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The Pathologising Effect of TV Revengendas
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2015 The bitter taste of payback: the pathologising effect of TV revengendas Cassandra E. Sharp University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Sharp, Cassandra E., "The bitter taste of payback: the pathologising effect of TV revengendas" (2015). Faculty of Law, Humanities and the Arts - Papers. 2422. https://ro.uow.edu.au/lhapapers/2422 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The bitter taste of payback: the pathologising effect of TV revengendas Abstract The thirst for vengeance is a timeless subject in popular entertainment. One need only think of Old Testament scripture; Shakespeare's Hamlet; Quentin Tarantino's Kill Bill or the TV series Revenge, and we immediately conjure up images of a protagonist striving to seek justice to avenge a heinous wrong committed against them. These texts, and others like it, speak to that which is ingrained in our human spirit about not only holding others responsible for their actions, but also about retaliation as payback. This article seeks to problematise the way the popular revenge narrative effectively constructs the vendetta as a guilty pleasure through which the audience can vicariously gain satisfaction, while at the same time perpetuates law's rhetoric that personal desires for vengeance are to be repressed and denied. -
Critical Analysis of the Roles of Women in the Lais of Marie De France
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1976 Critical analysis of the roles of women in the Lais of Marie de France Jeri S. Guthrie The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Guthrie, Jeri S., "Critical analysis of the roles of women in the Lais of Marie de France" (1976). Graduate Student Theses, Dissertations, & Professional Papers. 1941. https://scholarworks.umt.edu/etd/1941 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A CRITICAL ANALYSIS OF THE ROLES OF WOMEN IN THE LAIS OF MARIE DE FRANCE By Jeri S. Guthrie B.A., University of Montana, 1972 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1976 Approved by: Chairmah, Board of Exami iradua4J^ School [ Date UMI Number EP35846 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT OissHEH'tfttkffl Pk^islw^ UMI EP35846 Published by ProQuest LLC (2012). -
Kurosawa's Hamlet?
Kurosawa’s Hamlet? KAORI ASHIZU In recent years it has suddenly been taken for granted that The Bad Sleep Well (Warui Yatsu Hodo Yoku Nemuru, 1960) should be includ- ed with Kumonosujô and Ran as one of the films which Akira Kuro- sawa, as Robert Hapgood puts it, “based on Shakespeare” (234). However, although several critics have now discussed parallels, echoes and inversions of Hamlet, none has offered any sufficiently coherent, detailed account of the film in its own terms, and the exist- ing accounts contain serious errors and inconsistencies. My own in- tention is not to quarrel with critics to whom I am in other ways in- debted, but to direct attention to a curious and critically alarming situation. I For example, we cannot profitably compare this film with Hamlet, or compare Nishi—Kurosawa’s “Hamlet,” superbly played by Toshirô Mifune—with Shakespeare’s prince, unless we understand Nishi’s attitude to his revenge in two crucial scenes. Yet here even Donald Richie is confused and contradictory. Richie first observes of the earlier scene that Nishi’s love for his wife makes him abandon his revenge: “she, too, is responsible since Mifune, in love, finally de- cides to give up revenge for her sake, and in token of this, brings her a [ 71 ] 72 KAORI ASHIZU bouquet . .” (142).1 Three pages later, he comments on the same scene that Nishi gives up his plan to kill those responsible for his father’s death, but determines to send them to jail instead: The same things may happen (Mori exposed, the triumph of jus- tice) but the manner, the how will be different. -
A Season of Thrilling Intrigue and Grand Spectacle –
A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents. -
Turkish Cinema
Turkish cinema Nezih Erdoğan Deniz Göktürk The first years Cinema, as a Western form of visual expression and entertainment, did not encounter resistance in Turkey, a country culturally and geographically bridging East and West. It perfectly represented the ambivalent attitudes of the national / cultural identity under construction. On one hand, cinema came as a sign of modernization / Westernization, not only for the images of the Westbeing projected onto the screen, but also for the condi- tions of its reception. Cinematography was a technological innovation imported from the West and the ritual of going to the movies became an important part of the modern urban experience. On the other hand, cinema offered possibilities for the production of a ‘national discourse’. Many of the early feature films reflect the ‘birth of a nation’ or resis- tance to the Allied Forces during World War I. The audience was already familiar with the apparatus (theatre, screen, figures, music and sound, light and shadow), which bore some resemblance to the traditional Turkish shadowplay Karagöz, one of the most popular entertainment forms of the past. Ayse Osmanoğlu, the daughter of Sultan Abdülhamid II, remembers that the French illusionist of the palace used to go to France once a year and return with some novelties to entertain the palace population; a film projector throwing lights and shadows on a wall was the most exciting of these spectacles. The first public exhibition took place in 1896 or 1897 in the Sponeck pub, which was frequented by non-Muslim minorities (namely Levantines), as well as Turkish intellectuals infatuated with the Western civilization in Pera (today Beyoğlu), a district in the European part of Istanbul known for its cosmopolitan character. -
