Exact Revenge Research Articles

Reconstruction of Gender Roles and Female Self-Identity: A Case Study of the Film Kill Bill

Quentin Tarantino's Kill Bill was released in North America in 2003. The storyline is relatively simple, revolving around Beatrix, a former professional assassin in the underworld, who, upon discovering her pregnancy, decides to abandon her past life of violence and bloodshed and settle down as the owner of a video store. Bill, her former lover and boss, dissatisfied with Beatrix's silent withdrawal from the "Vipers" organization, leads his criminal associates to massacre the wedding rehearsal, leaving no one alive except the protagonist. After miraculously surviving and lying in a hospital for four years, Beatrix embarks on a journey to exact revenge on her enemies. Undoubtedly, Kill Bill is often labeled as a revenge-driven and violent Hollywood film. However, beyond its violent exterior, the film reveals deeper feminist perspectives: it challenges traditional male authority, reflects women's resistance to the constraints on personal and emotional freedom, and highlights the awakening of modern female consciousness.

EXAMINING POWERS THROUGH SURYANI’S REPRESENTATION AGAINST SEXUAL VIOLENCE IN WREGAS BHANUTEJA’S PHOTOCOPIER

This study examines the representation of woman against sexual violence in Photocopier, an Indonesian film directed by Wregas Bhanuteja. In film, women as sexual violence victims are often misrepresented through stereotyping as the helpless victims who need men’s help to deal with the situation or showing extreme violence against their perpetrators to exact revenge. If not stereotyped, women as sexual violence victims also tend to be fetishized as their victimized body often sexualized for erotic pleasures. In its protagonist, Sur, Photocopier took different approach by representing the victim as a woman with powers to fight against the sexual violence she experienced. This study focuses in examining how Sur exerts her powers and how those powers impacted the sexual violence case that she experienced. The study is conducted qualitatively using content analysis method which examines the visual aspects as well as dialogues from the film and applying Amy Allen’s theory of feminist power relation. The analysis identifies that Suryani possesses and exercises all three types of feminist power posed by Allen, which are “power-to,” “power-over,” and “power-with,” as a sexual violence victim. The study reveals that while the film tries to represent Sur as a powerful woman, she is also adjacently represented as a stereotypical powerless sexual violence victim who is helpless to fight against her perpetrators even after exercising all her powers both personally and collectively. However, such stereotypical representation may be necessary to show the reality of sexual violence victims and as a form of criticism against the mishandling of sexual violence case.

Conflict Under Incapacitation and Revenge: A Game-Theoretic Exploration

Abstract In real life, winning a conflict sometimes does not end the conflict. Revenge motivations can stay and provide momentum to the conflict, thus leading to further escalation of the conflict. This is known as the value effect or vengeance effect of revenge. However, the presence of revenge can lead to de-escalation of the conflict out of self-deterrence and sometimes retaliation out of revenge is not possible if the combatant is incapacitated. Hence, the impact of revenge on the level of violence is a priori not clear. This paper is an attempt to answer that question. Using a two-period game of conflict this paper tries to show how desire and capabilities of the combatants to exact revenge can influence the intensity of the conflict. This paper shows the following: how the strategies of the combatants are influenced by the value effect of revenge, self-deterrence and incapacitation of the combatants; how the stronger combatant is in a favourable position in the conflict and can prevent its opponent from going into second period conflict out of revenge; when the combatants are equally strong the intensity of the conflict starts falling with time. It also lays out some real-life conflicts and existing empirical work to support the results.

