals with the significance of memory as far as his protagonist’s evolution and decisions are concerned. Above all these, the novelist analyzes the influence of history on common people’s life and underlines the necessary balance that has to be established between the historical great events and everyday’s choices. His next novel, Full Moon (1997) uses the same aesthetic points of departure, but complicates everything with the details of a specific kind of psychological thriller, the author proving how the seemingly very simple structure of a crime story may turn into an unexpected evaluation of the tragic aspects definying contemporary human condition.
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Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (November 2010): 267–75. http://dx.doi.org/10.1177/0957155810378573.
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The appearance in 2003 of 21 Georges Simenon novels in the Bibliothèque de la Pléiade reaffirmed a widespread consensus that French-language crime fiction, especially the roman noir with its vigil over the political and social ills of the nation, had secured its position as an important vector of French cultural history. Its sister genre, the thriller, has fared less well. Justly criticised for its expedient style and limited intellectual horizons, the thriller continues to appeal to a mass readership drawn from all sectors of society.This article locates its attractions in the ways in which we might once have engaged with the adventure stories of our collective youth that furnished our first solitary contact with literary fiction. It argues that our response to narrative suspense in adventure stories consumed in early adolescence is later rekindled and developed in the more adult thrillers of the modern age. Working within a conceptual framework that includes the psychologically based thrillers of Boileau-Narcejac and Sébastian Japrisot juxtaposed with the adrenalin rush of events supplied by Dan Brown and Maxime Chattam, it analyses the different modalities of suspense and their concomitant reading pleasures, concluding that the thriller meets the expectations not of a certain group of readers but of a certain type of reading experience.
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Ng, Carmen. "Affecting reality." A Peer-Reviewed Journal About 8, no. 1 (August 15, 2019): 96–113. http://dx.doi.org/10.7146/aprja.v8i1.115418.
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This essay examines how digital games shape human affective repertoires and envisioned dynamics with nonhuman agents such as robots. Entanglements among humans, machines, and technologies impact essential issues in the historical present: from surveillance, climate change, cultural heritage, art, to the elicitation, habituation, and capturing of feelings. Approaching digital games as frontiers of such entanglements, this essay expounds dynamics among gameplay, affects, and gamic materiality through a case analysis of Nevermind (Flying Mollusk), a trauma-themed independent psychological thriller game with affect-sensing technologies. Discussionexplores how the game can generatively engage with lived experiences and discourses of grief and trauma; and the relationality among individuals, structures of feelings, and stigmatization. Anchoring the essay is an argument that digital games represent and operate with fundamental tenets of posthumanism, communicating meaning across affective and semiotic dimensions, bodies, machines, and sociocultural contexts. This essay emerged from an ongoing project on affective semiotics and social impact game design, in connection with a transnational research project on human-robot interactionsupported by the European Research Council.
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Memola, Giovanni. "Visto, si stupri. Sesso e terrore nelle immagini di violenza sulle donne nel cinema italiano degli anni Settanta, tra finzione e realtà." Schermi. Storie e culture del cinema e dei media in Italia 6, no. 11 (July 22, 2022): 93–115. http://dx.doi.org/10.54103/2532-2486/17302.
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In the 1970s, Italian cinema experienced a boom of images and narrative elements associated with acts of violence against women, which were often further combined with sex. Such a phenomenon characterized domestic film production to a very large extent, therefore beyond budget and marketing implications, as well as auteur ambitions. In this context, the mystery-thriller films of the so-called “giallo” established a peculiar relation with violence against women at large, as they encoded it in the narrative mechanisms and in the development of the genre itself by means of subject-related marketing strategies and audience expectations. Quickly brought to popularity in the wake of Dario Argento’s works, over the years the “giallo” has been widely investigated precisely on the grounds of its defining featuring of violence against women, with most outcomes interpreting its psychological and allegorical aspects against the background of Italy’s contemporaneous social history. The aim of this essay is to enrich the interpretation field on this subject, prompting a reflection on such images and imagery of violence in the light of what were the practices, beliefs and expectations about violence against women beyond fiction, in the everyday life of 1970s Italy.
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Zywert, Aleksandra. "Centrum i peryferia. Obraz Moskwy w powieści Dmitrija Głuchowskiego Tekst." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 9 (December 20, 2019): 195–208. http://dx.doi.org/10.14746/kw.2019.9.15.
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Text is a novel of manners with elements of a thriller, a noir, and a detective novel (but the above-mentioned complementary elements fulfill only a supportive role, because the criminal intrigue exposed at the very beginning is treated marginally amounts to a starting point for deeper considerations of the psychological and sociological nature). Due to the peculiar presentation of the image of the Center (here: Moscow), Text fits into the vision of Moscow as the core of Russian predatory capitalism, exuberant consumerism, glitz, semblance and ruthless struggle for recognition in the ranking of successful people, which is presented in contemporary Russian literature. Its fundamental value is the fact that the realization of the author's idea is mainly due to the confrontation of megalopolis with images of the periphery, which can be regarded as satellite cities of the capital. In his perception of Russia, Glukhovsky is close to Roman Senchin and, similarly to the latter, he believes that the traditionally understood center-periphery, city-village conflict is disappearing, because eventually it turns out that (despite the spatial and social diversity) none of these places (mainly because of conspicuous regressive tendencies) does not give a person a chance for free development and self-realization.
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Virginás, Andrea. "Film genre patterns and complex narrative strategies in the service of authorship." Literatura i Kultura Popularna 24 (April 18, 2019): 25–37. http://dx.doi.org/10.19195/0867-7441.24.3.
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Film genre patterns and complex narrative strategies in the service of authorshipFrom the Euro-American canon of contemporary filmmaking a selection of films has been made, the directors of which transition from low-budget, arthouse, regional first features made in the years 1997–1998 mainly Cube and Pi, with occasional references to Run, Lola, Run and Following to big-budget, Hollywood-funded blockbusters presented in the years 2009–2010 Splice and Black Swan, occasionally referring to The International and Inception. Within this framework the issue of how generic patterns are used by these directors fond of narrative complexity is discussed. While in the debut features narrative complexity is the main issue, leading to a revisionist usage of sci-fi Natali and psychological thriller/horror Aronofsky, as well as action film Tykwer and noir detection film Nolan, in the 2009–2010 blockbusters narrative complexity is hidden behind apparently sincere generic imitation. This latter procedure, on closer inspection, reveals the allegorical recreation of genres as types as defined by Laetz and McIver Lopes in The Routledge Companion to Film and Philosophy. The aim is to examine narratively complex designs as tools in establishing the authorial names of these directors, based on their first features, with attention paid to the consistency of film genres referenced.
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Demas, Alexis, and David Tillot. "Pathological laughing and psychotic disorder: the medical evaluation of the Joker." Acta Neurologica Belgica 120, no. 6 (March 18, 2020): 1379–82. http://dx.doi.org/10.1007/s13760-020-01332-3.
