Violent Scenes Research Articles

Workplace Violence against Nursing Student and Nurses: in Taif Mental Health Hospital: A Cross-Sectional Survey

Background: Nursing students and nurses have been subjected to workplace violence has become another challenge at medical care facilities. The issue isn't restricted to specific parts of the world; its pervasiveness is expanding around the world. Objectives: to look at impact and consequences of violence among nurses and nursing students to make a preventive strategy and assess the phenomenon. Material and Methods: In Taif's mental health hospital, a cross-sectional hospital-based survey was conducted. At the end of data collection period, 203 of 415 nurses consented to complete a survey that included questions about violence, result of violence, reaction and action of violence. This group was compared with 21 5th years nursing students from Al-Taif university (94.4 rate of participation). Results: The %age of nurses and nursing students who reported at least one unsettling scene of physical violence in clinical settings during their lifetime was 56 % for nurses and 38 % for nursing students. More physical attacks, according to nurses 56%, threats 26% and abuse 8% during the past a year than students. Both nurses and students were generally attacked or annoyed by patients or their family members and companions (“external” violence). The majority of nurses were assaulted or harassed by Verbal threat/aggression and Scratching/pinching Students, on the other hand, frequently reported physical violence by Slapping/hitting. Nurses were mostly Handled the situation themselves whereas students often Call for help and/or activated alarm. Over more regarding result of aggression nurses were mostly feel fear and irritation whereas students feel anxious and helplessness. Conclusions: Preventive activity is critically required to control client-to laborer and staff-to-staff savagery in hospitals and clinics. Clinical Relevance: Not as it were medical attendants, but moreover nursing understudies, Multilevel projects of viciousness anticipation would be beneficial.

Detecting violent scenes in movies using Gated Recurrent Units and Discrete Wavelet Transform

The easiness of accessing video on various platforms can negatively impact if not done wisely, especially for children. Parental supervision is needed so that movies platforms avoid inappropriate displays such as violence. Violent scenes in movies can trigger children to commit acts of violence, which is not desired. Unfortunately, it is not easy to supervise them fully. This study proposed a method for automatic detection of violent scenes in movies. Automatic violence detection assists the parents and censorship institutions in detecting violence easily. This study uses Gated Recurrent Units (GRU) algorithm and wavelet as feature extraction to detect violent scenes. This paper shows comparative studies on the variation of the mother wavelet. The experimental results show that GRU is robust and deliver the best performance accuracy of 0.96 while combining with mother wavelet Symlet and Coiflets8. The combination of GRU with wavelet Coiflets8 shows better results than the predecessor.

On the Influence of Shot Scale on Film Mood and Narrative Engagement in Film Viewers

The perceived distance of the camera from the subject of a filmed scene, namely <i>shot scale</i>, is a prominent formal feature of any filmic product, endowed with both stylistic and narrative functions. To measure how shot scale affects both lower and higher complexity responses in viewers, we first investigate how the distribution and rotation of Close, Medium, and Long Shots relate to viewers&#x2019; rating on <i>film mood</i>, assessed in terms of hedonic tone, energetic arousal, and tense arousal on an extensive set of 50 film clips. Then we examine the effect of shot scale on viewers of violent scenes in terms of <i>narrative engagement</i> and its sub-scales: narrative understanding, attentional focus, emotional engagement, and narrative presence. To enable such analysis, shot scale classification is automatized by means of Convolutional Neural Networks trained on the filmographies by six directors for a total of 120 full-length movies analysed at one frame per second. Based on large corpora, this study provides methods for further investigating the relationship between shot scale and the viewers&#x2019; emotional involvement. Beyond stylistic analysis, gaining valuable insight into the mechanism of narrative effects of film stories could be useful for purposes such as movie recommendation and film therapy.