No, Punitive House Demolition Does Not Reduce Suicide Bombing: Revisiting Evidence from the Second Intifada

ABSTRACT Punitive house demolitions were intensified by the Israeli government during the Second Intifada with the intent of curbing suicide bombings. Using econometric analysis, Benmelech et al. (2015) suggest that this policy is effective, citing deterrence as the driving factor. In 2014, the Israeli Supreme Court relied on the findings of an earlier draft of the Benmelech paper to reject a petition against the resumption of punitive housing demolition. In this research, I show that the Benmelech findings are spurious due to misspecified modelling and that the reported effect of punitive house demolition camouflages confounding factors. I also show that among the multiple security measures put in place during the Second Intifada, arrest campaigns did negatively impacted suicide bombings. I provide suggestive evidence that explains individual motives for suicide bombings and why punitive house demolition lacks a deterrence effect. The motives are likely related to the aggravation of grievances from excessive state oppression, willingness to exact revenge, and the glorification of self-sacrifice and martyrdom in asymmetric conflict.

Psychopathy caused of the main character in Flynn’s Gone Girl

In this research, the researcher aimed to investigate the psychopathy cause of the main character in Flynn’s Gone Girl. This research used a descriptive qualitative method. The data were collected through closed reading. This research showed that the main character's journey is unquestionably satisfying from start to finish. The effects of the main character's actions have reached a point of saturation, and they are extremely happy. Several minor characters have thwarted the main character's magnificent plot to exact revenge on the other main character (her husband). This research suggests further research to analyze the social relationship between the characters of the novel and its impact on their character. Specifically, the researcher analyzed the main character who is a psychopath and it has fascinated artists and the general public for centuries. Besides, it also got the author’s feelings or experiences of the object of the study in Flynn’s Gone Girl.

Nobility, Interrupted: The Queer Poetics of Vandana Kataria’s Noblemen

This paper explores the role of noble kinship in Noblemen, Vandana Kataria’s adaptation of The Merchant of Venice. Noblemen is a 2019 Indian independent film written during the apex of gay decriminalization discourse in India. While Bollywood adaptations of Shakespeare have been well studied, independent films such as Noblemen that “speak back” to mainstream regimes of cinema and culture demand more attention. The film transforms the Christian Venetian setting of Shakespeare’s play to that of an all-boys boarding school in India dubbed “Mount Noble High.” I argue that the film depicts male dominated kinship networks that oppress queer difference to emphasize how mainstream kinship perpetuates and reinforces an oppressive and monolithic “imagined community.” Kataria transplants the oppressive kinship apparent in The Merchant of Venice to Noblemen’s Noble High to emphasize how kinship networks’ discrimination, particularly homophobia, results in an imagined community bonded by corrupt nobility and erasure of marginalized identity. Such kinship networks force Shay, Kataria’s Shylock, to renounce his queer identity and convert to a position of subordination. Shay is only able to escape this subordination and exact revenge against the bullies by enacting the lawful role of Portia. This victory, however, fails to restore his nobility as it further ingratiates him in societal structures that reinforce oppression and heteronormativity. By showing how mainstream noble kinship is built upon a foundation of oppression rather than virtue, Kataria encourages audiences to question the virtue of laws, societal practices, and Bollywood films that reinforce imagined community by marginalizing queerness.

The Future Is Furby

The Future Is Furby

LAW ENFORCEMENT ANALYSIS OF ZTE WI-FI ROUTER THIEVERY

The crime of theft is regulated in Book II, Chapter XXII of Law Number 1 of 1946 concerning on the Criminal Code (KUHP) Articles 362 to Article 367. In this Chapter, five types of theft are regulated, such as Ordinary theft (Article 362) Criminal Code, Theft with weight (Article 363) of the Criminal Code, Minor theft (Article 364) of the Criminal Code, Theft with violence (Article 365) of the Criminal Code, and Theft in the family (Article 367) of the Criminal Code. The type of research used in this research is sociological or empirical legal research since, in this case, the researcher directly observes what is happening in society. Based on the research result, Surabaya District Court, which conducts criminal investigations and trials, has decided in the defendant's case, sentencing the Perpetrator of Theft of Zte Wi-FiRouter Based on Decision Number 2011/Pid.B/2022/PN Sby. According to panel of judges, the punishment imposed on the defendant as stated in the court decision has been deemed as appropriate and fair, both from the defendant's interests, society's interests, and the implementation of the law generally, that punishment is used as a last resort and not as an attempt to exact revenge for the perpetrator act.

