The rapid development of artificial intelligence (AI) opens new perspectives for integrating digital tools into education, particularly in the field of media linguistics. This article presents the results obtained in the course of the educational process at Taras Shevchenko National University of Kyiv. It focuses on the use of text-based AI tools in teaching the courses “Linguistic Aspectology of Ethics and Aesthetics in Media” and “Functional Resource of Media Nomination”. Within the disciplines, an experiment was conducted on the use of AI text tools in classes, in particular, the study demonstrates how AI can be used to create social advertising as part of students' learning activities. The study takes into account the syncretism of methods in media linguistics, digital pedagogy, and practice-oriented approaches to learning. Students were asked to use AI text tools to complete both classroom and homework assignments, including creating short text messages, video clips, and visual materials for social campaigns, applying various AI capabilities – textual and audiovisual. An important ethical aspect of the practice was emphasized: social advertising, due to its sensitivity, should avoid real faces, violent scenes, and other ethically controversial content. AI-generated media products made it possible to overcome these restrictions by providing realistic yet ethically appropriate imagery and video simulations. The practical component of the study highlights how students developed not only technical skills in AI-based media production but also critical awareness of ethical standards in communication. The article offers practical recommendations for using AI tools in creating social advertising during media linguistics classes and illustrates possible ways to integrate AI technologies into classroom work. The article contributes to the discussion on AI in education by providing an example of practice-oriented application of emerging technologies within higher education curricula.

In this observational study of 228 Italian primary school children (aged 8-11), 128 who had watched Squid Game formed the analytic sample. They were categorized into a Copycat Behavior (CB) group or a Non-Copycat Behavior (NCB) group based on self-reported imitation of scenes or games from the series. Parents completed the Child Behavior Checklist (CBCL). Group differences were assessed using Mann-Whitney U tests, and gender distribution was compared with Chi-square tests (α = 0.05). Among viewers, 42 children (32%) engaged in imitation behaviors, typically reenacting game-based violent scenes with friends (52%), siblings (28%), or classmates (20%). Age and gender distributions did not differ between groups. The CB group scored slightly higher on the CBCL Somatic Complaints scale compared with the NCB group (M = 54.12 vs. 52.92; U = 1414.5, p = 0.033), although this difference was small. No significant differences emerged on other CBCL syndrome or broadband scales. Among children engaging in copycat behaviors exhibited a small, subclinical increase in somatic complaints. While causality cannot be inferred, the findings highlight the need to protect vulnerable children-particularly those prone to somatic distress-from unsupervised access to violent, age-inappropriate content. Media literacy for parents and educators, and longitudinal studies including non-viewers are recommended.

Among the profusion of recent mythological retellings, Nina MacLaughlin’s Wake, Siren. Ovid Resung (2019) stands out for its experimentation with voices and registers, and its powerful descriptions of otherwise unspoken rages and sorrows. On the porous boundary between rewriting and translation, the collection is made of thirty monologues that revisit Ovid’s Metamorphoses from the perspectives of its female characters. This article studies Wake, Siren as a work that enacts a renewal of the affective content of Ovid’s poem. Throughout, it offers occasional comparisons with Stephanie McCarter’s feminist translation of the Metamorphoses, as to highlight the particular potential of a poetic rewriting. Working between the lines, Nina MacLaughlin heightens or reveals emotional and poetical potentialities, for instance through her vivid descriptions, through a refusal of euphemism—particularly regarding scenes of sexual violence—, and through her use of lyrical enunciation.

This analysis of Viktor Rydberg’s Singoalla uses Eve Kosofsky Sedgwick’s theory of male homosocial desire to highlight how the homoerotic tension between Erland and Assim is expressed through a triangular structure, with Singoalla functioning as the heteroerotic link that initially mediates their bond. Key textual signals – such as narrative shift, affective transfer, bodily substitution, and rhetorical or thematic parallels – reveal homoeroticism embedded within the novel’s homosocial and violent scenes. As desire circulates through this triangle, Erland’s violent fantasies and physical conflicts with Assim blur the lines between aggression and eroticism, showing that homoerotic desire is socially mediated through violence. The study argues that heteroeroticism and homoeroticism coexist in a dynamic interplay, with desire shifting but maintaining its intensity. Assim thus emerges as a crucial figure in understanding this circulation of desire, challenging earlier research that has often marginalized him or overlooked his relationship with Erland.