ACSEE: Antagonistic Crowd Simulation Model With Emotional Contagion and Evolutionary Game Theory

Antagonistic crowd behaviors are often observed in cases of serious conflict. Antagonistic emotions, which is the typical psychological state of agents in different roles (i.e. cops, activists, and civilians) in crowd violent scenes, and the way they spread through contagion in a crowd are important causes of crowd antagonistic behaviors. Moreover, games, which refers to the interaction between opposing groups adopting different strategies to obtain higher benefits and less casualties, determine the level of crowd violence. We present an antagonistic crowd simulation model, ACSEE, which is integrated with antagonistic emotional contagion and evolutionary game theories. Our approach models the antagonistic emotions between agents in different roles using two components: mental emotion and external emotion. We combine enhanced susceptible-infectious-susceptible (SIS) and game approaches to evaluate the role of antagonistic emotional contagion in crowd violence. Our evolutionary game theoretic approach incorporates antagonistic emotional contagion through deterrent force, which is modelled by a mixture of emotional forces and physical forces defeating the opponents. Antagonistic emotional contagion and evolutionary game theories influence each other to determine antagonistic crowd behaviors. We evaluate our approach on real-world scenarios consisting of different kinds of agents. We also compare the simulated crowd behaviors with real-world crowd videos and use our approach to predict the trends of crowd movements in violence incidents. We investigate the impact of various factors (number of agents, emotion, strategy, etc.) on the outcome of crowd violence. We present results from user studies suggesting that our model can simulate antagonistic crowd behaviors similar to those seen in real-world scenarios.

Hiperrealitas dalam Permainan Video Daring: Simulasi, Simulakra, dan Hiperrealitas Garena Free Fire

The aim of this article is to dissect the hyperreality side of the online video game Free Fire. Hyperreality can be seen from the war simulations contained in the course of the game, the weapons used, the selected characters that players can use, to the virtual world that becomes the battle arena. This article uses Jean Baudrillard's hyperreality concept which can show the sides of the game that make up the hyperreality conditions of the players, so that players can no longer distinguish between reality and the artificial. With a qualitative approach, this article explores and understands the meaning in the game by interpreting a collection of texts and then analyzing it by prioritizing the human side. The conclusion of this study shows that players are trapped in a world that no longer refers to a real prototype as usual simulations do. The simulacra contained in the game is in the form of a gameplay that does not refer to real warfare, character and weapon selection, team strategy as a productive form of simulacra, and the battle arena as a natural form of simulacra. The hyperreality in the form of war simulacra and scenes of violence is getting stronger with the interaction feature between players and the proliferation of e-sports competition ecosystems in Indonesia that offer big prizes.

Factors Associated with Coping Behaviors of Abused Women: Findings from the 2016 Domestic Violence Survey.

Background: Intimate partner violence (IPV) is an important public health problem. In Korea, limited studies have systematically investigated the coping strategies used by female IPV victims. Purpose: We identified the factors associated with abused women’s coping behaviors in South Korea. Methods: This descriptive, cross-sectional study comprises secondary data analysis using the 2016 Domestic Violence Survey; we examined women who experienced domestic violence (DV) in the last year: September to December 2016 (n = 309). Multinomial logistic regression analyses were conducted using an ecological model. Results: Over 50% responded they “did nothing”, while others “escaped the scene of violence or ran outside” and “became reciprocally violent” as coping behaviors sequentially. Compared to the women who “did nothing”, women who experienced feelings of intimidation or fear due to DV, were sexually abused, and suffered physical injury were 5.44, 3.22, and 3.02 times, respectively, more likely to escape from the scene than those who did not. Most showed passive coping behaviors. Relationship level factors, such as type of DV and physical injury, were significantly associated with the type of coping behavior. Conclusions: Our findings emphasize that multi-level comprehensive health programs are required, especially for women coping passively, to prevent and respond to DV.

Wound Without End: Envisioning Permanence through Lucio Fontana’s Concetti Spaziali