More Human Than Human: The Exile in Blade Runner

More Human Than Human: The Exile in <i>Blade Runner</i>

La prueba de los ingenios

La prueba de los ingenios

Six by Toby Marlow and Lucy Moss

Reviewed by: Sixby Toby Marlow and Lucy Moss Horacio Sierra SIX. By Toby Marlow and Lucy Moss. Directed by Lucy Moss and Jamie Armitage. Brooks Atkinson Theatre, New York City. October 9, 2021. In a theatrical landscape regularly awash with jukebox musicals that cull the catalogs of big-name pop artists such as ABBA, Alanis Morrissette, Gloria Estefan, the Go-Gos, and more, Toby Marlow and Lucy Moss's Sixarrived on Broadway with an original score of radio-friendly hooks, TikTok-ready dance moves, and a racially diverse cast of tabloid-worthy divas that gave legitimate pop stars a run for their money. The musical's selling point is that its supersonic score takes inspiration from King Henry VIII's six wives as much as it does the pop sirens of the last twenty years. This dynamic combination gave the audience the chance to veer from silently thanking their high school history teachers for giving them the ability to laugh at puns about the Protestant Reformation to priding themselves for recognizing choreography indebted to Beyoncé's "Formation." By amalgamating the academic humor of The Complete Works of William Shakespeare (Abridged)with the rhetoric of superficial third-wave feminist pop stars, Sixcreated a frothy but provocative musical that offered bespoke narratives for sixteenth-century women whose travails are all the more relevant in the #MeToo era. Whether on London's West End or the various cruise ships where Sixwas staged before it debuted on Broadway, its creators proved that they found a formula that caters to an audience of pop music–loving millennials and Generation Zers who, in a post-Madonna cultural landscape, are liable to see Catherine of Aragon, Gloria Steinem, and Selena Gomez as equals in the feminist canon. Like a Black Pink music video, Six's plot was threadbare but straightforward enough: the women form a girl group and each one is competing to become the sextet's lead singer. The sole criterion for becoming the leader is winning the audience's applause by proving they suffered the most during their marriage to King Henry VIII. The competition format is more akin to the messy politics of twenty-first-century reality TV shows that pit women against one another rather than the sororal communities portrayed in actual early modern literary works such as Christine de Pizan's City of Ladies(1405), María de Zayas's Desenagños amorosos(1647), and Margaret Cavendish's The Convent of Pleasure(1688). The show's earnest though superficial take on feminist discourse attempts to mirror Zayas's work wherein a safe space is created for women to be candid about the ways in which men belittle, deceive, and murder them without repercussions in a patriarchal society. Six's opening number, "Ex-Wives," encapsulates how the show borrows from the historical lore of England, Broadway, and pop music. Each character is given a verse to flesh out the details of the dreary-but-catchy refrain of "divorced, beheaded, died / divorced, beheaded, survived" à la the imprisoned women of Chicagoin "Cell Block Tango." But unlike the "merry murderesses of the Cook County Jail," these women were unable to exact revenge on their husband. Catherine of Aragon's (Adrianna Hicks) stature as a regal Queen Bee was solidified with its keen homage to Beyoncé at her peak with the fist-pumping "No Way." But more could have been made of how Earth-shattering her divorce was. As the daughter of Europe's most powerful royals, Spain's Catholic monarchs Fernando and Isabel, Catherine was a queen among queens. Her fierce devotion to the Roman Catholic Church and twenty-four-year marriage to the king proved her as a loyal steward of traditional monarchies. Henry's divorce from Catherine ensured that England, Europe, and the world would never be the same as the Reformation ushered in religious wars, geopolitical standoffs, and a refreshing stream of liberal intellectual discourse. Anne Boleyn, played by the addictively charming Andrea Macasaet, garnered hearty laughter every [End Page 77]time she reminded the other wives and audience about the horrors of being beheaded. Lily Allenesque lines such as "The rules were so outdated / Us two wanted...