ABSTRACT Sport is a ritualised form of warfare. In this context, the sporting environment is often the scene of violence. The aim of this work was to study the epidemiological, clinical, paraclinical and therapeutic profile of maxillofacial trauma secondary to sports accidents in two hospitals in Senegal. Methodology: This is a retrospective, multicentre descriptive study covering the period from 2019 to 2024. It was conducted in the maxillofacial surgery departments of the Fann National University Hospital Centre in Dakar and the Amadou Sakhir Ndiéguène Regional Hospital in Thiès. All maxillofacial trauma cases secondary to sports accidents were included. The variables studied were sociodemographic profile, type of sport, mechanism of injury, clinical, paraclinical and therapeutic data. Results: A total of 57 cases were identified, resulting in a prevalence rate of 9.5%. The average age was 23.85 years, and there was a predominance of males. Team sports were the most traumatic, particularly football (77.2%). The nasal bone was the most affected area (40.8%). Treatment was mainly orthopedic (45.61%), and a favorable outcome was observed in 98.24% of cases. Conclusion: Maxillofacial trauma secondary to sports accidents was mainly observed in young men. Fractures of the nasal bones were the most frequents occurring mainly during football games. Treatment was orthopaedic in most cases. Keywords: Maxillofacial trauma, Sports accidents, Senegal

The research topic deals with user trends (comments) on the social networking about the truce agreement in Gaza. The research aims to study user trends about the truce between Israel and Hamas by analyzing user comments on the CNN News Page. The scientific novelty of this research lies in a deeper understanding of the opinions of the public and how they react to the news of the armistice agreement. The research seeks to reveal the factors influencing the formation of these trends and explore the nature of interaction with the news. The research uses a descriptive analytical approach, using a Content Analysis tool, to identify and analyze user comments on the CNN Arabic page, to identify and analyze user comments on the CNN Arabic page. The research concluded several conclusions, the most important of which is that the visual scenes of violence and destruction transmitted by social media sites play a pivotal role in shaping public opinion trends and attitudes about the conflict in Gaza, and users ‘ opinions are shaped by the direct influence of media frameworks that dominate the coverage of the conflict.

Bloodstain Pattern Analysis (BPA) is a crucial method in forensic science, vital for piecing together violent crime scenes and elucidating the order of events by interpreting bloodstain evidence. Through a systematic examination of the size, shape, distribution, and placement of bloodstains, professionals can gather important insights about the weapon involved, the total number of strikes administered, as well as the locations and movements of both victims and offenders. And even the time frame of the crime. BPA encompasses several distinct pattern categories, such as passive stains, transfer stains, projected stains, and expired patterns, each providing unique insights into the actions and interactions that occurred during the incident. Accurately interpreting bloodstains requires a strong foundation in physics, mathematics, biology, and fluid dynamics, as the behavior of blood spatter is influenced by principles like gravity, surface tension, impact angles, air resistance, and the properties of surfaces. Analytical methods range from traditional techniques, such as the string and tangent methods for determining the area and angle of origin, to modern empirical and digital tools that incorporate fluid dynamics and account for uncertainties involved in trajectory reconstruction. These scientific approaches enable the calculation of critical parameters, including impact angles, points of convergence, and travel distances, which provide objective and reproducible data to inform the investigation. BPA serves several investigative purposes: clarifying the timeline of the crime, corroborating or challenging witness testimonies, identifying or eliminating suspects, establishing the mode of death (e.g., homicide vs. suicide), and linking biological evidence to specific individuals or actions. Comprehensive documentation of the scene, including photographs, sketches, and the integration of scale and reference markers, ensures that all relevant features are accurately recorded for further analysis and presentation in court.

This essay takes the 2025 miniseries Larte della gioia (The Art of Joy) as its object of study, examining how it reconstructs the representation of female desire and bodily autonomy through narrative strategies, visual aesthetics, and symbolic imagery. The series, adapted from Goliarda Sapienzas oncebanned radical novel, follows the comingofage and resistance of its protagonist Modesta, while challenging the gendered power structures rooted in the male gaze of traditional cinema and television. Drawing on Laura Mulveys theory of the male gaze, Teresa de Lauretiss concept of gender as technology, and Anneke Smeliks discussions of feminist film aesthetics, this paper analyzes how the series employs cinematic language, spatial narration, and bodily imagery to liberate female desire from the frameworks of guilt and punishment, and to reconfigure it as an active, selfdetermined form of innocent desire. Through its reciprocal depictions of intimate relationships, its ethical handling of scenes of sexual violence, and its recurring use of symbolic elements such as the corset, the sea, and the image of Saint Agatha, the series constructs a trajectory of female development that moves from repression to liberation. This study argues that The Art of Joy is not only a historical drama but also a feminist visual practice, which, by rejecting the objectification and eroticization of the female body, endows desire with political significance and subjectivity, thereby opening new possibilities for female narratives on the contemporary screen.