Wound Without EndEnvisioning Permanence through Lucio Fontana’s Concetti Spaziali Giulia Privitelli (bio) . . . for tho’ we sit down within The plowed furrow, listening to the weeping clods till we Contract or Expand Space at will: or if we raise ourselvesUpon the chariots of the morning, Contracting or Expanding Time! Everyone knows we are One Family! One Man blessed for ever. william blake, jerusalem, plate 55, v. 42–461 In response to Philippe Nemo’s question concerning the origin of man’s thought, Emmanuel Levinas tentatively proposes that it “probably begins through traumatisms or gropings [sic] to which one does not even know how to give a verbal form: a separation, a violent scene, a sudden consciousness of the monotony of time.”2 In other words, man’s thought—as a creative process—arises from the conflicted and limited scenario of the human condition. It embodies and reflects a need to transcend it, whereby the unified may emerge from distinction, creation from violence and destruction, and the liberating and transformative action of the eternal from the enslaving immutability of historical time. I will attempt to unpack this premise through a Christian theological understanding of the infinite and [End Page 25] eternal as expressed in a series of works by Argentine-Italian artist Lucio Fontana (1899–1968), who, in the decades following the Second World War, became singularly concerned with the creative possibilities of the hole or cut (taglio), a hallmark of his artistic career and with which he is almost exclusively and synonymously associated to this day. This crucial phase of Fontana’s artistic output coincides with a period of transition following the devastation of the war, a phase suspended between the reality of the threat of modernity to human freedom and fraternity and, on the other end, the promising yet alienating reach of technological and scientific development. The void that opens through the tension of Fontana’s destructive and creative gesture will be addressed in view of this enigmatic transition: from the trepidation and psychological anguish of man’s earthly existence before the unknown abyss to the radicalized and unprecedented perceptions of man’s relation to space. True to the words of Paul VI, where “only in the mystery of the Incarnate Word does the mystery of man take on light,”3 the implications of the cut as an ambivalent open space shall therefore be explored within a Christian framework of creational, soteriological, and eschatological doctrine. Furthermore, the cut as a pierced image that exhibits its own independent aesthetic reality, will be brought into dialogue with biblical representations of the wound, particularly, the implications of Christ’s wounds as permanent signs of God’s self-disclosure to man and, in turn, of man’s recovery and transformation of identity, meaning, and purpose. Thus, it shall be seen how both artist and beholder participate and tend to the creative act—in the essential transfiguration of the void from a site of emptiness, absence, and finality, to a “non-synthesizable” space of encounter which, as Levinas contends, opens the space for the infinite.4 Indeed, the emphasis on relation as a means of gauging the complexity of one’s being in the world—that is, where the ground of being and seeing infinity arises from the recognition of otherness—affords a promising edge by which to sharpen, on one side, Lucio Fontana’s artistic and environmental [End Page 26] experimentations with the “cut” and, on the other, our understanding of the notion of the permanent wound as the identifiable “face” of the risen Christ. The Call Towards Unity: the Gesture and the Image In the introduction to this article, I proposed to unpack the creative process on three levels based on Levinas’s conception of the origin of thought: separation, violence, and transformation. As shall be seen, these three “gestures” are related in an essential and teleological way, yet each will be explored in turn through Lucio Fontana’s treatment of the void or, rather, the “discovery of the hole” which he considered to be, in the last analysis, his single and most important contribution to contemporary art.5 It would therefore seem appropriate to first and foremost...

Response to “Simulacra and SimulAsian: The Culture of Hollywood’s Yellow Peril” by Angie Wong