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Abstract In the psychological thriller film Joker, released in 2019 and starring Joaquin Phoenix in the first role, another possible origin story for this iconic character is reported. Above all, it brings us medical elements for the understanding of the development of this complex character. Contrary to other interpretations, we discover a lonely, timid and uncharismatic man (Arthur Fleck). He seems to be suffering from psychobehavioral disorders and seems depressed. There is a strangeness in his behavior along with social withdrawal. He suffers from fits of laughter that occur at socially inappropriate times. He also suffers from psychotic symptoms with visual delusions. We learn through the film that he was a beaten child, psychologically and physically abused with severe traumatic brain injury (TBI). The uncontrollable outbursts of laughter, behavioral and psychotic disorders followed these elements. As a neurologist, I was intrigued by these symptoms. I have explored the neuropsychiatric symptoms complicating TBI from which he seems to suffer and which have been reported in the literature. We can assume that the Joker is suffering from neuropsychiatric sequelae related to childhood TBI involving the frontotemporal regions and, in particular, the lateral aspect of the left frontal lobe. The movie Joker has medical significance and covers social aspects of medicine and health care. First, it allows us to discuss whether psychotic disorder due to TBI should be considered a neurobiological syndrome. More broadly, albeit fictitious, it asks us about the management of patients with neuropsychiatric illness, which is a public health problem. It also reminds us that semiological descriptions of patients with neuropsychiatric disorders have served as inspiration for many authors.
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Fitria, Tira Nur. "A PSYCHOANALYSIS OF PSYCHOPATHS: PERSONALITY DISORDER OF THE MAIN CHARACTER IN ORPHAN FILM." ISLLAC : Journal of Intensive Studies on Language, Literature, Art, and Culture 6, no. 2 (November 14, 2022): 153. http://dx.doi.org/10.17977/um006v6i22022p153-173.
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The objective of this research is to know the psychopath behavior shown by Esther as a main character in the Orphan film and the cause of her psychopath behavior. This research is descriptive qualitative research by using the psychopath's theory from Hare (2011). Orphan is a psychopathic, thriller, and psychological-themed film directed by Jaume Collet Serra which was released in 2009. The result analysis shows that in the film Orphan, Esther shows a psychopath behavior as the main character, they are: 1) displays a false or superficial self-charm, 2) Failure to conform to social norms (likely to breach social and legal standards and conventions), 3) Having unstable ad uncontrolled emotion, 4) Acting reckless, impulsive, and hard to control, 5) Heartless and lacks empathy, 6 )Lack of remorse, easy to lie for no reason and without guilt (deception), 7) Tending to seek the attention of others, 8) Capable of committing various types of criminal acts such as killing Sister Abigail, burning Max, trying to kill Max, stabbing John, shooting and stabbing Kate, 9) Behave aggressively, 10) Manipulative and likes to cheat, and 11) Having a history of being difficult, criminal, or dangerous experience. The cause of Esther’s psychopath is caused by a hormone disorder called hypopituitarism. It likes a body disorder. She looks like a 9-year-old physically, but psychologically she is normal as a 33-year-old woman, with feelings of liking for the sex and having biological needs. It can be seen from his attitude that always tries to be close to the father of his adoptive family, namely when he dresses up as an adult and then teases Jack, his adoptive father.
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Дев'ятко, Наталія Володимирівна. "Жанрові особливості та творчий потенціал сучасної української літератури (на прикладі українського цифрового самвидаву)." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 2, no. 98 (2021): 122–51. http://dx.doi.org/10.34142/2312-1076.2021.2.98.07.
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The article is devoted to the study of genre features and creative potential of modern Ukrainian literature, which has the form of digital self-publishing. The study used hermeneutic, comparative, system-structural and structural-functional methods, as well as conceptual, plot-image, problem-thematic analysis, text-analytical method of "careful reading" to read the archetypal and code content of texts and others. Currently, there are more than 10 literary digital self-published resources inUkraine. However, the prose resources "Booknet" and "Arkush" have the real influence on the literary process. Both allow authors to communicate with readers through digital self-publishing. Five factors influence the work of modern Ukrainian authors: 1) the influence of classical Ukrainian and world canons; 2) the influence of postmodernism both in the literature and at the social and ideological levels; 3) the influence of mass literature of the Russian Federation; 4) the influence of translations and modern European literature; 5) the influence of the Internet and communication with the reader. In the context of digital self-publishing, each of these factors has its own specifics. The influence of cinema on mass literature is especially powerful. This can be manifested as a replication of the template (simplification), and in the form of systemic plot and psychological complication of textual structures. Today, digital self-publishing is represented by a whole range of genres: fiction (science fiction, fantasy, mystical prose, etc.), realism (historical, romantic, social, psychological novel, detective, thriller, etc.), and literature for children and youth. In each genre we see original novels that are not inferior in quality to those published through publishing houses. The latter makes it possible to talk about the emergence of writers inUkrainewho can be "indie authors". That corresponds to the global changes in book publishing.
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Daher-Nashif, Suhad. "Literature as a Pedagogical Tool in Medical Education: The Silent Patient Case." Humanities 10, no. 3 (August 8, 2021): 95. http://dx.doi.org/10.3390/h10030095.
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The arts have seen increasing use in medical education over the last 4 decades. Literature in particular is now frequently used as an educational tool in different medical humanities programmes. This paper analyses Alex Michaelides’ novel The Silent Patient with the goal of examining the professional issues presented in this psychological thriller and how the novel’s themes can be used to prompt discussion among medical students about professionalism and ethics in psychiatric settings. Following Strauss and Corbin’s qualitative procedure for conventional content analysis, this study employs content analysis of the literary text. The process of analysis began with open coding in which codes were assigned to all relevant sentences and paragraphs addressing professionalism in working with silent patients in psychiatry. These codes were then analysed to identify five major themes: multidisciplinary teamwork; therapy for the therapist; patient-centred care for silent patients; communication with silent patients; professional challenges in working with silent patients. The paper concludes that The Silent Patient novel represents important issues related to ethics and professionalism in working with silent patients in psychiatric settings. The novel can be used as a creative tool to guide discussion surrounding these issues. The paper argues that although the impact of its use is short-term, literature can make a significant contribution by provoking thought and discussion about professional and ethical aspects of practising medicine and caring for patients.
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Clemente Arribas, Beatriz, and Francisco Godoy Tena. "Cohesive Devices in Literary texts: Analysis of Stephen King’s The Mist for Students of Foreign Languages, Linguistics and Translation." International Journal of Linguistics, Literature and Translation 5, no. 3 (March 5, 2022): 35–41. http://dx.doi.org/10.32996/ijllt.2022.5.3.4.
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Text analysis constitutes one of the most challenging and complex practices for every student. Owing to this fact, linguists need a theoretical framework that would explain every linguistic device in text cohesion. Those cohesive devices may identify those units that are part of the analysed text. Among the huge amount of literary works that might be analysed, we chose one by Stephen King, one of the most prolific thriller writers of the 20th century. The aim of this study is to analyse one of his bestsellers in American Literature, The Mist, a psychological horror novella published in 1980. The main work used in this research is Hasan and Halliday’s Cohesion in English, which will be the centre of the linguistic study. Thanks to this investigation, we shall establish certain linguistic parameters to help students build a linguistic analysis to ease their academic and professional areas, such as linguistics and translation. The excerpt analysed will include certain linguistic cohesive devices, such as anaphora-cataphora, the use of direct speech, relative clauses, or Hasan and Halliday’s terms of field, tenor, and mode, among others. As a result of this, EFL students from different disciplines, such as foreign languages, translation, or linguistic studies, will therefore increase their knowledge of this literary model in order to be applied to other literary and non-literary works.
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Madhona, Rizkyka Hamama, and Yenny. "Representasi Emosional Joker Sebagai Korban kekerasan Dalam Film Joker 2019 (Analisis Semiotika Ferdinand De Saussure)." Soetomo Communication and Humanities 3, no. 1 (May 26, 2022): 1–13. http://dx.doi.org/10.25139/sch.v3i1.4475.