Betrayal in the Life of Edward De Vere & the Works of Shakespeare
Brief Chronicles V (2014) 47 Betrayal in the Life of Edward de Vere & the Works of Shakespeare Richard M. Waugaman* “The reasoned criticism of a prevailing belief is a service to the proponents of that belief; if they are incapable of defending it, they are well advised to abandon it. Any substantive objection is permissible and encouraged; the only exception being that ad hominem attacks on the personality or motives of the author are excluded.” — Carl Sagan e have betrayed Shakespeare. We have failed to recognize his true identity. Any discussion of the theme of betrayal in his works must Wbegin here. We psychoanalysts have also betrayed Freud, in “analyzing” rather than evaluating objectively Freud’s passionately held belief during his final years that “William Shakespeare” was the pseudonym of the Elizabethan courtier poet and playwright Edward de Vere, Earl of Oxford (1550-1604).1 Freud realized that one unconscious motive for our betrayal of Shakespeare2 is our implacable wish to idealize him. That is, we prefer to accept the traditional author not just in spite of how little we know about him, but precisely because we know so little about him. Thus, we can more easily imagine that this shadowy inkblot of a figure was as glorious a person as are his literary creations. The real Shakespeare was a highly flawed human being who knew betrayal first-hand, since his childhood, from both sides, both as betrayer and betrayed. * This article was originally published in Betrayal: Developmental, Literary, and Clinical Realms, edited by Salman Akhtar (published by Karnac Books in 2013), and is reprinted with kind per- mission of Karnac Books. -
Torah Stories the Mamas and the Papas Torah Family Tree
Bet (2nd Grade) Torah Stories The Mamas and the Papas Torah Family Tree Activity #1: To review from last year, read the 3 attached Bible stories about the mamas (matriarchs) and papas (patriarchs) of the Jewish people and/or read the character descriptions below. Using the Matriarch & Patriarch Family Tree Pictures page, cut out one set of character pictures and glue or tape them on the family tree in the correct place. Abraham- Known as the “father” of the Jewish people, Abraham is thought to be the first person to believe in ONE God. Abraham and his wife Sarah left their home to come to the land of Canaan to build a home for his children, grandchildren and future family members. Sarah- As the wife of Abraham, she left her home to help make a home for the Jewish people. Sarah gave birth to Isaac when she was old. Isaac- As son of Abraham and Sarah, Isaac led the Jewish people, after Abraham. Isaac and his wife Rebecca had twin sons, Jacob and Esau. Rebecca- Rebecca showed kindness by helping Isaac’s servant. She had twin sons, Jacob and Esau. Esau was strong and enjoyed hunting. Jacob stayed indoors helping with house chores. Rebecca thought Jacob should be the next leader of the Jewish people, even though it was Esau’s right as the older son. Rebecca helped Jacob trick Isaac. Isaac blessed Jacob instead of Esau and Jacob became the next leader. Jacob- Jacob was the clever, younger son of Isaac and Rebecca. With the help of his mother, Jacob became the next leader of the Jewish people. -
Poison and Revenge in Seventeenth Century English Drama
"Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Woodring, Catherine. 2015. "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama A dissertation presented by Catherine L. Reedy Woodring to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts May 2015 © 2015 – Catherine L. Reedy Woodring All rights reserved. Professor Stephen Greenblatt Catherine L. Reedy Woodring “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama Abstract The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease. -
And This Is the Blessing)
V'Zot HaBerachah (and this is the blessing) Moses views the Promised Land before he dies את־ And this is the blessing, in which blessed Moses, the man of Elohim ְ ו ז ֹאת Deuteronomy 33:1 Children of Israel before his death. C-MATS Question: What were the final words of Moses? These final words of Moses are a combination of blessing and prophecy, in which he blesses each tribe according to its national responsibilities and individual greatness. Moses' blessings were a continuation of Jacob's, as if to say that the tribes were blessed at the beginning of their national existence and again as they were about to begin life in Israel. Moses directed his blessings to each of the tribes individually, since the welfare of each tribe depended upon that of the others, and the collective welfare of the nation depended upon the success of them all (Pesikta). came from Sinai and from Seir He dawned on them; He shined forth from יהוה ,And he (Moses) said 2 Mount Paran and He came with ten thousands of holy ones: from His right hand went a fiery commandment for them. came to Israel from Seir and יהוה ?present the Torah to the Israelites יהוה Question: How did had offered the Torah to the descendants of יהוה Paran, which, as the Midrash records, recalls that Esau, who dwelled in Seir, and to the Ishmaelites, who dwelled in Paran, both of whom refused to accept the Torah because it prohibited their predilections to kill and steal. Then, accompanied by came and offered His fiery Torah to the Israelites, who יהוה ,some of His myriads of holy angels submitted themselves to His sovereignty and accepted His Torah without question or qualification. -