Response to “Simulacra and SimulAsian: The Culture of Hollywood’s Yellow Peril” by Angie Wong Chinelo Ezenwa, Respondent Angie Wong’s article “Simulacra and SimulAsian: The Culture of Hollywood’s Yellow Peril” addresses the subtle ways in which two recent acclaimed Hollywood films reinforce cinematic violence against Asian women, who are either hypersexualized, rendered mute, or shown as carriers of deadly diseases that disrupt the Arcadian world of the whiter Westerner. The article shows that in Venom (2018), the two pre-action Asian women are depicted as disease-ridden bodies, whose main role, it seems, is to deliver the disease from Malaysia to San Francisco. Their transference of disease to the white world also conveniently takes place at an airport, at the border where non-white peoples are often designated as non-beings. Kyoko in Ex Machina (2014) is similarly subjugated by Nathan, her white creator; she represents the white male exploitation of the body, labour, and sexuality of the Asian woman by a hypermasculine white society. Wong points out that in both films, there is neither character development for those women nor any escape for them as soon as they serve the perverse purposes of their “creators.” Perhaps this is because, on the aggregate, they are simulations of real people (“SimulAsians”). But, based on Edward Said’s notion of Orientalism, Wong argues that using the fragmented prism of a technological form of Orientalism (techno-Orientalism) and creating such “SimulAsians” allows these movies to violate and exploit the Asian female characters. Kyoko, the Asian housekeeper-mistress figure in Ex Machina, is the ultimate “Simulacrum” and “SimulAsian,” as Wong demonstrates. This is because, for most of the film, one is uncertain if Kyoko is a cyborg created to look Asian, or if she is [End Page 232] an Asian deliberately presented to look like a cyborg. Whatever reality exists for her is premised on Nathan’s (her manufacturer’s) stereotypical perception of the Asian woman as cold, silent, and sexually available (Wong 9). But it is not even Kyoko’s poor development that bothers one most about Ex Machina. Instead, it is how the film manages to minimize Kyoko when shown against Ava, the Caucasian cyborg. The latter in fact becomes triumphant by exploiting both Kyoko and the unnamed Asian woman’s body. Ava’s only means of escape, it seems, is by literally cherry picking the skin off the bones of the unnamed female Asian figure in order to achieve “humanity.” Therefore, after their final “battle,” only Ava is triumphant while Kyoko remains a victim of the liberation march. Yet, as Wong equally observes, though the film seems to criticize the “dehumanization” of the Asian cyborgs, it is only able to achieve this critique by presenting them as sacrificial lambs, without any will and ability to achieve liberation. This double subjugation is not uncommon for “women of colour.” In my discussion of Tsitsi Dangarembga’s Nervous Conditions, for instance, I show how the Zimbabwean women are double yoked under colonial and traditional patriarchies. The difference is that where the Zimbabwean girls and women are deliberately portrayed in Nervous Conditions with critical voices, Ex Machina and Venom do not allow the Asian women any such power. They are stereotyped as figures of annihilation, while the extreme physical violence against them is masked under the notion that they are not human. The horror of that form of cinematic occlusion of violence is perhaps clearer when one considers the implications of the two Asian diseased bodies in Venom, as Wong does. They are pitted against the white heroic journalist, Eddie Brock, and his lawyer girlfriend, Anne Weying. Despite their flaws, the latter two characters are somehow found the acceptable bodies of the “future” who are able to not only achieve symbiosis with the alien but still maintain their societal moral codes, act out their heroisms, and rescue their world from the threats of the extraterrestrial disease embodied in the Asian women and the equally Asian-looking genius inventor, Riz Ahmed. In both films, the viewer is encouraged to ignore the scenes of violence against the Asian women because the action is conveniently set in the magical world of the movies. Wong rightly points...

Revisiting Domestic Violence in Poe's “The Black Cat”: The Narrator Between Psychological Struggle and Egoistic Masculinity

The present paper aims at demonstrating Poe’s depiction of domestic violence as a technique to demonstrate his chaotic loss in between his Psychological Struggle and his Egoistic Masculinity. It shows how readers sometimes get lost in search of a judicious cause for the extensive use of violence amongst the chaotic sociopolitical conditions that prevailed that period then. A psychoanalytical perspective was provided to unveil some of the hidden and unsaid facts within some of the gothic literary scenes that were analyzed and examined in light of the narrator’s internal struggle between his traumatic psychology and egoistic masculinity. Among others, the present researchers have found that there are intrinsic and extrinsic factors that genuinely contributed to the increasing scenes of persistent violence committed by the unnamed narrator, but not limited for alcoholism and the unbalanced psychological disorder as the narrator wished to display.

Play to Learn: Shakespeare games as decolonial praxis in South African schools

The place of Shakespeare in South African secondary education has become highly contested in light of calls to decolonise the English Home Language curriculum through intentional inclusion of indigenous authors and knowledge systems, and the removal of colonial impositions such as Shakespeare. Yet removing Shakespeare from the curriculum is not the only or even the best solution for countering the violent legacies of colonialism and apartheid. This article argues that a more effective decolonial approach would be to change the way Shakespeare is taught in schools by cultivating horizontal, instead of hierarchical, dialogue within classrooms and between secondary educators and Shakespeare scholars. The authors describe their own horizontal collaboration to produce “Blood will have Blood”, a series of lesson plans and assignments centred on scenes of violence in the Shakespeare set works. Using the digital theatre game Play the Knave, the programme engages secondary school students in creative experimentation and embodied play with Shakespeare’s texts. As learners access the curriculum from their own epistemological standpoints and through their own bodies, they come to understand gendered and racial forms of violence represented in the plays and manifested in their personal and historical contexts. The article contextualises the project in terms of Practice as Research (PAR) methodology while offering preliminary findings from the programme’s implementation in Cape Town schools.