Migration, Identity, and Colonial Fantasies in a Fifth-Century Story Collection

At the turn of the fifth century, a story about a man contesting real estate with a ghost circulated in several different versions in South China. In one of the versions, a young man discovered three lacquer coffins when digging a tomb for his deceased father and had the coffins reburied elsewhere. That night, he dreamed of Lu Su 魯肅 (172–217), the powerful minister in the southern Kingdom of Wu, who angrily announced that he would exact revenge. He also dreamed of his late father, who told him that Lu Su was fighting with him over the gravesite. Later, the young man found copious blood on his father's seating mat.

Inhabiting the In-Between: Childhood and Cinema in Spain's Long Transition by Sarah Thomas

Reviewed by: Inhabiting the In-Between: Childhood and Cinema in Spain's Long Transition by Sarah Thomas Elizabeth Scarlett Thomas, Sarah. Inhabiting the In-Between: Childhood and Cinema in Spain's Long Transition. U of Toronto P, 2019. 240 pp. The Spanish Transition into democracy was not only lengthy, but also plagued with contention. In fact, it has taken twice as long as the Transition itself to fathom how much went wrong with the process. Sarah Thomas discerns the presentiment of this being a fraught pathway in the films she studies in this excellent monograph. Although the adherence to representations of children in eight films of late Francoism through the democratic Transition (1970-83)—plus two others that form bookends—may seem like narrow terrain, the author connects it to a surprising number of contexts that make the whole substantially more than the sum of its parts. Meanwhile, the parts, in terms of the eight (ten, really) individual analyses, also attain an essential level of interest for scholars and students of Hispanic cinema. Other book-length studies of children in Spanish film by Sarah Wright (2013) and Erin K. Hogan (2018) with wider time frames still leave room for the concentrated and intense work with perspective, mise-en-scène, production, censorship, screening history, and reception provided by the current volume. Thomas's work is characterized by its deep analysis of film technique, close readings of [End Page 639] dialogue and plot developments (including shot-by-shot descriptions and plentiful screen shots), and a disposition toward far-reaching implications concerning historical memory far and near, recent and remote. Her gracefully shifting theoretical and critical orientation includes Philippe Ariès, Joanne Faulkner, Lisa Cartwright, Edward Soja, Britta Sjogren, Anne Higonnet, Arnold van Gennep, David Martin-Jones, D. N. Rodowick, and Kathryn Bond Stockton, as well as Gilles Deleuze, Jacques Lacan, and Julia Kristeva. Thomas builds upon scholarly treatments by previous Spanish film scholars such as Marsha Kinder and Marvin D'Lugo. All of these are referenced in the most lucid and readable manner to ground the detections of liminality that unite the figures of children and the situation of turmoil and crisis in which they were created. The introduction identifies qualities of the long democratic Transition that guided the selection of films: "[T]hese films can be seen to negotiate a series of in-betweens, in an uncanny mirroring of their socio-political context of transition, flux, potential, uncertainty, and change" (9). The children who form subjects and objects of spectatorship create a third space that reveals the impossibility of a clean break with the past, or of a linear progression into a well-defined future adult state. The child remains within the adult, to some extent unknowable and incomprehensible. The stark starting point is a brief treatment of Uruguayan director Narciso Ibáñez Serrador's cult horror flick ¿Quién puede matar a un niño? (1976), in which children exact revenge for nebulous injustices committed against them as a group. We then sidestep into Cría cuervos (1976), directed by Carlos Saura during the dictator's final months and released soon after his death. Despite the accumulation of a ponderous critical corpus around this text, Thomas's precision and sensitivity to dynamics, gaze, and filmic language yield fresh insights. The multiple planes or layers of adult narration of childhood events are joined by camera sweeps that make Ana seem to grow sideways instead of up (18). The porous boundaries between Self and Other also characterize Saura's earlier La prima Angélica (1974), in which the imbrication of temporal frames and of child and adult selves (one of many startlingly adroit analogies employed by the critic) takes the form of an adult actor (José Luis López Vázquez) stepping into the role of himself as a boy in reveries of childhood during the Civil War—Vázquez's masterful acting replicates childhood experience filtered through an adult subject frame (44). In an earlier effort of Saura's, El jardín de la delicias, a family stages scenes from the protagonist's boyhood in order to jog his memory. If they are able to make his adult self collide...