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This study aims to explain the emotional representation of the Joker as a victim of violence in the 2019 Joker film based on Ferdinand De Saussure's theory. Joker is a psychological thriller genre film. The film opens with Arthur Fleck trying out various expressions. With a clown-style make-up, Arthur pulled his face in a motion pulling the corners of his lips up to create a smiling facial expression. Arthur then lowered the corners of his lips down to make a sad expression with his lips down, and then pulled his lips back into a smile. A few tears flowed between her black eye makeup. The research method used in this paper is descriptive qualitative. This means that the data used in this study is qualitative data (data that does not consist of numbers) in the form of words and pictures that may be the key to what is being studied. Then the existing data are described from a number of aspects of signs or semiotics in a number of scenes. For example, from the emotional side that appears in a scene, the facial expressions of the actors, the dialogue delivered by the actors, background music and so on. Emotional representation is also shown through messages that are interpreted semiotically based on Ferdinand de Saussure's theory through changes in costumes (markers), from being originally monochrome (dark dominant) to being more colorful, and changes in a person's character from being closed to being more expressive in expressing their feelings sign).
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Watson, Anna. "Norwegian Political Theatre in the 1970s: Breaking Away from the “Ibsen Tradition”." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 50. http://dx.doi.org/10.7146/nts.v28i1.23972.
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The dominant theatre aesthetic in Norwegian theatre has been, and remains at large to be, psychological-realism and the bourgeois “living room drama”. In a Norwegian context this tradition is best represented by Henrik Ibsen’s dramas, staged at Nationaltheatret and Den Nasjonale Scene. However, throughout the 20th century there have been several attempts to break with the “Ibsen tradition”, especially among left-wing political and socially engaged theatre-makers and playwrights such as Gunvor Sartz, Olav Daalgard, and Nordahl Grieg in the 1930s, and Jens Bjørneboe and Odin Teatret in the 1960s. I argue that the clearest and most decisive break with Realism and the Aristotelian dramaturgy, in a Norwegian political theatre context, was made in the late 1970s, instigated by the independent theatre groups Perleporten Teatergruppe and Tramteatret. Their break did not only constitute an aesthetic and dramaturgical break, but also a break in organizational terms by breaking the hierarchy of the institutional theatre ‘machine’. Perleporten Teatergruppe and Tramteatret aimed at making a political, progressive theatre both in form and content. Perleporten and Tramteatret were both inspired by contemporaneous political and experimental theatre in Europe and Scandinavia as well as by the historical avant-garde experiments, and, for Tramteatret’s part, the workers' theatre movement from the 1920s and 30s in their search for a theatre that could express the social and political climate of the day. In this article, I will place Tramteatret and Perleporten Teatergruppe’s debut performances Deep Sea Thriller (1977) and Knoll og Tott (1975) within a historiographical and cultural-political context.
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Mather, Philippe. "Intercultural sensitivity in Orientalist cinema." East Asian Journal of Popular Culture 6, no. 2 (August 1, 2020): 177–93. http://dx.doi.org/10.1386/eapc_00024_1.
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Edward Said’s dogmas of Orientalism are a succinct summary of western perceptions of the East, which reveal an essentially racist discourse that also speaks to the westerner’s self-perception. While there is a tendency in fiction film to polarize attitudes as either friendly or hostile, for reasons of narrative economy and to enhance dramatic conflict, this article argues that it is possible to measure the behaviour of fictional characters on a continuum describing intercultural sensitivity to assess how these characters appear to respond to the idea of cultural differences, broadly ranging from the most ethnocentric views to more ethnorelative ones. Since the intercultural development continuum (IDC) is structured as five developmental stages, it provides a finer psychological template than Orientalist binaries, offering a more nuanced view of character motivations and attitudes. The IDC scale is ideally suited to narrative analysis as it usefully describes successive stages that characters may exhibit throughout the course of a story depicting intercultural exchanges. The IDC allows the analyst to gauge the degree of conformance of any given film to Said’s aforementioned dogmas, particularly those films that either express an ambivalent attitude or appear superficially more enlightened or accommodating of difference. This model will be illustrated with a number of case studies selected from a filmography focusing on western representations of Singapore in film and television, from 1940 to 2015, including titles such as the Bette Davis plantation melodrama The Letter, the science fiction thriller Hitman: Agent 47 and the Australian period TV series Serangoon Road.
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Zhukova, N. A. "KARIN ALVTEGEN AS RESEARCHER OF "ONGOING SUFFERING": CULTURAL ANALYSIS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 63–68. http://dx.doi.org/10.17721/ucs.2018.1(2).15.
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The article deals with the cultural analysis of the novels "Shame" and "Betrayal" by the famous contemporary Swedish writer Karin Alvtegen, which are an example of a new art that has replaced the art of "post". "New art" is expressed in the return to the subject-object coherence, the reflection of reality in holistic, specifically-sensual artistic and expressive forms. The novel "Shame" is a psychological thriller where the author tells about the fate of three women - Monica, May-Britt and Vanya Turin. All three of them (independently) feel ashamed for their whole lives because of the events they had experienced during their childhood or youth, and this feeling, in its turn, influenced their behavior, and determined the subsequent attitude to people and life. In Alvtegen’s novel "Betrayal" she describes the psychological state of all the heroes, who, as it turns out, are both victims of betrayal and the traitors. Simultaneously, the author develops the topic of devastating revenge and the dilemma of forgiveness-non-forgiveness. In the end, the author inclines to the first variant, which helps to overcome a psychological trauma - "a trauma of betrayal". For the heroes of Alvtegen, betrayal and vengeance are the phenomena of the same tier, and both bring unbearable mental pain, and all characters have a constant internal dialogue with it. "Trauma of betrayal" rules over the author’s characters, who do not realize what drives them. According to Sigmund Freud, this trauma separates a person from the surrounding reality, closes him/her on itself, and, at some point, brings satisfaction. However, if Freud’s "trauma" is constructive even in case its consequences are abnormal, the damage it caused is compensated, even though in a neurotic way. Yet, for the heroes of Alvtegen, the trauma takes away human ability to act, induces a negative belief in oneself or in others, and, at the same time, it is a trial given to a person, a kind of initiation. None of the characters of the Swedish writer can pass this initiation. As a result, the lives of all characters are ruined. Hence, having appeared in the world due to the trauma of birth (according to O. Rank), experiencing various types of traumas during life (S. Freud, C.G. Jung, A. Adler, S. Spielrein, J. Lacan), the vector of behavior depends on a person. The novels by Alvtegen showed the tendency to combine the problems of fundamental ontology, psychoanalysis, and the idea of "integral humanism" in the new art ("proto-art") as a way to escape the "ongoing suffering." It is noted that the novels by Alvtegen are a complicated, aesthetically organized system of meanings that involve "multiple coding", organic interweaving of psychoanalytic ideas, in particular, the phenomenon of "trauma" into the concept of the M. Heidegger fundamental ontology.
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Yefimenko, Adelina. "Ludwig van Beethoven’s “Fidelio”: Participation of the Public in Graham Vick and Tobias Kratzer’s Productions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 8–23. http://dx.doi.org/10.31318/2522-4190.2021.130.231172.