Drama’s Violent Scenes and Their Social Impact on Egyptian Youth

This study aims to provide quantitative monitoring of violent scenes in movies and series, and to what extent they are used for commercial purposes, as well as their social effects. The study relies on Robin and Kim's model of uses and effects, which is that utilitarian motives for the use of media content and activity patterns that support communicative effects will be positively related to the effects of this content, while ritual motives and patterns of activity obstructing communicative effects will be negatively related to the effects of this content. The survey method was used. The questionnaire was applied to 400 respondents. The field study found that the percentage of watching movies and series on satellite channels has increased on a permanent and regular basis, and the percentage of females who watch movies and series on a permanent basis has increased more than males. The percentage of watching scenes of violence and crime in movies and series has also increased on a permanent and regular basis, and it is worth noting that all subjects of the sample watch those scenes, even if they differ in the extent of viewing. The motive related to the fact that scenes of violence and crime in movies and series are more realistic, provided the motives that expose the respondents to scenes of violence and crime, then the audacity to address them, then the respondents' passion and love to follow crime events as presented by films and series. The results of the field study showed that the most societal effects of witnessing scenes of violence and crime were represented in “individuals behaving as if they are in a forest without respect for social controls and laws,” and then “restoring the right and supporting the oppressed does not take place by law, but I must take my right myself and by force away. About the government”, then “crime of all kinds is on the rise in Egyptian society”, then “marital infidelity and illegal relations are prevalent in Egyptian society and are justified, and that theft is the most appropriate and fastest solution to solve my economic problems.” Keywords: Egyptian Drama; Violence and Crime; Uses and Effects.

Chełm's Unraveling: The Holocaust and Interethnic Violence in Nazi-Occupied Poland

This article explores the myriad ways that Polish and Ukrainian residents engaged in violent and cruel behavior during World War II through a case study of the Chełm region. Under Nazi occupation, this formerly peaceful community exploded into a horrific scene of nationalist and popular violence. Jews were widely assaulted by their Polish and Ukrainian countrymen; Poles and Ukrainians engaged in mutual killings and ethnic cleansing; rural villagers were subjected to countless raids from area partisans; and escaped Soviet POWs were often denounced or otherwise attacked by area residents. Treating this outbreak as a whole, I argue that anti-Jewish violence was embedded in a vicious social transformation that engendered an array of crimes against multiple groups. By interweaving the fates of different ethnicities into a single study, my paper contextualizes Polish complicity during the Holocaust and highlights the sordid interactions between the German invaders, Jewish citizens, and local Christian society.

"A kysse onely": The Problem of Female Socialization in William Caxton's Blanchardyn and Eglantine