The Algerian State, Islamist Insurgents, and Civilians Caught in Double Jeopardy by the Violence of the Civil War of the 1990s

ABSTRACT During the Algerian Civil War of the 1990s responsibility for both targeted assassinations of prominent politicians and political activists and largescale massacres was frequently ascribed to both the government and the Islamic insurgents of the GIA. The same was true of the more mundane but much more numerous level of individuals who fell foul of both sides in the conflict and were frequently the targets of both. Using material from the asylum tribunals of several western countries this article describes how the widespread fear among the Algerian population was the result of the strategies of the government and GIA that both sought to intimidate, punish and exact revenge at a personal level leading to a widespread social dislocation.

Irony, Revenge, and the Naqba in Yehuda Amichai’s Early Work

This article offers a materialist reading of the poetry of Yehuda Amichai, the most well-known Israeli poet outside Israel. The article explores the political role of irony in Amichai’s early work, situating him as a prominent member of the “State Generation” poetry. Challenging accepted readings, the essay argues that Amichai’s poems that deal with the 1948 war, should be read as a post-traumatic response, which uses irony and rich and bold metaphorical devices to distance itself from the horrors of the war, and therefore also form the political and ethical meanings of the Naqba. That Amichai’s poetry translates the language of horror to that of love involves an extreme depoliticization, which accounts for its popularity in Israel and worldwide. The reification of intimate love by Amichai neutralizes any possibility for resistance. This a-political stance is a result of Amicai’s writing of universalistic civic poetry, which made it possible for him to neutralize the war poet’s need to bear responsibility for the Palestinian Naqba (in which many Palestinians fled Palestine, or were deported from it), which made Israel a state with a Jewish majority. The neutralization of the literary (and political) opposition between the language of Israeli citizenship and the language of nationhood in Israel, which could include Palestinians, is a powerful too of oppression. However, Amichai ignores the fact that the unethical results of the 1948 war still inhere in the Israeli state’s refusal to grant equal citizenship rights to all Palestinians, by recognizing their right of return. This essays discussion of Amichai’s novel deals with the way in which Jewish sovereignty is constructed in the novel. The novel exposes this sovereignty’s founding after the war, through linguistic representations of the power that turns illegitimate the desire to exact revenge on the Germans, which exists outside the law of the Israeli sovereign.

Study says Netflix series may reduce suicide risk for young adults

A new study found that the third season of the Netflix series 13 Reasons Why, set to premiere later this year, may reduce suicide risk for young adults. Many argue that the show, which tells the fictional story of a teenager who dies by suicide and leaves behind messages for those she claims influenced her decision, glamorizes suicide and presents it as an effective way to end suffering or exact revenge on hurtful classmates (see MHW, May 2, 2017; July 13, 2018), The Philadelphia Inquirer reported April 25. The study, published in Social Science and Medicine, surveyed 729 adults ages 18 to 29 before and after the May 2018 release of the second season. Researchers found students who watched the entire second season were less likely to purposely injure themselves or seriously consider suicide — even when compared with those who did not watch the show. “They were actually better off than if they hadn't watched it,” said Dan Romer, co‐author of the study and research director of the Annenberg Public Policy Center at the University of Pennsylvania. Those who stopped watching partway through were at greater risk for suicide. Like many in the public health field, Romer thought the show's depiction of suicide was “brutal,” and worried about its inspiring copycat events at a time when suicide is the second‐leading cause of death for 15‐ to 24‐year‐olds, and suicidal thoughts are driving more youths to emergency rooms. “But we've learned that there are some young people who can see positive things in a story like this,” he said. Public health experts suggest Netflix should show more characters seeking help for mental health concerns and getting adequate support from adults in their lives.

