Violent Scenes Research Articles

Implementasi Sistem Parental Control Pada Jaringan Client-Server Menggunakan Sistem Operasi Debian

The increasing number of internet users along with the development of technology is increasing, the current webiste service users have been used by anyone and in all fields. Various sites about education, entertainment, mystical even violent scenes and pornography are things that are impossible not to find on the internet. More and more sites that are not educating at this time make parents have to be more careful and wise in supervising their children who are still under 17 years old in using internet facilities. In this study, a parental control system will be designed and built that utilizes a proxy server on a network which can later be implemented on an internet network at home. The type of research in this research is research and development to carry out system development. With this system, it is hoped that parents can be calmer at work or outside the home and their children can monitor all their activities on the internet from those that are less suitable for the child to visit.

Translating Race on the French Stage

Translating Race on the French Stage

НЕОБАРОЧНЫЕ ЭЛЕМЕНТЫ ПОЭТИКИ ЮРИЯ БУЙДЫ

The article analyzes the neo-baroque elements in the work of the writer Yury Buida, considers the concepts of neo-Baroque (Benjamin, Deleuze, Calabrese, Lipovetsky), as well as the relationships between Baroque and neo-Baroque in postmodern poetics. In Buida’s prose such distinctive features of neo-Baroque aesthetics are revealed as excessive quoting and genre-style eclecticism (“The Fifth Kingdom”); “rhythm of repetitions and breaks” in repetitive motifs and representation of the characters (“Everyone flowing”); manifestation of neo-Baroque melancholy and nostalgia (“The Prussian Bride”); the aesthetics of excess, manifested in the physical and moral deformation of the characters or in mass scenes of violence in a theatrical fashion; the image of the library-labyrinth (“Nscdtchndsi”). The article also interprets the role of the Königsberg text as an object of the author’s melancholy and nostalgia, an element of the narrative linking of the author’s stories. The neo-Baroque elements are analyzed not only as a re-mythologization of the style and of the specific views of the epoch, but also from the point of view of their poetic function in the texts. In Buida’s texts these elements can perform as tools of author’s control over the reader’s reception, as well as strategies aimed to confront chaos and entropy.

The Unhurried Hermeneutics of Anti-Black Violence in Toni Morrison’sParadise

AbstractThe opening lines of Toni Morrison’s Paradise (1997) are undeniably some of her most famous: “They shoot the white girl first. With the rest they can take their time. No need to hurry out there… . there is time and the day has just begun” (3). While the novel eventually reveals the identity of those who constitute the “they” of the opening action, in a move that has received much critical attention, it famously leaves the first victim anonymous. This essay, however, draws our attention to “the rest.” What of the infamous black women of Paradise for whom the violence is slow and drawn out or the many more in our country whose names we say to rebuke a system of injustice that continues to insist that there is “no need to hurry” for “there is time and the day has just begun”?Privileging a reading of time over space, the essay puts Morrison’s Paradise in conversation with Rob Nixon’s Slow Violence and the Environmentalism of the Poor (2011) and Moya Bailey’s Misogynoir Transformed: Black Women’s Digital Resistance (2021) in order to address the urgent need for a temporal reframing of anti-Black violence. Paying particular care to what Karla Holloway describes as the “comparative laxity” to which Black women in this country have historically been subjected and the extent to which that comparative laxity persists in the face of spectacular scenes of violence, the essay concludes with an examination of Breonna Taylor’s murder in 2020. It considers how the events that resulted in her death, like the fictional raid that frames Morrison’s novel, are byproducts of white supremacist systems of slow violence and misogynoir designed to wear down the opposition by attrition.