Acclaimed director Quentin Tarantino is renowned for his masterful depictions of violence. Through his influential filmography, he has meticulously crafted a unique, stylized aesthetic for on-screen brutality, transforming bloodshed into a distinctive and highly recognizable cinematic signature. "Violent aesthetics" in movies often emphasize how to present violent scenes in a suitable and non-repulsive way. Tarantino makes use of this principle and moreover, gives violence a new perspective and presentation through his distinctive cinematic language. This research aims to demonstrate and analyze how Tarantino conducts violence via the usage of diverse cinematic language. More precisely, this essay will employ Kill Bill: Volume 1 (2003), Inglourious Basterds (2009), Django Unchained (2012) as case studies for an in-depth analysis of the connection between cinematic language and violent aesthetics. Furthermore, the paper is built upon a concept of three-stages, referring to the pre-violence, violence scene, and post-violence within a single scene. Besides, these three films shares the plot of revenge, accompanied a similar three-stages rhythm when violence is going to occur, which is comparable to digging into cinematic language. Therefore, it will be concrete and legible for us to understand reconstruction and beautification of violence.

ABSTRACT Global migration scholarship has documented considerable ethnic differences in migration propensities due to socio-economic disparities across ethnic groups, which may be further exacerbated at times of societal upheaval. We study ethno-regional variations in internal and temporary international migration in response to socio-political transitions in Kyrgyzstan – a multi-ethnic country in post-Soviet Central Asia with a long history of ethnic and regional tensions and considerable societal instability. Using nationally representative retrospective survey data, we analyse respondents’ internal and temporary international migratory moves since the late Soviet era. The results indicate persistent ethnic (majority vs. minority) and regional differences in migration propensities and instructive temporal variations in them. Specifically, while the results show a consistent association of migration with the level of regional development, they also demonstrate a dramatic spike in both internal and international mobility from the region that was the scene of inter-ethnic violence and by members of the minority most affected by that violence.

Intelligent video analysis tools have advanced significantly, with numerous cameras installed in various locations to enhance security and monitor unusual events. However, the effective detection and monitoring of violent incidents often depend on manual effort and time-consuming analysis of recorded footage, which can delay timely interventions. Deep learning has emerged as a powerful approach for extracting critical features essential to identifying and classifying violent behavior, enabling the development of accurate and scalable models across diverse domains. This study presents the Int.2D-3D-CNN architecture, which integrates a two-dimensional convolutional neural network (2D-CNN) and 3D-CNNs for video-based violence recognition. Compared to traditional 2D-CNN and 3D-CNN models, the proposed Int.2D-3D-CNN model presents improved performance on the Hockey Fight, Movie, and Violent Flows datasets. The architecture captures both static and dynamic characteristics of violent scenes by integrating spatial and temporal information. Specifically, the 2D-CNN component employs lightweight MobileNetV1 and MobileNetV2 to extract spatial features from individual frames, while a simplified 3D-CNN module with a single 3D convolution layer captures motion and temporal dependencies across sequences. Evaluation results highlight the robustness of the proposed model in accurately distinguishing violent from non-violent videos under diverse conditions. The Int.2D-3D-CNN model achieved accuracies of 98%, 100%, and 98% on the Hockey Fight, Movie, and Violent Flows datasets, respectively, indicating strong potential for violence recognition applications.