Crier's War by Nina Varela

Reviewed by: Crier's War by Nina Varela Natalie Berglind Varela, Nina Crier's War. HarperTeen, 2019 [448p] Trade ed. ISBN 978-0-06-282394-6 $17.99 E-book ed. ISBN 978-0-06-282396-0 $9.99 Reviewed from galleys R Gr. 9-12 Crier was Made sixteen years ago to be the daughter of Sovereign Hesod, the ruler of most of Zulla, in a society where Automa are the dominant race and humans their subservient laborers. Automa are Designed to be stronger, smarter, and longer-lived than their human counterparts, which sixteen-year-old human Ayla resents, particularly as Sovereign Hesod directly caused her family's deaths. As Ayla works with the rebel movement to get closer to Hesod's household to murder his daughter in vengeance, Crier faces a betrothal to the leader of a movement that seeks to separate humans and Automa completely and replace the ever-depleting source of Automa life. When Ayla is appointed Crier's handmaiden, she has the perfect opportunity to take her life and exact revenge, but Crier isn't at all what Ayla expected, and the two quickly become embroiled in conspiracies that simultaneously pit them against each other and bring them close enough together to harbor romantic feelings. Amidst conspiracies and genuinely surprising plot twists, Varela raises classic sci-fi conundrums: Would androids be capable of love? Can an android and a human morally be together? At what point is something considered "alive"? This interesting mesh of sci-fi and fantasy situates androids within court intrigue, enhanced with a steamy, well-paced lesbian romance that will make readers impatient to nab the next novel in this planned trilogy. Copyright © 2019 The Board of Trustees of the University of Illinois

Monetary policy and risk management at a time of low inflation and low unemployment

I do not see it as likely that the Phillips curve is dead, or that it will soon exact revenge. It is more likely that many factors, including better conduct of monetary policy over the past few decades, have greatly reduced, but not eliminated, the effects that tight labor markets have on inflation. However, no one fully understands the nature of these changes or the role they play in the current context. Common sense suggests we should beware when forecasts predict events seldom before observed in the economy.

The Turkish Foreign Fighters and the Dynamics behind Their Flow into Syria and Iraq

ABSTRACT During the past decade, the flow of foreign fighters into conflict zones has emerged as a serious problem that deserves policy intervention. Based on latent content analysis of 89 interviews conducted with Turkish nationals, we examined the factors that influenced the mobilization of foreign fighters into Syria. Informed by the existing literature, the analysis revealed that the decision to engage in foreign fighting was influenced by five factors: a) peer pressure coming from religious networks; b) socialization with Islamic State fighters; c) low levels of risk associated with travel; d) favorable life conditions compared to previous jihad locations; and e) the opportunity to exact revenge. Our findings indicated that Turkish individuals’ decisions to participate in foreign fighting is predominantly influenced by peer pressure coming from preexisting networks. The risk of being acknowledged as a coward, a hypocrite, or disloyal, and the risk of exclusion from religious networks motivated Turkish foreign fighters’ decision to travel to conflict zones.

Do narcissists try to make romantic partners jealous on purpose? An examination of motives for deliberate jealousy-induction among subtypes of narcissism

We speculated that narcissists' apparent desire for alternative mates might reflect a behavioral strategy designed to induce jealousy in their partners. We assessed grandiose and vulnerable narcissism, propensity to engage in strategic jealousy induction, and five motives for strategic jealousy induction. Both grandiose and vulnerable narcissists reported enhanced strategic jealousy induction. Results revealed that grandiose narcissists induce jealousy as means to acquire power and control, but vulnerable narcissists induce jealousy as a means to acquire power and control, exact revenge on the partner, test and strengthen the relationship, seek security, and compensate for low self-esteem. Additional mediation analyses revealed that the effects of both narcissism subtypes on jealousy induction were reduced upon controlling for Machiavellianism, and the effects of grandiose (vulnerable) narcissism on jealousy induction were accentuated (suppressed) upon controlling for trait self-esteem. Therefore, narcissists' relationship-threatening behavior might, in part, be strategic.