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Relevance of the study. Versions of the only opus magnum of the German genius in modern filmmaking practice are associated with various sources: from myth, historical documentary to modern political thriller. The performances of Fidelio by the German Tobias Kratzer on the stage of the London Royal Opera and the British Graham Vick with the Birmingham Opera Company directed the vector of directorial innovations into the mainstream of the actual problem in the field of art — communication. Both directors brought the image of an opera audience onto the stage.Main objective of the study is to analyze the aforementioned opera productions from the point of view of the public participation, which presupposes the use of the stage experience of performance, documentary and Immersion Theater.Research methodology. Expending the experience of scientists who have developed the classification of the concepts of the public and the audience, the structural vector of these concepts in the form of a link in the recipient-performer-creator chain is revealed. In the versions from Vick and Kratzer, the public and the audience not only actively influence the artistic processes, but also become their participants. A watershed between the concepts of the public and the audience, important for comparing these artifacts, is revealed which required, provided the reason to use a comparative research methodology.The results of directorial artifacts. Vick interprets “Fidelio” as a performer-director. His fourth interactive version of the opera features Birmingham residents. Kratzer accentuates the historical traditionally theatrical barriers between performers and spectators and first gives the opportunity to relive the events of the costumed “Fidelio”, designed for a suggestive public reaction, which gives impetus to an unexpected evolution. At first, the audience, passively reflecting the events, acquires a certain breakthrough in consciousness in the finale and begins to act on a par with the protagonists of the opera. For Kratzer and Vick, the argument for including the image of the audience in the production was the historical fact (the creation of an opera during the French Revolution) and the coverage of the connections between Beethoven’s opera narrative and the social realities of modern society. Vick associated “Fidelio” with modern outbursts of totalitarianism. For Kratzer, the key idea is ideal love, inherent in Beethoven’s ideas of humanism, loyalty and moral duty. Vick’s Theater connects the type of audience as a spontaneous community. Kratzer focuses on the centuries-old culture of opera lovers united by common interests. The approbation of various forms of integration of performance and opera shows how important the artistic, social, didactic and psychological results of participation are. The public develops, evolves and becomes a professional audience.
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John, Merin Susan. "Analysis of Memory, Gender, and Identity in Psychological Thrillers with Specific Reference to Alfred Hitchcock’s Spellbound and James Mangold’s Identity." Middle Eastern Journal of Research in Education and Social Sciences 1, no. 2 (November 3, 2020): 1–14. http://dx.doi.org/10.47631/mejress.v1i2.9.
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Purpose: This paper aims to analyze the portrayal and presentation of memory, gender, and identity in selected psychological thrillers. Approach/Methodology/Design: The selected films are Alfred Hitchcock’s Spellbound and James Mangold’s Identity. For the analysis of these films, the researcher employs both narrative and structural approaches; thematic analysis, psychoanalysis, and also feminist film theory. Findings: The results of the analysis show that apart from building suspense and mysteries with the identity issue, these thrillers question the stereotypes and inequality in society through the female characters for the consumerist audience. Hence, these films attempt to break the chains of legitimated stereotypes in the society which create binaries in the lives of people. Practical Implications: The portrayal of illness in psychological thrillers has attracted a lot more audience to seats. Dissociative elements such as memory and identity of the mind perhaps have permeated the film-going experience. The paper showcases these aspects in the selected films. Originality/value: The picturization of the fading identity and the double personality of the characters are central to the interior experience. The capturing of Amnesia and its related themes of memory, identity, and distributed consciousness are common materials in recent films because they can stretch to basic humanistic concerns and contemporary psycho-social issues.
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Bari, Dindar S., and Haval Yacoob. "Psychological Correlates of Acceleration Stress for Thrill Seekers." Eastern Journal Of Medicine 27, no. 3 (2022): 410–17. http://dx.doi.org/10.5505/ejm.2022.21703.
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van Teeffelen, Toine. "Scripts and Projects as Modes of Understanding Political Actions: The Representation of Palestinians in Bestselling Literature." Journal of Narrative and Life History 2, no. 2 (January 1, 1992): 163–82. http://dx.doi.org/10.1075/jnlh.2.2.05scr.
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Abstract This article analyzes the representation of Palestinian actions in Western bestsell-ing thrillers. Most of these actions can be understood through the application of scripts—cognitive structures of stereotypical action sequences. It is argued that the scriptal representations activate causal schemas of Palestinians and Arabs at both a psychological and a social level. The concept of script is set against that of project, characterized by a narrative understanding. It is shown how the need to make a story interesting and thus not completely stereotypical is met by, among others, the amplification of aspects of threatening scripts, and by a tension producing ambivalence toward Palestinian nationalism. In almost all cases a scriptal understanding remains privileged. (Qualitative Psychology, Cultural Studies)
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Novaković, Nikola. "To Laugh or to Cry? Ambiguity and Humour in Jason's Graphic Novels." Libri et liberi 11, no. 1 (September 23, 2022): 51–78. http://dx.doi.org/10.21066/carcl.libri.11.1.3.
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The paper offers a reading of Jason’s use of sparsity, seriousness, and reduction as a concealment of a technique that is based on multifaceted ambiguity involving the blending of genres, a playfully intertextual attitude, and surprising emotional depth of character and story. It discusses the connection between humour and visual, textual, and structural ambiguity in Jason’s works, as well as ambivalence in the reader’s response, illustrates Jason’s combination of incongruous genres and simultaneous employment of motifs from children’s literature and various genre movies (such as science fiction, crime thrillers, heist movies, and horrors), and explores Jason’s technique of subverting expectations of comic relief by withholding certain structural parts of a joke (typically a punchline) or inserting an unexpected element (such as psychological depth).
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VS, Kumar, Karuveettil V, Yeturu SK, Krishnan NA, Arjunraj UK, Menon SS, and Radhakrishnan V. "Impact of COVID-19 Pandemic among Undergraduate Dental Students: A Qualitative Study." International Journal of Current Research and Review 14, no. 16 (2022): 15–19. http://dx.doi.org/10.31782/ijcrr.2022.141604.
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Introduction: During COVID-19 pandemic, students were introduced to a novel learning platform moving away from in-person lecture classes and pedagogies. Medical courses in general and dentistry in specific has its chunk of curriculum devoted to development of clinical and laboratory skills, patient interaction and management of a wide spectrum of oral and general diseases which affect the human body. Many Universities have shifted to online mode of delivery of lectures from traditional college activities during COVID-19 lockdown Objective: This study was conducted to assess the psychological and social, educational and physical health impact of COVID-19 on dental undergraduate students through a qualitative method. Methods: Qualitative phenomenological approach was undertaken. Focus group discussions and in-depth interview were conducted according to different grades of their study during undergraduate course. Results: Psychologically, the students were anxious of prolonging their undergraduate course and also of the conduct of exams. The students were initially thrilled to be with their close family members; but gradually boredom loomed large. Those who used to regularly take part in sports, games and other physical activities could not continue with those as restrictions were enforced. Conclusion: The students were mostly anxious due to lack of training in clinical dentistry, conduct of exams and course duration. Students were mostly glad to be with their family members during lock down. The physical activity among students have come down drastically.
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de Brabander, B., J. Hellemans, C. Boone, and P. Gerits. "Locus of Control, Sensation Seeking, and Stress." Psychological Reports 79, no. 3_suppl (December 1996): 1307–12. http://dx.doi.org/10.2466/pr0.1996.79.3f.1307.