<p>La version très connue de la femme battue et brimée est très vite passée en revue pour faire place à celle de la femme courageuse et prête à défendre ce en quoi elle croit fermement même lorsque l’une des voies empruntées peut heurter plus d’un. Les violences concernant les « islamistes » font l’objet de plusieurs publications scientifiques depuis le 11 septembre 2001. La prolifération des actes de violence est ressentie de façon forte dans plusieurs productions littéraires. Quand bien même les écrivains clameraient la toute-puissance de la conscience, il n’en demeure pas moins que les faits actuels ressurgissent de façon claire ; car il n’est pas exclu que certaines œuvres soient perméables aux faits actuels. Cette porosité nous interpelle et nous amène à réfléchir sur « Les représentations de la violence dans L’attentat de Yasmina Khadra : de l’identité imposée à la construction d’une identité meurtrière » En revisitant cette œuvre, on peut lire une figure féminine hors du commun : un personnage kamikaze qui, pour défendre l’honneur des siens, décide de se donner la mort entrainant avec elle plusieurs enfants. Une scène violente qui en entraine d’autres. Une analyse sociocritique selon Edmond Cros permettra de voir que la figure féminine est un être double : fragile et dangereux. Elle peut se présenter comme un être sans pitié. L’écriture de la violence permet de dévoiler un inconfort certain chez plusieurs personnages, particulièrement chez le personnage féminin le poussant à la destruction. </p><p>The well-known version of the beaten and bullied woman is quickly reviewed to make room for that of the courageous woman ready to defend what she firmly believes in even when one of the paths taken may offend more than one. Violence concerning Islamists has been the subject of several scholarly publications since September 11, 2001. The proliferation of acts of violence is felt strongly in several literary productions. Even if the writers would claim the omnipotence of the conscience, it does not remain about it less than the current facts reappear in a clear way ; because it is not excluded that certain works are permeable to the current facts. This porosity challenges us and leads us to reflect on ‘The representations of violence in The Attack of Yasmina Khadra: from imposed identity to the construction of a murderous identity’. By revisiting this work, we can read a female figure out of the ordinary a kamikaze who to defend the honor of his family, decides to kill himself taking with it several children a violent scene that leads to others. A sociocritical analysis according to Edmond Cros will allow us to see that the female figure is a double being : fragile and dangerous, she can present herself as a being without pity. The writing of violence allows to decode a certain discomfort in several characters, particularly in the female character.</p><p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/soc/0106/a.php" alt="Hit counter" /></p>

This study is an analysis of how middle school students' trust in YouTube sports affects their viewing of sports violence scenes and aggression. To this end, a survey was conducted on a total of 360 middle school students in Busan Metropolitan City using a convenience sampling method. Based on the collected data of 334, SPSS WIN 23.0 statistical program was used for frequency analysis, reliability and validity verification, and correlation analysis, and AMOS 23.0 was used to derive confirmatory factor analysis and structural equation model. The following conclusions were drawn. First, it was found that middle school students’ trust in YouTube Sports did not affect their viewing of violent sports scenes. Second, viewing sports violence scenes was found to affect aggression. Third, trust in YouTube Sports was found to have no effect on aggression. Teenagers are exposed to sports media more than in the past to enjoy healthy sports videos. Although this study found that trust in YouTube sports did not affect viewing of violence scenes and aggression, since YouTube is the SNS most used by teenagers, special care is required to avoid exposure to harmful videos.

ABSTRACT We examined how the amount of violence depicted in a webcomic episode was related to readers’ ratings of the episode and their perceptions of violence. Furthermore, we investigated how the relationships varied depending on whether the webcomic was action-oriented. To measure violence and readers’ perceptions, we used computational methods based on deep learning, and the relationships between the variables were analyzed using regression models. We analyzed 251 episodes from 23 webcomics. The results revealed that the number of violent scenes in a webcomic episode was negatively associated with the ratings of the episode, regardless of whether the webcomic was action-oriented. However, the negative association was stronger for non-action-oriented webcomics than for action-oriented ones. We found that the number of violent scenes in an episode was positively associated with the number of viewers who perceived violence in the episode negatively and that this relationship was stronger for non-action-oriented webcomics.

In 1934, the painter Balthus (Balthasar Klossowski, 1908–2001) opened his first one-man show in Paris, comprising five erotic and sexually violent scenes involving adolescents and younger children. Over the following decades, he continued to depict girls in ways that art historians and critics have widely discussed as morally problematic. There is no shortage of art historical writing on Balthus, but his work raises a relatively overlooked question for the cultural history of twentieth-century France: how to explain the extraordinary success of an artist whose works depict, in a stylized realism, sexualised scenes involving children? To respond to this question, this article first sketches the limits of interwar French society's toleration when it comes to sexual innocence and adolescence, with a focus on Balthus’s Surrealist milieu. It then interrogates how in 1934 and after, Balthus's work pushed up against those limits and yet largely avoided condemnation. It does so by setting his earlier work against the popularity of the genre of news known as faits divers, and then by examining, in relation to his later work, how his painterly style and approach to depicting adolescents continued to discourage moral questioning. As such, it seeks to approach Balthus anew in an era that demands a more direct scrutiny of any idealisation of sexual exploitation.