The Scenes of Violence in a Digital Writing Environment: The Sample of Wattpad

The social and technological developments experienced have led the 21st century children to digital tools for education, entertainment and communication. The concepts of literacy were also affected by this tendency, and with the spread of extracurricular reading and writing activities, students’ literacy tendencies rapidly began to evolve from paper to screen. The Wattpad is also a text writing and sharing application that children and young people engagedly turn to. In this uncontrolled free platform, thousands of stories written in various forms of expressions on all kinds of subjects are presented to the admiration of children in the developmental age and are quickly consumed by many children and young people who are not yet digitally literate. In this qualitative research, which is designed as a case study, 6 stories that were awarded in 2018 within the scope of the Wattys Awards given by Wattpad each year with user votes were examined within the framework of the concept of violence. The data were obtained through document analysis and they were analyzed with the descriptive analysis method according to Polat’s (2016) classification of “physical violence, sexual violence, emotional violence, economic violence and cyber violence” and analyzed according to the determined codes and categories. The findings show that there are many elements of violence in the stories examined and that these mainly include physical and emotional violence types. The acts of “killing” and “dying” in the physical violence, and the insults aimed at disdaining and ridiculing were the most common forms of emotional violence. The fact that these stories, in which all kinds of violence were encountered, were deemed worthy of awards by the readers, revealed that readers had an interest in violent genres, and Wattpad fed this interest of young readers. For this reason, it is recommended that Wattpad application be used under the family supervision and an editorial application be implemented within Wattpad itself.

Democratic Aesthetics: Scenes of Political Violence and Anxiety in Nari Ward and Ocean Vuong

Abstract By attending to art and writing that interrogates US citizenship and state violence, this essay foregrounds the structural antagonism between democracy as an instituted form of rule, which depends on inegalitarian hierarchies, and democracy’s egalitarian drive. It argues that the realization of democracy as a form of governance (consensus democracy) occurs by substituting the rule of a part for the whole, which violently forces democracy’s constitutive figures to conform to and negotiate its organizing logics. Nari Ward’s We the People (2011) allegorizes this inherent tension in democracy as one between synecdoche and metonymy. The article then theorizes a new form of democratic politics through an engagement with Jacques Rancière before turning to Ocean Vuong’s “Notebook Fragments” (2016) and “Self-Portrait as Exit Wounds” (2016) as articulations of a democratic aesthetics constituted by figures—including metonymy, irony, and catachresis—that interrupt the substitutions of synecdoche. Vuong’s poetry foregrounds the violence enacted by state fantasies and insists on the democratic equality disavowed by consensus democracy. Together, Ward and Vuong locate the political force of aesthetics not in reassuring visions of inclusion but in operations that disturb and resist any form of hierarchy.

Beyond Brutality: Addressing Anti-Blackness in Everyday Scenes of Teaching and Learning

While scenes of incredible and troubling violence, such as that of Black children handcuffed or brutalized by school security officers, have sometimes been leveraged to highlight the anti-Blackness endemic in schools, Saidiya Hartman’s (1997) book Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America suggests that we must also attend to scenes in which terror can hardly be discerned to identify and unravel the subtle threads of anti-Blackness that pervade contemporary schooling. That is this paper’s aim: to look beyond the scenes of spectacular suffering and to locate the pervasiveness of anti-Blackness in the mundane routines of teaching and learning in schools. To do so, we bring Hartman's work to bear on recent theories of racism as an affective phenomenon, that is, as a relational and emotional phenomenon, as felt encounters with material consequences (Ahmed, 2004; Tolia and Crang, 2010; Zembylas, 2015), to consider the relationships between teachers and students in schools and how these relationships produce and are produced through anti-Blackness, relationships that, while not explicitly violent, nevertheless reinforce Black subjugation. Hartman’s work locates three particular forms of technologies of affect that produce and are produced through anti-Blackness: empathic identification; paternal benevolence; and the shame-mongering of burdened individuality. We argue that these affective technologies also circulate in contemporary schools, albeit in forms that are uniquely modulated to both education and to the particularities of our officially antiracist, multicultural moment. We conclude by exploring the implications of these findings for teacher education.

