FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / RESUMO Sobre a tensÃo estabelecida entre as instituiÃÃes e seus âusuÃriosâ, sobre as chamadas estratÃgicas e os desvios tÃticos, sobre lÃgicas e astÃcias à que o presente trabalho visa a se erigir. Tendo como referencial as concepÃÃes de Michel de Certau, esta dissertaÃÃo toma o filme Abril DespedaÃado como terreno de investigaÃÃo sÃcio-antropolÃgica, procurando refletir acerca das prÃticas de vinganÃa e de seus efeitos sobre os envolvidos nas contendas familiares. Assim, saber o que faz de tal prÃtica uma instituiÃÃo, analisar seus elementos constituintes e, sobretudo, examinar as maneiras como ela à consumida pelos habitantes de Riacho das Almas - localidade do sertÃo baiano, palco do conflito entre os Breves e o Ferreira -, sÃo os principais objetivos. A âreflexividadeâ possibilitada pelo distanciamento e, conseqÃente, a auto-interpelaÃÃo dos protagonistas do ciclo de morte, tambÃm à aqui objeto de reflexÃo. à importante destacar, ainda, que o presente trabalho parte da idÃia de que o cinema, enquanto experiÃncia estÃtica, fornece pistas para compreensÃo do mundo sÃcio-cultural. / About the tension between the institutions and their "users", about strategic calls and tactical deviations, about logics and cunnings, itÂs that the present work seeks be structured. Having as reference Michel de CerteauÂs conceptions, this dissertation takes Abril DespedaÃado film as a investigation field, trying to think about revenge practices and their effects on them involved in the family contentions. Therefore, know that does such practice an institution, analyze their constituent elements and, above all, examine the ways like it is consumed by the habitants of Riacho das Almas - place of the interior baiano, stage of the conflict between Breves and Ferreiras -, are the main objectives. The "reflexivity" made possible by the estrangement and, consequently, the interpellation of the protagonists of the death cycle, is here a reflection object too. It is important to say, that this present work leaves of the idea that the cinema, as aesthetic experience, supplies tracks for understanding the social and cultural world.

A SINGLE REGRET is a murder mystery set on the post Hurricane Sandy Jersey shore. At thirteen, Jimmy Miller killed his father in retribution for murdering his mother. Twenty years later, he returns home because of the murder of his childhood best friend, Dillon Abernathy. Jimmy learns that Gavin, a classmate turned junkie, is charged with murdering Dillon, a scenario Jimmy doesn’t find plausible, so he decides to pursue leads the police won’t. Told in first person past tense, A SINGLE REGRET follows Jimmy as he unearths the secrets behind his friend’s death and also learns the truth behind the destruction of his own family. As in Dennis Lehane’s Mystic River, the novel examines how childhood ties shape perceptions in ways that are both true and false. Jimmy is forced to evaluate his own sense of bitterness and learn how to forgive his own mistakes and those of others.

MA (Tshivenda) / Senthara ya M. E. R. Mathivha ya Nyambo dza Afurika, Vhutsila na Mvelele / See the attached abstract below

No description available.

Den här uppsatsen analyserar John Ajvide Lindqvists roman Lilla stjärna (2010). Uppsatsens syfte är att undersöka och utreda hur dess huvudkaraktärer Theres och Teresa samt de andra unga flickorna i romanen gestaltas som identifikations objekt för läsaren samtidigt som de är våldsamma och väcker avsky. Frågeställningarna som används som utgångspunkt för att undersöka syftet är: Vad är det i romanen som väcker en känsla av skräck? Och vilka faktorer gör att läsaren kan identifiera sig med karaktärerna? Uppsatsen söker att problematisera flickornas användande av våld och mord genom teoretiska ingångar som baseras på skräckgenrens användande av identifikations objekt för att skapa en känslomässig upplevelse hos läsaren. Samt rape-and-revengegenrens hämndtematik och tidigare forskning kring ondskefulla barn och kvinnors roll inom skräckgenren. Via analysen framgår det att det som gör romanen skrämmande är att det är barn som är våldsamma mördare. Barn som annars brukar ses som de som är mest oskuldsfulla. Att flickorna även drivs av djuriska instinkter gör dem opålitliga som skapar en ovisshet hos läsaren. Av analysen framgår det även att genom intern fokalisering skildras flickorna på olika sätt, vilket resulterar i att sympatin för dem blir olika höga. Teresa skildras genom en egen intern fokalisering, medan Theres och de andra flickorna skildras genom andra karaktärers interna fokalisationspositioner. Däremot behåller huvudkaraktärerna rollen som identifikations objekt trots att de väcker skräck. På så sätt framgår huvudkaraktärernas motiv för deras våldshandlingar och det blir istället andra karaktärer och samhället som får rollen som antagonister och romanens monster.