"A kysse onely":The Problem of Female Socialization in William Caxton's Blanchardyn and Eglantine Jennifer Alberghini In 2018, Babe magazine's article "I Went on a Date with Aziz Ansari. It Turned into the Worst Night of My Life" told the story of a woman known only as "Grace" and her experience with the actor/comedian/self-proclaimed feminist. After rushing through dinner, Ansari brought Grace back to his home and made sexual advances. She resisted, both through body language and speech. The actor initially complied with her request, but he soon resumed his attempts until Grace went home. The experience highly unsettled her, though at first she did not understand why. It took discussions with other women for Grace to understand her feelings of violation fully. When she did, she communicated them to the actor; however, he felt that he had done nothing wrong. Later, he wore a #TimesUp pin at the 2018 Golden Globes to show support for the #MeToo movement. Horrified to see him on TV claiming to be a champion of women, knowing what had happened between them, Grace decided to go public with her story.1 The article provoked outrage: against Grace rather than Ansari. One critic called it "3,000 words of revenge porn."2 A New York Times opinion piece lamented society's failure to educate women how to exit difficult situations, pressing "for women to be more verbal" despite acknowledging that "women are socialized to be docile and accommodating and to put [End Page 347] men's desires before their own."3 The paradox is clear: if society teaches women to say "Yes," how can they be "more verbal" in saying "No?" Exploring the negative responses to the story by female writers, Kimberly Kessler Ferzan and Naomi Snider show how cultural standards make women, in Snider's words, "perpetuat[e] the very systems of oppression that cause the harm."4 Looking to the medieval past, we can see that this phenomenon is part of a long-standing pattern. In particular, medieval literary texts, such as William Caxton's 1489 English translation of the French romance Blanchardyn and Eglantine, were used as a vehicle for women to teach other women submission to men's desires.5 In this essay I will consider this version of the romance, for which the critical focus has thus far been limited to its patronage by Margaret Beaufort, Henry VII's mother. Scholars have suggested that she originally purchased the French book for the king's 1486 marriage to Elizabeth of York; however, they are limited in the reasons for why this particular romance.6 After a brief overview of what we know of the book's historical circumstances from its paratexts, in which Caxton emphasizes that the romance has a pedagogical function, I will examine the text's plot with a focus on two key scenes of sexual violence. The first, the hero Blanchardyn's forcible kissing of the heroine Eglantine, is most notable for a conversation between her and her nurse in its aftermath. I suggest that the latter character, who serves as a kind of counselor figure, may have resonated with Beaufort based on her own experiences. The second scene is the kidnapping of Beatrice, daughter of the romance's non-Christian villain Alymodes.7 Looking at both of these incidents perpetrated by the Christian nobleman Blanchardyn [End Page 348] compared to the modern act of sexual misconduct by Aziz Ansari and the backlash Grace received for publicizing it, I argue that the text's lessons about consent depend on the social position of the man who commits the act of aggression. Like the popular responses to Grace's account, the romance shows how women encourage other women to downplay a bodily violation by an important man and not only to forgive but to love him for it. Before exploring the examples of female-centered pedagogy within both the plot of the story and the better-known context of the book's patronage, some background on both the plot and the patron will be useful. The patroness, Margaret Beaufort, descended from John of Gaunt and his mistress-turned-third-wife, Katherine Swynford. This...

Politics and perversion (Pier Paolo Pasolini’s de Sade today)

The article attempts to examine Pier Paolo Pasolini?s film Salo, or 120 Days of Sodom, not only as an adaptation of Marquis de Sade?s work, but as a possible response to the problems of modern society, which reanimates fascism, no longer as political ideology, but as a ?natural? form of contemporary human sensibility. Relying on his original ?semiology of reality,? the expression of which is cinema, Pasolini?s film embodies the non-political logic of fascism as the logic of perversion, hidden behind the facade of political ideology. The article shows that Salo consistently contradicts the key principles of cinematic expressiveness of Pasolini?s theory itself, which focuses on moments in which ?reality? reveals itself (acting as life itself). As a result, the film connects the unconnected - the shock of scenes of torture and sexual violence with a cultural allegory that anesthetizes effect of visual violence. For Pasolini, both violence and culture are mechanisms for analyzing the ephemeral substance of power, which inevitably generates some form of fascism and perversion, while de Sade is the discoverer of the basic sensual (plastic) syntagmas of power, embodied in the figure of the libertine. The sadistic libertinage, which combines the idea of freedom and the practice of torture, finds itself at the very heart of contemporary politics, its operative unconscious.