Follow the Hatred: The Production of Negative Feeling in Emily Brontë'sWuthering Heights

Follow the Hatred: The Production of Negative Feeling in Emily Brontë's<i>Wuthering Heights</i>

Fear of a Black City: Gender and Postracial Sovereignty in Death Wish (2018)

This essay reads the 2018 remake of the vigilante film Death Wish (directed by Eli Roth). Situating the film within the ideological context of postracialism and the proximate context of the Movement for Black Lives, #MeToo, anti-gun activism, and the Trump presidency, I suggest that the film figures Chicago as a racial threat to white, feminized, suburban life. Mostly dispensing with conventional racial markers, Roth’s film paints Chicago as a space of immiseration and death to generate a racialized threat of sexual assault, conjuring an uncanny scene of sexual violence followed by a lynching. The film models postracial sovereignty, a model of authority constantly producing death to ward off the threat of Blackness and preserve the white and masculine prerogatives of political liberalism. The film illustrates how political liberalism wields the threat of death to attempt the suppression of antiracist, feminist rebellions offering understandings of life that diverge from liberalism’s white masculinity.

Cross-Dressing in the City: Olive Malvery’s The Speculator

Abstract Despite a growing body of scholarship on finance and fiction, Malvery’s The Speculator has not yet received the critical attention it deserves. In this article, I undertake the first detailed analysis of Malvery’s fictional foray into the world of finance, centred on the story of a female stockbroker operating in disguise in the City of London. The first section of the article focuses on late nineteenth-century and early Edwardian novels of finance, chiefly concerned with deploring the cunning ruses of company promoters, and provides a brief overview of their representations of the ‘popular investor’. I then analyse how the cross-dressing masquerade is orchestrated and tested in The Speculator, culminating in a scene of violence that takes place at the Stock Exchange and exposes the threat of physical force underpinning discriminatory regulation. The final section argues that the swerve towards the spy thriller, a popular genre in Edwardian England, allows Malvery to contain and disperse the fear of violence, the crude underside of the cross-dressing act, and to go on envisioning for her intrepid heroine ever more incredible adventures with geopolitical implications. By attending closely to the novel’s hybrid formal structure, my reading suggests that a good deal of fictionalizing was necessary to imagine the protagonism of women in the money market, at a time when their role as investors was no longer exceptional, but their inclusion into the circle of active financial players was still a matter of dispute.

Back to Amido Black: Uncovering touch DNA in blood-contaminated fingermarks.

Blood-contaminated fingermarks (FMs) found in violent crime scenes may directly connect the suspect to the crime by linking the FM to the suspect and the DNA from the blood to the victim. However, marks that are incomparable are considered "dead-evidence" as the link to the suspect is lost. In this study, a novel approach was attempted to uncover the trace amount of touch DNA of the suspect in such marks. We examined the effect of two enhancement methods, ninhydrin (NIN) and amido black (AB), on DNA recovery from blood-contaminated FMs. A total of 108 fingerprints were deposited in three sets of depleted blood prints, blood-contaminated FMs, and latent FMs. All FMs were developed by either NIN or AB, or left undeveloped as reference followed by the quantification of the total DNA amount. This work shows that while AB had a detrimental effect on the quantity of blood-derived DNA specifically, reducing it by half, no similar effect was observed for touch DNA in latent FMs. This reduction led to the alteration of the major-to-minor DNA profile ratio to 70:30, thus enabling to obtain two distinct DNA profiles of the suspect from the touch DNA as well as the victim's profile from the blood. From an operational perspective, the use of AB in crime scenes may have an added value to retrieve the crucial DNA profile of the suspect, thus resurrecting a "dead-evidence."

Pinterian Violence and the Problem of Affirmation

ABSTRACT This article positions Harold Pinter's later plays within the context of both rationalizations of violent means to achieve justifiable ends and a tradition of violent staging at the Royal Court Theatre. The former context includes explanations of violence in dramatic Tragedy, in Antonin Artaud's Theatre of Cruelty, and Edward Bond's political theatre; the latter, scenes of violence in the post–“In-Yer-Face” plays of Simon Stephens, David Ireland, and Jez Butterworth. The argument finally arrives at Pinter's increasingly negative worldview that while no discourse can justify the use of violent means to achieve desired ends, violence is both omnipresent and inevitable in human events.