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We explored the relations among locus of control, sensation seeking, and stress ( N = 68 students). Corroborating evidence was found that subjects with an external locus of control are more vulnerable to stress. Subjects scoring higher on the thrill and adventure seeking-dimension of sensation seeking reported less severe physical and psychological complaints thought to be associated with stress. These results suggest that high sensation seeking is associated with protective mechanisms against life-stress. Some possible intervening mechanisms are further discussed.
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Hussain, Syed Muzaffar. "AN INSIGHT INTO THE DIFFERENCES OF PSYCHOLOGICAL DISPARATE MOTIVATIONS BETWEEN HACKERS AND CRACKERS." Journal of Correctional Issues 5, no. 1 (August 16, 2022): 27–32. http://dx.doi.org/10.52472/jci.v5i1.94.
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This paper considers two different classes of computer hackers, with a special emphasis on disparate motivations of hacking. Hackers’ psychology widely discussed in the media is almost entirely unexplored by psychologists. In this study, hackers’ and crackers’ motivation is investigated, using the study of values scale. One hundred and fourteen participants completed our online research instrument. The study of values and demographic data were questioned. Participants were categorized as hackers and crackers through their responses on two items questioned in the demographic datasheet. Results indicated that hackers were found higher on the motivations of seeking knowledge, aesthetic sense, social interactions, and mysticism while crackers were found more motivated due to their economical and political interests. Findings suggested that hackers hack for the thrill of learning and gathering information to gain intelligence. Hackers hack to make society a better place to live. Compared to hackers, crackers are incapable of normal social interactions, and their hacking is based on the motivations of getting money and power.
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Harbar, Iryna. "MULTI-LEVEL VERBAL MARKERS OF SUGGESTION IN PROSECUTION ATTORNEYS’ OPENING STATEMENTS (IN THE SCOPE OF MODERN AMERICAN LEGAL THRILLERS)." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 10(78) (February 27, 2020): 146–49. http://dx.doi.org/10.25264/2519-2558-2020-10(78)-146-149.
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The article sets out to justify the author’s opinion on the fact that the main peculiarity of the prosecution attorneys’ opening statements is their power of suggestion, i.e. exerting emotional and psychological influence on the jury with the purpose of changing their emotions, feelings and train of thoughts in favour of the attorney and their client. A lexical-semantic classification of multi-level verbal markers of suggestion has been worked out in the article under consideration to show which language units prosecution attorneys give preference to in order to exert the influence of suggestion on the jury. The classification in question shows that the notion of suggestion exists on all speech levels: phonetic, morphological, lexical-semantic and syntactic, with lexical-semantic being the most abundant in prosecution attorneys’ opening statements. Verbal markers of suggestion on lexical-semantic level were divided into those of direct and indirect nomination. Verbal markers of suggestion on phonetic, morphological and syntactic levels perform only supplementary function in exerting the influence of suggestion on the jury members. The article concludes that the prosecution attorneys purposely use a great amount of multi-level verbal markers of suggestion at the same time to have the massive impact on the jury’s thoughts, emotions, feelings, attitudes. The classification under consideration has been worked out in the scope of modern American legal thrillers, written by professional attorneys who depict the slightest details of real American legal proceedings.
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Powers, Korine. "Hannibal Lecter as Avenging War Orphan in Thomas Harris’s Hannibal Rising." Twentieth-Century Literature 66, no. 1 (March 1, 2020): 125–46. http://dx.doi.org/10.1215/0041462x-8196740.
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Beginning with Red Dragon (1981), horror icon Hannibal Lecter thrilled audiences as the ultimate unreadable reader, consuming minds and bodies behind the polished veneer of aristocratic taste and psychological expertise. Yet by the end of the twentieth century, Lecter had shifted from monster to hero. This article argues that Thomas Harris’s prequel novel, Hannibal Rising (2006), makes Lecter more palatable by portraying his serial murders as an act of vengeance against a postwar society that allowed war criminals to rejoin the consumer milieu. Hannibal Rising uses graphic depictions of the atrocities of the Second World War—including freezing, starvation, immolation, and enslavement—to mitigate Lecter’s cannibalistic classism and restore his humanity. Lecter is rendered mute by the trauma of consuming his sister, the patrician Lecter Castle becomes a Soviet orphanage, and Lecter’s eventual victims are war criminals who have reintegrated into society across the Western world. In return, Hannibal Rising’s readers are asked to project the specter of Lecter’s trauma and these war criminals’ violence onto all of Lecter’s victims. No act of cannibalism, Hannibal Rising suggests, is more monstrous than the war crimes and subsequent Allied apathy that Hannibal fights and bites against.
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Kattelman, Beth. "The sound of evil: How the sound design of Hereditary manifests the unseen and triggers fear." Horror Studies 13, no. 1 (April 1, 2022): 133–48. http://dx.doi.org/10.1386/host_00050_1.
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This article examines the soundtrack and score for Ari Aster’s 2018 film Hereditary, illustrating how the sound design heightens the film’s emotional and psychological impact by delivering unseen elements of the narrative auditorily and through its inclusion of sonic elements that can directly affect audience members physiologically. Hereditary’s narrative is strongly supported by musician Colin Stetson’s evocative score, which relies heavily upon his ability to coax unusual sounds from reed instruments by using uncommon fingerings, accompanying vocalizations, percussive key striking and circular breathing. After a brief synopsis and examination of the film’s themes, the article delves into particular elements that make Hereditary’s soundscape so effective, including the Shepard tone, infrasound, subliminal and corporeal sounds, and the use of silence, exploring in-depth how the sound design supports and enriches the film by building tension, enhancing dread, triggering fear and delivering unseen narrative information in a shorthand way. The article also has a wider application in that it discusses how the critical-yet under-theorized element of sound design is crucial to horror entertainments’ ability to create affect in a variety of ways and shows how the sonic components used in Hereditary have a demonstrated efficacy as shown by their use in a wide variety of horror films and thrillers.
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Flood, Joseph P., and Christopher Parker. "Student Awareness of University Adventure Programs: Understanding Motivations and Constraints." Recreational Sports Journal 38, no. 2 (October 2014): 104–17. http://dx.doi.org/10.1123/rsj.2013-0021.
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Participation rates among college students in adventure programs (AP) have been problematic in recent years. While AP managers focus on the quality of programs offered to students, little effort has addressed reducing constraints to participation, improving program offerings, and effectively marketing AP at colleges and universities. The purpose of this investigation was to identify the constraints and motivations to AP participation. A survey was administered to 193 college students. Overall, respondents were motivated to participate in outdoor recreation activities that included males wanting to observe others, teach others, and experience thrills, while females wanted to be with companions and to receive physical and emotional benefits. Even though both males and females identified lack of time and money as major constraints, they also identified stress and demands of life as constraints. To enhance participation, AP managers need to emphasize the physical and psychological benefits that can potentially reduce stress.
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Knight, Zelda G. "SOME THOUGHTS ON THE PSYCHOLOGICAL ROOTS OF THE BEHAVIOR OF SERIAL KILLERS AS NARCISSISTS: AN OBJECT RELATIONS PERSPECTIVE." Social Behavior and Personality: an international journal 34, no. 10 (January 1, 2006): 1189–206. http://dx.doi.org/10.2224/sbp.2006.34.10.1189.