Background Modeling Combined With Multiple Features in the Fourier Domain for Maritime Infrared Target Detection

To detect ship targets in dynamic sea backgrounds, a robust foreground detection method based on background modeling combined with multiple features in the Fourier domain (BMMFF) is proposed. Because the fluctuation of seawater is similar to a sine wave, the amplitude spectrum of the seawater in the Fourier domain has strong energy concentration, and the background model is built in the Fourier domain. The local statistical characteristics can effectively reflect the properties of a specific position, and the target frequency points are extracted by comparing the local statistical characteristic differences between the amplitude spectrum of the test frame and the updated background. Additionally, two different strategies are used to update the background for cases with or without sudden waves in two adjacent test frames. When the target and seawater have different contrast in different scenes, the threshold is set according to the seawater's fluctuation degree, which is classified into three different levels in the training stage. Moreover, the linear correlation feature between the test frame and the updated background and the oscillation feature of the test frame's amplitude spectrum are proposed in the Fourier domain, which can better segment targets in relatively calm and violent sea scenes, respectively. Thus, the two features are combined with the background model with a reasonable strategy to further improve the detection accuracy. The experimental results demonstrate that BMMFF outperforms related comparison algorithms in different challenging sea scenes. The average false alarm rate of BMMFF is reduced by approximately 30% in the case where its average detection rate is similar to that of other algorithms.

Історична пам’ять і некрополітика у прозі Олександра Ірванця

This article is focused on the literary representation of the historical memory about totalitarian past of Ukraine in dystopias by Olexandr Irvanets. The aim of the research is to analyze how phenomenon of necropolitics, substantiatiated in theory by Cameroonian scholar Achille Mbembe as a sovereignty’s right to decide who can live and who must die, is artistically reflected in Irvanets’s works “Rivne / Rovno (The Wall)”, “Ochamymria”, “Libenkraft’s Disease”, and “Kharkiv 1938”. Achievement of this aim presupposes completion of such tasks: to specify content of the phenomenon of necropolitics in Achille Mbembe’s theory, make clear genre of the above-mentioned works by Olexandr Irvanets, outline nuances of interpretation of Ukraine’s colonial past in the above works, and analyze in which way representation of nectopolitics in these texts is overlapped with the material of Ukrainians’ historical memory. The offered article is particularly relevant, since its key concept, necropolitics, despite its prevalence in social sciences, was utilized in the literary criticism very rarely, and was never used by the moment in the Ukrainian literary studies. Therefore, the analysis of the contemporary Ukrainian writer’s works from the position of the considered theory broadens a range of multidisciplinary approaches to the literary work. Division of the fictional space into open and closed zones, alienation of the shown states from other countries, unlimited power of the state over citizens’ lives and deaths, and display of characters’ corporeality as permanently threatened are the main ways of necropolitics realization in the dystopian worlds of Irvanets’s prose. Social unification, stigmatization of the characters, different from others, their deprivation of unique individuality are considered a symbolical equivalent of physical extermination. In all analyzed works, symbolical, moral destruction is shown as deindividualization of unique personalities, transformation them into obedient faceless mass. Means of this transformation include technological inventions (“thoughts unifying radial aggregate” in the novel “Rivne / Rovno (The Wall)”), common exhausting senseless labor (in the tale “Ochamymria”), political repressions against dissidents (in the novel “Kharkiv 1938”), mysterious and very dangerous disease (in the novel “Libenkraft’s Disease”). The most complete and detailed picture of necropolitical society is artistically represented in the novel “Libenkraft’s Disease” that contains a very high number of scenes of violence. Characteristically, the author puts regulation of the question “who can live and who must die” within human population in one row with the regulation of population size of animals – the impressive scene of dog’s extermination on pages of the work proves it. Like many classical dystopias, the novel has no happy end, moreover, the protagonist who, due to infecting by the Libenkraft’s disease, gains shrewd all-seeing eyes, sees that necropower complete and final victory over individuality.

(In)visibilidades das violências na produção do cuidado com as pessoas em situação de rua

This study takes the manifestations of violence in a Psychosocial Care Center for Alcohol and Other Drugs in Salvador, Bahia, Brazil, as analyzers of the production of care for homeless people who use this service. It used a qualitative approach in a cartographic perspective, following clues which appeared in the monitoring of the service for a semester, recorded in a cartographic diary, and in four monthly meetings with the service care team to discuss scenes of violence. Results point to a shift in the view of violence as a natural unfolding of vulnerability and drug use, making visible other elements involved in its production, such as the structural and institutional racism experienced by these people. They reinforce the need for permanent education strategies which take violence and racism in health services as raw material for the training of health workers.