Indiana University-Purdue University Indianapolis (IUPUI) / In this study, narrative analysis, informed by the perspective of standpoint feminism, is applied to movies featuring female protagonists throughout the past five decades of the “rape and revenge” genre of filmmaking to understand the extent to which probability and fidelity function in these five films to create empathy for the victims of sexual violence. Narrative criticism is used to assess motives behind stories told in media texts, while standpoint feminism illuminates epistemological implications to cultivate intersectional viewpoints. This study provides a narrative analysis through standpoint feminism of five films that each consider female portrayals of violence as a central part of its plot. Each film represents their respective time frames over the past five decades, falls under the criteria of what constitutes a “rape and revenge” film, have been viewed overall by mainstream audiences as films that are relatively well known, and portrays women as protagonists in the plot lines. Using the theoretical insights of narrative criticism, this study investigates the common themes observed in the films that fit these specific criteria to illuminate violent female portrayals in film and identify the extent to which probability and fidelity function in these five films to create empathy for the victims of sexual violence. Standpoint feminism provides the framework to reveal the broader cultural implications of violent rhetoric in gendered media portrayals of films from the past five decades featuring female protagonists.

Blood revenge – or katakiuchi – represents one of many defining principles that characterize the Japanese samurai warrior; this one act of honorable violence served as an arena in which warriors could demonstrate those values which have come to embody the word samurai : loyalty, honor, and personal sacrifice. Blood revenge had a long and illustrious history in Japan – first, as the prerogative of the gods in the Kojiki, then as a theoretical debate amongst imperial royalty in the Nihongi, and at last entering into the realm of practice amongst members of the warrior class during Japan’s medieval period. Originally, blood revenge served a judicial function in maintaining order in warrior society, yet was paradoxically illegal in premodern Japan. Throughout the medieval period, the frequency of blood-revenge undertakings likely increased, acquiring social legitimacy despite the practice’s illegal standing; however, under the rule of the Tokugawa bakufu, blood revenge was granted the legitimacy of law as well through the legalization of this practice. The social and cultural influences of blood revenge were so profound that the bakufu decided to harness its benefits in order to allow the samurai class, who now existed in a time of peace, a method through which to express themselves, while simultaneously using this practice as a device of social control. Yet, little is known about the evolution of this practice and its reception between the first official accounting of blood revenge in the Azuma Kagami and the legalization of this practice under bakufu law. In this Master’s Thesis, I endeavor to bridge the gap in modern scholarship between the highly ritualized blood-revenge practices of the Tokugawa period and its origins in medieval Japanese history. To this end, I will explore the evolution of blood revenge practices in the sphere of social, political, legal, and cultural history by analyzing the first literary representation of the pioneering blood revenge incident in Japan – the revenge of the Soga brothers – in the Manabon Soga Monogatari and its later Tokugawa ehon adaptation.

A reflection on the costume design process for the theatrical production of Taylor Mac’s The Lily's Revenge: A Flowergory Manifold, with book and lyrics by Taylor Mac and music by Rachelle Garniez. The production was directed by Jen Onopa. Performed at the Fine Arts Center, University of Massachusetts Amherst, April 20th to April 29th, 2018. The Lily’s Revenge is a piece of queer durational theater that tells the story of a Lily who falls in love with a bride and goes on a journey to become a man, so she can marry her. Along the way she faces challenges that force her to evaluate who she is and what love is. Taylor Mac uses multiple theatrical structures, establishing expectations and disrupting them while simultaneously disrupting heteronormative societal expectations. The audience is challenged to consider alternative possibilities for what constitutes happiness in our society, to open their minds to different possibilities of love. At once epic and intimate, ridiculous and real, this is a play rife with contradiction and possibility. I reflect on the challenges posed by this production, from the ethical considerations of representing the LGBTQ community on stage as a heterosexual cis-gendered woman, to the logistical challenges that accompany a four-hour long piece of theater with five acts set in unique settings and theatrical modes. I walk through the design process from the early research phase to the final design decisions. I examine the collaboration between myself and my team, how their input helped shape the designs. I explore the production process and my experience in guiding this massive show through the costume shop. I reflect on how I have grown through this experience—my work on this production has been exemplary of my time at UMass in that I have grown both as an artist and as a person. Art is a way of exploring the world and our relationship to it, of thinking about and questioning who we are as people, how we relate to other people, how we can make change in both regards. There is always something to learn about yourself through each production.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

This paper explores the depiction and function of madness on the Renaissance stage, specifically its development as trope of the English revenge tragedy from its Elizabethan conception to its Jacobean advent through a representative engagement of Thomas Kyd’s The Spanish Tragedy, William Shakespeare’s Hamlet and John Webster’s The Duchess of Malfi. Madness in these plays selectively departs from popular conceptions and archetypal formulas to create an uncertain dramatic space which allows its sufferers to walk moral lines and liminal paths unavailable to the sane. “Madness” is responsible for and a response to vision; where the revenger is driven to the edge of madness by a lapse in morality only visible to him, madness provides a lens to correct the injustice. It is the tool that allows them to escape convention, decorum and even the law to rout a moral cancer, and, in this capacity, is enabling rather than disabling.