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This article documents the definition and context of serial murder. The main theoretical framework adopted is object relations theories which have been particularly renowned for drawing close attention to the process and development of the early dyadic mother-infant relationship as a primary departure point for understanding both healthy and pathological psychic development. These theories have been especially comprehensive in depicting the inner world of the infant as magical and terrifying, fractured and kaleidoscopic. Within the context of narcissistic dynamics, one aspect of human behavior may be described as nonpathological and the basis for healthy ambitions and ideals, while another may be identified as pathological and destructive so that individuals behave in grandiose and murderous ways. Some of these individuals are sadistic serial killers who enjoy the sexual thrill of murdering and who are both pathological and destructive narcissists. This study examines the psychological roots of the behavior of sexually motivated male serial killers, and why they do what they do. The context of serial murder is presented, with a refined definition of sexually motivated serial murder. The development of narcissism is described as this forms the basis for understanding such behavior.
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Redeker, NS, SC Smeltzer, J. Kirkpatrick, and S. Parchment. "Risk factors of adolescent and young adult trauma victims." American Journal of Critical Care 4, no. 5 (September 1, 1995): 370–78. http://dx.doi.org/10.4037/ajcc1995.4.5.370.
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BACKGROUND: Repeated injury, or recidivism, because of intentional or unintentional injury is a growing chronic health problem among urban adolescents and young adults in the United States. OBJECTIVE: To describe demographic, social, environmental, psychological, and developmental antecedents and risk-taking behaviors, and to examine their relationships to type of trauma and rate of trauma recidivism in adolescent and young adults in an urban trauma center. METHODS: One hundred adolescent and young adult trauma victims in an urban trauma center were interviewed, using the Adolescent Risk-Taking Instrument, the Brief Anger/Aggression Questionnaire, and the Trauma Risk Factor Interview Schedule. Bivariate correlation, multiple regression, and discriminant function analysis were used to examine the data. RESULTS: Of the sample, 89% experienced trauma related to interpersonal violence, including firearm injuries, stab wounds, and blunt trauma. Male gender, unemployment, past arrest, lower levels of spirituality, and higher levels of anger/aggression and thrill-seeking accounted for 25% of the variance in the number of risk-taking behaviors. Factors such as male gender, past arrest, unemployment, having been a crime victim in the past, lower autonomy, use of weapons, fighting, and no psychological counseling distinguished subjects with firearm-related injuries from subjects with other injury sources. Use of alcohol on weekdays, past arrest, and higher education levels were associated with trauma recidivism, explaining 14% of the variance. CONCLUSIONS: Social/environmental and psychological/developmental variables, as well as risk-taking behaviors, are important correlates of trauma and recidivism. These findings suggest the importance of advocacy for social policies conductive to reducing the risks of violence and trauma and risk-reduction interventions as components of posttrauma care.
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Dodd, Helen F., and Kathryn J. Lester. "Adventurous Play as a Mechanism for Reducing Risk for Childhood Anxiety: A Conceptual Model." Clinical Child and Family Psychology Review 24, no. 1 (January 19, 2021): 164–81. http://dx.doi.org/10.1007/s10567-020-00338-w.
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AbstractIn this conceptual article, we draw upon the literature regarding cognitive and behavioural factors that underpin childhood anxiety to outline how a range of these risk markers might be targeted through adventurous play. When children play in an adventurous way, climbing trees, riding their bikes fast downhill and jumping from rocks, they experience feelings of fear and excitement, thrill and adrenaline. We propose that the positive, thrilling and playful emotions associated with this type of child-led play facilitate exposure to fear-provoking situations and, in doing so, provide opportunities for children to learn about physiological arousal, uncertainty and coping. We hypothesise that these learning opportunities will, over time, reduce children’s risk for elevated anxiety by increasing children’s expectations and ability to cope with anxiety, decreasing intolerance of uncertainty and preventing catastrophic misinterpretations of physiological arousal. If our conceptual model is correct, then ensuring that children have the physical and psychological space required to play in an adventurous way may help to decrease their risk for elevated or clinical anxiety.
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Kulakevych, Lyudmyla. "Artistic means of a silent film in I. Dniprovsky's psychological action «Zarady nei» («For Her Sake»)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 31–38. http://dx.doi.org/10.34079/2226-3055-2020-13-22-31-38.
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In the present paper a short story written by I. Dniprovsky's is analyzed. In accordance with the action canon, the main character has to find his beloved in the shortest possible time so that they could catch the train and escape from the enemy. In the twists and turns of the story the archetypal plot of lovers’ escape / rescue from the monster can be traced. It descends from folk tales and legends where a young man sacrifices himself for the sake of his beloved. By analogy with receptions in tense feature films (thrillers, horror films, catastrophes), the single-line plot «For Her sake» consists of annoyingly insidious concourse of circumstances. They create the feeling as if the whole world, even the closest people and character’s personal belongings, want to thwart his rescue. It is emphasized that, similar to the techniques in the action movies, a linear storyline in the short story consists of the treacherously irritating coincidences. However, while an action-adventure meta-genre normally has a happy ending, in the present short story the ending is more appropriate for a novella: the Bolsheviks shoot the hero as a deserter. It is established that the defining feature of the story is the lack of description of the characters’ appearances and their speech is reduced to minimum, which was a general feature of silent film scripts. A tense atmosphere of anxiety and fear is created through the acoustic and visual micro-images with the semantics of panic and horror. The gloomy urban landscapes, the hostility of the world and the sense of the fatal doom of the heroes refer to the German expressionist cinema of the early XX century. It is revealed that the story never mentions the struggle of ideologies or the enemy who seeks to seize Petro's native land. The enemy appears as an invisible and terrifying force, an element that creates chaos and makes it difficult to maintain human dignity. The key to understanding of this on border crazy motivation of the main character is the archetypal theory of C. G. Jung. In the story of I. Dniprovsky, a brave soldier (Persona Petra) in attempt to save himself together with Hanka (Anima), subconsciously seeks to save his Self-Identity. Moreover, a Wise Old Man (Hanka's father) and a Big Mother with a Child are present in the story as well. However, none of them is helpful to Petro and does not encourage the latter to make any attempts for escape. According to the artistic concept of the short story, when escaping from death, a person experiences tremendous stress, which breaks his psyche, so in a borderline situation collective experience fails, everyone tries to save himself. It is emphasized that the story's ending is unexpected: the hero finds himself in the city again, however, he is now in the status of unidentified enemy, whom he tried to escape and now he dies at the hands of the redhead leader.
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Kiatkawsin, Kiattipoom, Ngoc Anh Bui, Richard Hrankai, and Kwangmin Jeong. "The Moderating Roles of Sensation Seeking and Worry among Nature-Based Adventure Tourists." International Journal of Environmental Research and Public Health 18, no. 4 (February 19, 2021): 2021. http://dx.doi.org/10.3390/ijerph18042021.
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The adventure tourism subsector continues to be popular today. Both industry and academia define adventure tourism’s scope from either the physical (e.g., outdoor activity and physical activity) or psychological aspects (e.g., thrill seeking and challenges). Recent studies have pointed out that adventure tourism can be interpreted differently across cultures and markets. Still, risk has always been universally accepted as an essential characteristic of adventure tourism. Thus, most empirical research has studied the role of risk as one of the motivations. However, attempts to investigate related elements that are either a response to or a coping mechanism for the presence of risk are scarce. This present study adopted one of the most prominent frameworks in explaining behavioral intentions, the theory of planned behavior, and included involvement and knowledge variables to extend it. Furthermore, the sensation-seeking and worry constructs were tested for their moderating impact on intentions to participate in adventure tours. The results of structural equation modeling and multigroup invariance tests revealed that subjective norms were not a significant predictor of intentions, while both sensation seeking and worry significantly moderated the relationships between the study variables.