The Question of Algorithmic Personhood and Being
Article The Question of Algorithmic Personhood and Being (Or: On the Tenuous Nature of Human Status and Humanity Tests in Virtual Spaces—Why All Souls Are ‘Necessarily’ Equal When Considered as Energy) Tyler Lance Jaynes Alden March Bioethics Institute, Albany Medical College, Albany, NY 12208, USA; [email protected] Abstract: What separates the unique nature of human consciousness and that of an entity that can only perceive the world via strict logic-based structures? Rather than assume that there is some potential way in which logic-only existence is non-feasible, our species would be better served by assuming that such sentient existence is feasible. Under this assumption, artificial intelligence systems (AIS), which are creations that run solely upon logic to process data, even with self-learning architectures, should therefore not face the opposition they have to gaining some legal duties and protections insofar as they are sophisticated enough to display consciousness akin to humans. Should our species enable AIS to gain a digital body to inhabit (if we have not already done so), it is more pressing than ever that solid arguments be made as to how humanity can accept AIS as being cognizant of the same degree as we ourselves claim to be. By accepting the notion that AIS can and will be able to fool our senses into believing in their claim to possessing a will or ego, we may yet Citation: Jaynes, T.L. The Question have a chance to address them as equals before some unforgivable travesty occurs betwixt ourselves of Algorithmic Personhood and Being and these super-computing beings. -
Stories of the Prophets
Stories of the Prophets Written by Al-Imam ibn Kathir Translated by Muhammad Mustapha Geme’ah, Al-Azhar Stories of the Prophets Al-Imam ibn Kathir Contents 1. Prophet Adam 2. Prophet Idris (Enoch) 3. Prophet Nuh (Noah) 4. Prophet Hud 5. Prophet Salih 6. Prophet Ibrahim (Abraham) 7. Prophet Isma'il (Ishmael) 8. Prophet Ishaq (Isaac) 9. Prophet Yaqub (Jacob) 10. Prophet Lot (Lot) 11. Prophet Shuaib 12. Prophet Yusuf (Joseph) 13. Prophet Ayoub (Job) 14 . Prophet Dhul-Kifl 15. Prophet Yunus (Jonah) 16. Prophet Musa (Moses) & Harun (Aaron) 17. Prophet Hizqeel (Ezekiel) 18. Prophet Elyas (Elisha) 19. Prophet Shammil (Samuel) 20. Prophet Dawud (David) 21. Prophet Sulaiman (Soloman) 22. Prophet Shia (Isaiah) 23. Prophet Aramaya (Jeremiah) 24. Prophet Daniel 25. Prophet Uzair (Ezra) 26. Prophet Zakariyah (Zechariah) 27. Prophet Yahya (John) 28. Prophet Isa (Jesus) 29. Prophet Muhammad Prophet Adam Informing the Angels About Adam Allah the Almighty revealed: "Remember when your Lord said to the angels: 'Verily, I am going to place mankind generations after generations on earth.' They said: 'Will You place therein those who will make mischief therein and shed blood, while we glorify You with praises and thanks (exalted be You above all that they associate with You as partners) and sanctify You.' Allah said: 'I know that which you do not know.' Allah taught Adam all the names of everything, then He showed them to the angels and said: "Tell Me the names of these if you are truthful." They (angels) said: "Glory be to You, we have no knowledge except what You have taught us. -
Walpole Public Library DVD List A
Walpole Public Library DVD List [Items purchased to present*] Last updated: 9/17/2021 INDEX Note: List does not reflect items lost or removed from collection A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Nonfiction A A A place in the sun AAL Aaltra AAR Aardvark The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.1 vol.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.2 vol.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.3 vol.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.4 vol.4 ABE Aberdeen ABO About a boy ABO About Elly ABO About Schmidt ABO About time ABO Above the rim ABR Abraham Lincoln vampire hunter ABS Absolutely anything ABS Absolutely fabulous : the movie ACC Acceptable risk ACC Accepted ACC Accountant, The ACC SER. Accused : series 1 & 2 1 & 2 ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ACT Act of valor ACT Acts of vengeance ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam’s Rib ADA Adaptation ADA Ad Astra ADJ Adjustment Bureau, The *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ADM Admission ADO Adopt a highway ADR Adrift ADU Adult world ADV Adventure of Sherlock Holmes’ smarter brother, The ADV The adventures of Baron Munchausen ADV Adverse AEO Aeon Flux AFF SEAS.1 Affair, The : season 1 AFF SEAS.2 Affair, The : season 2 AFF SEAS.3 Affair, The : season 3 AFF SEAS.4 Affair, The : season 4 AFF SEAS.5 Affair,