Not So Beautiful Life: A Study on the Treatment of Black humour in Life is Beautiful

The Holocaust is one of the most tragic events ever happened in the human history. It was a systematic, bureaucratic and state sponsored persecution and murder of around six million Jews by the Nazi regime and its collaborators. Our memory of Holocaust, especially of the people belonging to this generation has been shaped more by popular representations, especially in films. The film Life is Beautiful directed by Robert Benigni portrayed the horror of Holocaust connotatively using black humour as its main medium. A short analysis of how Benigni uses black humour and other visual-cinema techniques in bringing out the terror of Holocaust among audience is studied in this article. Though the movie seems to fall under the genre comedy, it discusses connotatively the serious issues related to the life of Jews under Nazi regime without any use of violent images or scenes that reflect the real terrors of Holocaust.

Mobile Neural Architecture Search Network and Convolutional Long Short-Term Memory-Based Deep Features Toward Detecting Violence from Video

Recently, surveillance cameras are deployed in many public places to monitor human activities. Detecting violence in videos through automatic analysis means significant for law enforcement. But almost many monitoring systems require to manually identify violent scenes in the video which leads to slow response. However, violence detection is a challenging problem because of the broad definition of violence. In this work, we will concern with physical violence that involved two persons or more. This work proposed a novel method to detect violence using automated mobile neural architecture search network and convolution long short-term-memory to extract spatiotemporal features in the video, and then adding two types of pooling layers max and average pooling to capture richer features, standard scaling these features and reducing the dimension using linear discriminative analysis to remove redundant features, and making classifier algorithms working well in low dimension. For classification, we trained and tested various machine learning models which are random forest, support vector machine (SVM), and K-nearest neighbor classifiers. We develop a combined dataset that contains violence and non-violence scenes from public datasets: hockey, movie, and violent flow. The performance of the proposed method is evaluated on a combined dataset in addition to three benchmark datasets, hockey, movie, and violent flow datasets in terms of detection accuracy. The results of our model showed high performance in combined, movie, and violent flow datasets using SVM classifier with accuracies of 97.5%, 100%, and 96%, respectively, whereas in the hockey dataset, we achieve the best result of 99.3% using the random forest classifier.

Jacques Callot’s billows, puffs, and plumes

How can we know the difference between a cloud in the sky and a puff of smoke from a fire? Jacques Callot’s series of etchings Les Misères et maleurs de la guerre (1633) is not usually considered for its clouds, even though billows, plumes, and vapors accompany its scenes of bloodshed and violence. Considering the premodern print through the mutually constituted nature of environment and media, this article explores how the clouds of Les Misères compel a particular viewing practice combining radical formalism with deep contextualization. Unavailable for any direct symbolic interpretation, clouds instead structure the image and guide the viewer’s eyes; they affirm a way of viewing the prints that seek the detail and gives it both symbolic and structural meaning; they connect the materiality and technology of prints with the series’ subject matter: human violence and divine justice. Through vignettes that explore tensions in composition, technology, temporality, and scale, this essay explores how clouds help Callot’s plates pose a particular challenge to their viewers: to understand the world as a single legible, coherent and harmonious place both despite and because of the violence which rents and repairs it.

The Effect of Online Game Violence Exposure on Teenagers’ Aggressive Behaviour

This reseacrh aims to analyze the correlation between the exposures of violent scenes in Grand Theft Auto V towards aggressive behavior in teenagers, by posing a central question: how does violence scenes in this game relate to aggressive behavior in teenagers? By using associative quantitative research methods, this research is done through literature study and collecting data in the form of questionnaires. A total of 150 participants who aged 17 to 19 years old and have played Grand Theft Auto V agreed to participate as a respondent. Based on the research, the media exposure dimensions that have been formulated are Frequency, Duration, and Intensity. Aggressive behavior as a form of a teenager’s response to violent scenes has four dimensions: physical aggression, verbal aggression, anger, and hostility. The results of this research indicate that there is a correlation between the exposure Grand Theft Auto V violent scenes towards aggresive behavior in teenagers, with a correlation value of 0.386 which is classified as low. Through this, it can be interpreted that exposure towards Grand Theft Auto V violent scenes contributed 38.6% to aggressive behavior in teenagers.