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Ryan, Connor. "Dark and gritty/slick and glossy: Genre, Nollywood and Lagos." Journal of African Cinemas 11, no. 3 (December 1, 2019): 295–313. http://dx.doi.org/10.1386/jac_00022_1.
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Abstract In this article, I am concerned principally with Taxi Driver (Oriahi, 2015), Gbomo Gbomo Express (Taylaur, 2015), Just Not Married (Patrick, 2016), Ojukokoro (Greed) (Olaitan, 2016) as well as Catch.er (Taylaur, 2017). These films are characterized as much by the depiction of clever criminals as the cultivation of a cynical disposition from which transgressions of this sort appear stylish and violence is rendered 'cool'. Almost all of them turn on a scheme to dupe others of a large sum of money, and are punctuated by backstabbing partners in crime, tables turning by chance, edgy armed standoffs and a surprising number of bodies in car trunks. Given the dark portrait of Lagos these films present, one might be inclined to read the genre cycle as a reiteration of the role Lagos has historically played as embodiment of popular anxieties concerning insecurity, material inequality and social breakdown. And yet, in recent years, conditions within the city have markedly improved over those of the deepest point of urban crisis in the 1990s when Lagos was, indeed, paralysed by a generalized condition of insecurity and dysfunction. New Nollywood's repertoire of film styles has expanded to include international film cycles and genres such as romantic comedies, psychological thrillers, police procedurals, among others. This raises important questions about the nature of correspondences between cinema and the city, such as whether New Nollywood genre films tell us anything about social, cultural or historical circumstances in Lagos, or the place the city occupies in the popular imagination, for instance. Recent upmarket film noirs speak, instead, to the evolution of Lagos as a media capital. I examine the different kinds of work genre performs in New and Old Nollywood films and propose a number of ways to critically interpret genre's various registers.
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Achab, Sophia, Stephane Rothen, Julie Giustiniani, Magali Nicolier, Elizabeth Franc, Daniele Zullino, Frederic Mauny, and Emmanuel Haffen. "Predictors of Gaming Disorder or Protective from It, in a French Sample: A Symptomatic Approach to Self-Regulation and Pursued Rewards, Providing Insights for Clinical Practice." International Journal of Environmental Research and Public Health 19, no. 15 (August 2, 2022): 9476. http://dx.doi.org/10.3390/ijerph19159476.
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Gaming disorder (GD) is a new health condition still requiring a lot of evidence established around its underlying and related psychological mechanisms. In our study we focused on Massively Multiplayer Online Role Playing Games (MMORPGs), a specific very popular and engaging game genre, to determine that benefit, motivation and control aspects could be predictive of a dysfunctional engagement in gaming. In total, 313 participants were recruited from private forums of gamers between May 2009 and March 2010. They filled out a questionnaire on their socio-demographic data and their weekly gaming time. They also completed different psychometric assessments such as the DSM IV-TR criteria for substance dependence adapted to gaming such as the Dependence Adapted Scale (DAS), the external rewards they expected from gaming (External Motives), the expected internal reward they expected from gaming (Internal Motives), the Zuckerman Sensation Seeking Scale (ZSSS), and the Barratt impulsiveness Scale (BIS-10). Results showed that some psychological factors related to online gaming represented risk factors for GD in participants (i.e., competition and advancement motives, reduced anxiety, solace, greater personal satisfaction, and sense of power), whereas some others were found to be protective factors from GD (i.e., recreation, enjoyment and experience seeking) in participants. Additionally, the study found that disinhibition, boredom susceptibility, thrill and adventure seeking, and high impulsivity were correlated to GD in participants. In conclusion, not only motives for gaming and impulsivity could be predictors for GD, but maladaptive coping strategies based on experienced relief in-game from negative feelings (anxiety and boredom) or experienced improvement in-game of self-perception (personal satisfaction, sense of power) could play as well a role of negative reinforcers for GD. Some benefits from gaming, typically entertainment and enjoyment, are shown to be protective factors from GD, playing the role of positive reinforcing factors. They are worthy of being identified and promoted as functional gaming habits. These findings can feed the clinical and health promotion fields, with a more in-depth understanding of diverse psychological factors in gamers, identifying those at risk for GD and those protective from it. The current work can foster a more balanced approach towards gaming activities, taking their opportunities for mankind and controlling for their adverse effects in some individuals.
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Asif, Muhammad, and Muhammad Imran Qadir. "A correlation exists between normal breathing rate and watching horror movies." Journal of Lung, Pulmonary & Respiratory Research 6, no. 1 (February 28, 2019): 17–18. http://dx.doi.org/10.15406/jlprr.2019.06.00198.
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The reason of present research was to estimate somewhat relation between normal breathing rate and watching horror movies. Total 135 subjects were the participants of this project. The breathing rate is expressed as the total number of breaths a person receiving in 1 minute. The normal rate is 12 to 20 breaths per minute in adults. The respiration rate underneath 12 and overhead 25 is regarded as abnormal and it points to grim health problems. The situations that can vary normal respiratory rate are anxiety, fever, flu, air pollution, asthma, pneumonia, heart failure, lung disorder, drug overdosing and usage of narcotics. Now a days, number of people love viewing horror movie while some hatred them. There is an elongated list of such movies on internet. Scary movies have the physical and psychological effects on one’s mind. The most evident are anxiety and stress that can lead to high pulse rate and sweating. Such physical effects result in increase of respiration rate. In such situations, we inhale more oxygen and exhale more carbon dioxide. The member of the audience spots high breathing like performing a light exercise. The thrill of unknown and abrupt appearance of any terror initiates the body to groom against that fear. After-all above procedure, it was summarized that there was a significant interaction between normal breathing rate and watching horror movies.
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Fedotkina, I. V., L. O. Marchenko, and L. V. Vaygacheva. "PERSONALITY TRAITS IN THE DEVELOPMENT OF OCCUPATIONAL BURNOUT SYNDROME IN MILITARY DOCTORS." Medicо-Biological and Socio-Psychological Problems of Safety in Emergency Situations, no. 4 (December 26, 2019): 96–102. http://dx.doi.org/10.25016/2541-7487-2019-0-4-96-102.
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Relevance. Physical and psychological stressors of professional activity of military doctors can negatively affect both their personal well-being and professional reliability.Intention. To analyze the frequency of psychological signs of professional burnout and related deformations of professionally important personality traits in medical officers engaged in clinical and managerial activities.Methodology. The study was conducted in 2018-2019 at the research center of the Kirov Military Medical Academy (St. Petersburg). The object were the medical service officers (n = 203) engaged in clinical and managerial activitiesy, who arrived from the troops to apply for residency. The complex of psychodiagnostic methods included 50-point IPIP-version of “Markers of the big five” questionnaire by L. Goldberg; psychodiagnostic questionnaire “Deviance”, developed by the staff of the S. M. Kirov Military Medical Academy; “Professional burnout” questionnaire by M.A. Dmitrieva and V.M. Snetkov; “Individual typological questionnaire” by L.N. Sobchik. To identify professionally important person qualities and their subsequent assessment, the officers underwent a survey. It was found out what personal qualities of managers, subordinates and colleagues are valuable (important), or, conversely, interfere with the professional activity. The results were systematized using content analysis.Results and Discussion. The conducted psychodiagnostic examination of medical officers showed that both managerial and clinical activities in the troops can contribute to emotional fatigue, increasing indifference, deformation of contacts with the military, a negative assessment of oneself and one’s professional capabilities. Professional burnout signs were found in 9.4 and 9.3 % of clinical specialists and medical platoon commanders (chiefs of unit medical service), respectively. Statistically significant interrelations are established between professional burnout indicators and such relatively steady traits as excessive propensity to risk, search of thrills, autoand hetero-aggression, inadequate self-assessment, isolation, internal conflicts. The higher need for external control and motivation in officers with more pronounced signs of professional burnout were established.Conclusion. The relevance of professional burnout screening of military doctors and medical units commanders is substantiated. Timely detection of adverse personality deformities caused by professional burnout and the development of measures to eliminate the negative states can play a positive role in maintaining the health and professional longevity of medical professionals.