This study focuses on The Vegetarian (2015) by Han Kang to explore how the book is a literary expression of cultural cannibalism the symbolic feeding of the woman on the patriarchal society by social control, moral discipline, and mental control. The paper explores the way the novel reveals the violence inherent in normative femininity and uses the framework of social psychology, and gender performativity created by Judith Butler to explain the bodily transformation of Yeong -hye and her opposition to these patriarchal spaces. the research uses a qualitative research design and thematic analysis (Braun and Clarke, 2006). The results indicate that The Vegetarian depicts food, body, and silence as both the power of repression and subversion. The decision of Yeong-hye not to eat meat is a moral and corporeal resistance that dislodges the performativity of patriarchy, the repetitive social practices that constitute and imprison womanhood. The novel depicts the consumption of the female identity by the society in the form of scenes of familial violence, medical intervention and aesthetic objectification through the pretext of order and sanity. The undoing gender as presented by Butler gives a critical perspective of interpreting the gradual loss of language, appetite, and human identity that Yeong-hye engages in as a extreme form of nonconformity to the societal norm. This final metamorphosis of her into a tree is the breaking of the gender performativity as a symbol of emancipation and destruction. The study concludes that The Vegetarian is an allegory of the reliance of the gendered social order on the female sacrifice. It reveals how the patriarchal culture is perpetuated by cannibalizing the obedience of women, and Yeong-hye self-erasing as a person tells us of the predatory nature of the consumption that results in self-denial. The interdisciplinary work is relevant to the feminist literary studies research by combining the social-psychological theory proposed by Butler and the thematic literature analysis, as it provides a new understanding of the intersection of body, gender, and resistance in the East Asian feminist literature.

The rapid progress of generative AI has enabled remarkable creative capabilities, yet it also raises urgent concerns regarding the safety of AI-generated visual content in real-world applications such as content moderation, platform governance, and digital media regulation. This includes unsafe material such as sexually explicit images, violent scenes, hate symbols, propaganda, and unauthorized imitations of copyrighted artworks. Existing image safety systems often rely on rigid category filters and produce binary outputs, lacking the capacity to interpret context or reason about nuanced, adversarially induced forms of harm. In addition, standard evaluation metrics (e.g., attack success rate) fail to capture the semantic severity and dynamic progression of toxicity. To address these limitations, we propose Perception–Retrieval–Judgement (PRJ), a cognitively inspired framework that models toxicity detection as a structured reasoning process. PRJ follows a three-stage design: it first transforms an image into descriptive language (perception), then retrieves external knowledge related to harm categories and traits (retrieval), and finally evaluates toxicity based on legal or normative rules (judgement). This language-centric structure enables the system to detect both explicit and implicit harms with improved interpretability and categorical granularity. In addition, we introduce a dynamic scoring mechanism based on a contextual toxicity risk matrix to quantify harmfulness across different semantic dimensions. Experiments show that PRJ surpasses existing safety checkers in detection accuracy and robustness while uniquely supporting structured category-level toxicity interpretation.

At the heart of this article is the question: what might it mean for us to become literate in our mothers’ melancholia? Drawing on the ambivalence of two domestic scenes—its melancholia, its unbearability, its haptic residue—this article accesses a brown feminine and feminist lieux de memoir (place of memory). I argue that for brown immigrant daughters, feminism is inherited, not as rebukes, admonitions, endorsements, condemnations, but by entering the scene of violence, laterally, repetitively, reiteratively, vertiginously. In so doing, what we inherit might be understood as a poetics—a sensuous thought form, an undergirding system of citation, seeming arbitrariness and repetition (litany if you will), a haptic sensation of bearing the unbearable, of feeling the wretchedness, the torment, and the ethics that characterise our transgenerational diasporic inheritance.

The Terrifier horror film series, despite its low-budget, has become a cult phenomenon and achieved unexpected commercial success. This study focuses on analysing the function of violence in contemporary horror cinema, specifically examining the relationship between realism and stylisation in violent scenes within the Terrifier films. The theoretical framework of this research explores violence as both a narrative and aesthetic element, as well as its evolution in modern horror films. The core of the study is the application of this knowledge in the form of discourse analysis on three scenes from the Terrifier film series. The analysis utilises qualitative methods of film study to determine the extent to which these scenes balance realistic depictions of violence and their stylised presentation. The findings of this study contribute to a broader discussion on violence in contemporary horror, its ability to shock and captivate audiences, and its role in testing the boundaries of viewer tolerance.

ABSTRACT A content analysis of the original seven Saw films was conducted to test morality and justice within the franchise. Scenes were coded for graphic violence and length of violence; characters were coded for morality and whether or not they received a just ending. The results suggest that Saw presents numerous ambiguous scenarios for its viewers to grapple with, especially important in the wake of the War on Terror that influenced the films. Specifically, onscreen violence increases following the first movie and stays constant throughout the rest of the franchise, with the longest scenes of violence occurring midway through the franchise. Results also show that Saw does not adhere to the just world hypothesis: some individuals get what they deserve, some do not. Violent set pieces and unjust outcomes are hallmarks of the Saw franchise.