“Mar de bullying”: turbilhão de violências contra lésbicas, gays, bissexuais, travestis e transexuais na escola

Abstract This study aimed to understand the experiences and senses of bullying experienced by lesbians, gays, bisexuals, transvestites, transsexuals, and other identities. This qualitative research was conducted with nine participants older than eighteen years and who identified as members of the interest group through interviews conducted from a semi-structured script. The corpus analysis was guided by the social theory of discourse and aided by Kitconc 4.0 software. The reports show the contrast between the temporality of the term bullying, foreign word of the 21st century in the Brazilian context, and the constant presence of violence in the school environment in the trajectories of the participants. The advancement of communicative technologies also constitutes this sea of bullying by widening the reach of violent scenes and globalizing shame, cursing, and punching. The way to deal with this permeates the direct confrontation, encouraging the school community to debate and protect children and adolescents marked by cis-heteronormative hegemony. Thus, it is in the resistance of existence that bodies in assembly hope and claim the rights inherent in life, advancing beyond survival and regulated citizenship. Adolescents and children crossed by bullying are potencies of themselves, and it is up to us, now adults, the ethical commitment to enable other ways of being in this world.

Instagram as One of Generation Z's Choice of Health Information Sources in Indonesia

Social media is a communication tool that can disseminate or spread a culture, including YouTube. It has become a meeting place for various people from different backgrounds. However, YouTube becomes an arena where dominant groups exercise power over other groups. Trans TV company has the capital that can create a habitus that oppresses other groups. Through the ‘Ngobrol Asal' program, Trans TV tries to maintain its position. The program indicates the existence of symbolic violence against people with disabilities. Disability discrimination issues have been in the spotlight throughout history. Through the modernization of communication tools, discrimination of persons with disabilities occurs smoothly. Komeng, the actor, performs a comedy that refers to the symbolic violence against Daus Mini as a person with a disability whose limitations turn into a joke that indirectly impacts the negative perception of people with disabilities. This study uses qualitative research methods. This study uses the perspective of Stuart Hall's Representation Theory to reveal the meaning of the scene and Bourdieu's Theory of Symbolic Violence to explain comedic content, which is an arena for the practice of symbolic violence. The results of this study indicate the existence of symbolic violence in the 'Ngobrol Asal' program. This can be seen in Komeng's jokes, representing Daus Mini as a small child who cannot contribute to society. The limitation of Daus Mini as the actor is interpreted as a disgrace to the family or the surrounding environment. Trans TV as a capital owner, uses YouTube as a battle arena to maintain its position, regardless of the impact on people with disabilities.&#x0D; Keywords: Symbolic violence, Disability, YouTube, Trans TV, Representation

Symbolic Violence against Persons with Disabilities in the Trans TV Official Program Ngobrol Asal on YouTube

Social media is a communication tool that can disseminate or spread a culture, including YouTube. It has become a meeting place for various people from different backgrounds. However, YouTube becomes an arena where dominant groups exercise power over other groups. Trans TV company has the capital that can create a habitus that oppresses other groups. Through the ‘Ngobrol Asal' program, Trans TV tries to maintain its position. The program indicates the existence of symbolic violence against people with disabilities. Disability discrimination issues have been in the spotlight throughout history. Through the modernization of communication tools, discrimination of persons with disabilities occurs smoothly. Komeng, the actor, performs a comedy that refers to the symbolic violence against Daus Mini as a person with a disability whose limitations turn into a joke that indirectly impacts the negative perception of people with disabilities. This study uses qualitative research methods. This study uses the perspective of Stuart Hall's Representation Theory to reveal the meaning of the scene and Bourdieu's Theory of Symbolic Violence to explain comedic content, which is an arena for the practice of symbolic violence. The results of this study indicate the existence of symbolic violence in the 'Ngobrol Asal' program. This can be seen in Komeng's jokes, representing Daus Mini as a small child who cannot contribute to society. The limitation of Daus Mini as the actor is interpreted as a disgrace to the family or the surrounding environment. Trans TV as a capital owner, uses YouTube as a battle arena to maintain its position, regardless of the impact on people with disabilities.&#x0D; Keywords: Symbolic violence, Disability, YouTube, Trans TV, Representation