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Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.
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Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of the first production. The opera was directed by David Pountney, the renowned opera director, while an international team of young singers and celebrated artists assisted the co-production. The opera was played three times in Amsterdam. Winfried Maczewski conducted the Amsterdam Nieuw Ensemble whereas Daniel Hoyem Cavazza conducted the Wiener Kammeroper on twelve performances. The Viennese premier of Zora D. opened the season of celebrations, thus marking the 50th anniversary of the Wiener Kammeroper. The libretto, based on the script for a TV film by Dusan Ristic, was co-written by Isidora Zebeljan, Milica Zebeljan and Borislav Cicovacki. Speaking of genre, the libretto represents a m?lange of thriller, melodrama and mystery, with elements of fiction. The opera consists of the prologue and seven scenes. The story, set in the present-day Belgrade, also goes back to the 1930?s and the periods interweave. The opera was written for four vocalists: the soprano, the baritone, and two mezzo-sopranos. The chamber orchestra has fifteen musicians. The story: One summer day in 1935, Belgrade poetess Zora Dulijan mysteriously disappears. Sixty years later, Mina, an ordinary girl from Belgrade, quite unexpectedly becomes part of an incredible story, which gradually unravels as time goes by. Led by a dream (recurring night after night, with some vague verses about poplar trees and contours of a mysterious woman with a silver scarf being all that Mina remembers) she sets out to solve the mystery that seems to haunt her for no apparent reason. Part of the secret is also an invisible force, which Mina uses to gradually piece together the story of a great love that was brutally brought to an end 60 years ago and now seeks fulfillment. At the same time, Vida, a woman in her 80s, who has just returned to Belgrade from a long exile, begins to feel tortured and haunted by ghouls from the past, the very same she has been trying to escape all those years. Mina, desperate to solve the mystery, and Vida, in search of final rest and redemption, meet to disclose to us the answer and tell us what really happened to Zora D. The leading characters of the opera, whose main attribute is illusiveness, undergo transformation that is something rarely found in opera literature. This quality of the characters and the story, as well as the absence of a real drama in the libretto, matches the specific idea of a contemporary opera. Unlike composers who insist on giving characters psychological quality, thus reducing their emotions to clich?s for reasons of clarity, Isidora Zebeljan demonstrates a need for a completely different type of opera. Her idea is to have an opera which focuses on the sensual exploits of music itself. This is the very type of opera sought after by Isidora Zebeljan. The first and most striking feature of her music is a very unique melodic invention. Opera Zora D. could be described as a necklace of thickly threaded music pearls. Microelements of the traditional music from Serbia (Vojvodina), Romania and the south of the Balkans give her melodies a very special quality. Those elements, however, have not been taken over in their entirety, nor do they exist in the form that would link this music to any particular type of folk music. Music elements of the traditional music, incorporated in the music expression of Isidora Zebeljan, provide additional distinctiveness and the colour, while being experienced as an integral part of Zebeljan?s creative being which carries within itself the awareness of the composer?s musical roots. Melodic elements of the opera expressed in such a manner give form to vocal parts, which require of performers great musicality and perfect technique without compromising the nature of their vocal expression. Specific chords with a diminished fifth, resulting from the use of folk music scales with augmented second, give the opera a distinct harmonic quality. The rhythmic and metric components of music are complex, naturally stemming from the melody and are characterized by a mixture of rhythms and changeable metrics. The rhythmic patterns of percussion are incorporated in the whole by parallel lining up of melodic and rhythmic layers, so that they produce sonorous multiplicity. Very often the rhythmic elements have characteristics of a dance. The chamber orchestra consists of flute (piccolo and alto), clarinet and bass-clarinet, saxophone (soprano and alto) bassoon, French horn, trumpet, harp, piano, percussion, and string quintet. By providing specific orchestration and coloring, Isidora Zebeljan manages to completely shift the real dramatic suspense from words to music particularly the orchestra, thus causing various emotional states to quickly change. Speaking of structure, the opera represents an infinite sequence of melodies. Although rarely, melodic entities have, in some places, the form of arias. There are no real recitatives in the entire opera. Each segment of the opera belongs to a corresponding melodic section of the stage that they are part of. The extraordinary quality of the music in Zora D. lies in the music surprise that it provides, which is an element of the composer?s language and style rarely seen in the music literature but is a symbol of a special talent. Emotional states are not merely evoked through particular musical clich?s, the unusual origin of which may be found in the exceptional parallel quality of states stemming from the very music. The listener, in his or her initial encounter with the music of the opera, will never hear dark and disconsolate music when tragic and dramatic happenings are taking place. Listening to the music will, however, help them feel the sound layer of the tragedy that is present in the offered sound. They will not follow it consciously but, instead, they will be leaded to the exact emotional stimulus that they will not be able to defy rationally. Such a music expression we call a music fiction. Artistic team involved in the first production of Zora D. has discovered a HVS technique, which helps shifting elements of scenography, from one set into the next, very efficiently and effectively. Isidora Zebeljan?s opera Zora D. represents a great success of Serbian music on the international scene, and undoubtedly the greatest success of Serbian opera. Her music liberates listeners from the compulsion of reflecting upon the content they are listening to. Instead, her music compels them to feel.
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Russell, Jacob. "Misbehavioral Law and Economics." University of Michigan Journal of Law Reform, no. 51.3 (2018): 549. http://dx.doi.org/10.36646/mjlr.51.3.misbehavioral.
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Many legal rules—ranging from common-law contract doctrines to modern consumer protection regulations—are designed to protect individuals from their own mistakes. But scholars have neglected a core difficulty facing such policies: we humans are a motley bunch, and we are defined in part by our idiosyncrasies. As a result, one person’s mistake is another’s ideal choice. Making matters worse, it is hard to observe when a policy response misfires. If cognitive errors and psychological biases are as prevalent as current research suggests, then we have no reliable way of knowing consumers’ true preferences. So are we always faced with a dilemma, where any approach that helps one group of consumers must hurt another? This Article suggests an approach to this impasse. The key is to distinguish two potential sources of individual preferences: subjective tastes and objective circumstances. For example, two day-traders betting in the stock market may differ along either dimension. Each may place a different subjective value on the thrill of gambling (taste), and a stock market loss may have different impacts on each trader’s objective financial health (circumstance). This distinction can guide policy. Consumers likely have better information on their subjective tastes, while third-party interventions can often make better use of objective circumstances in improving choices. This approach underscores some of the limitations of the rising reliance on behavioral economics and psychology in legal scholarship and policy. This Article discusses how discerning tastes from circumstances could guide regulation of pressing issues including payday lending and investor protection.