Highly Stable, Nondestructive, and Simple Visualization of Latent Blood Fingerprints Based on Covalent Bonding Between the Fluorescent Conjugated Polymer and Proteins in Blood.

Latent blood fingerprints (LBFPs) can provide critical information of foul play and help identify the suspects at violent crime scenes. The current methods for LBFP visualization are still not satisfactory because of the low sensitivity or complicated protocol. This study demonstrates a simple and effective LBFP visualization strategy by integrating a new amphiphilic fluorescent amino-functionalized conjugated polymer with the cotton-pad developing protocol. LBFPs on various substrates are visualized by simply covering them with the polymer solution-soaked cotton pads. The images display clear fingerprint patterns, ridge details, and sweat pores, even on very challenging substrates such as painted wood and multicolored can. The gray value analysis confirms semiquantitatively the enhancement of the contrast between ridges and furrows. Even LBFPs with various contaminations or aged for more than 600 days are effectively developed and visualized. The developed fingerprint images show superior stability over long storage time and against solvent washing. Moreover, the polymer causes no degradation of DNAs in the blood, suggesting the possibility of further DNA profiling and identification after development. The mechanistic investigation suggests that the formation of positive or inverted images can be attributed to the synergistic effects from the affinity between polymer and blood, and the affinity betwen polymer and substrate, as well as the slight quenching of polymer fluorescence by blood. Furthermore, the covalent bonding between the protonated primary amino group and proteins in blood endows the stability of the developed fingerprints. The result rationalizes the molecular design of the fluorescent polymer and sheds new light on the future strategies to effective LBFP visualization in practical applications.

Impact of violent television serial on aggression among adolescents: psychosocial study

Background: Now days, just about any time you are turn on the TV you are seen with a barrage of violent scene and images including aggressive behavior, explosions, war casualties and suicide bombings. Many social psychologist conducted research about television violence and aggression among adolescents. American adolescents watching average of between four and five hours of television shows daily. As the conclusions, television violence and adolescents has become a violent serials and shows. Studies show extensive watching of television violence may cause adolescents to become more aggressive behavior and anxious.Methods: The study was community based cross-sectional with psychosocial designed and was carried out in an urban area of Jalgaon. The population of the research was chosen from secondary school students from the different public school of Jalgaon city.Results: The research sample consists of 640 students (320 boys and 320 girls). Purposive sampling method of sampling was used for selection of data. The investigator was used Aggression questionnaire developed by Dr. Buss and Perry to collect the necessary data.Conclusions: This study concluded that adolescents who watch violent TV serials are more aggressive than the adolescents who watch Non-violent TV serials. Second, Government school adolescents are aggressive than private school adolescents. Third is Male are aggressive than female adolescents. Then, Rural area adolescents are aggressive than urban area adolescents.

The association between the rise of gun violence in popular US primetime television dramas and homicides attributable to firearms, 2000-2018.

Injuries and fatalities due to firearms are a major burden on public health in the US. The rise in gun violence in popular movies has been suggested as a potential cultural influence on this behavior. Nevertheless, homicide rates have not increased over recent decades in the US, suggesting that media portrayals have had little influence on gun violence. Here we challenge this interpretation by examining trends in the proportion of violence that are attributable to firearms, a measure that should be more sensitive to media violence. In addition, we examine trends in the portrayal of guns in popular television (TV) dramas, which are viewed more frequently than movies. We ask (a) whether gun violence has increased in these TV shows not only on an absolute basis but also as a proportion of violent scenes and (b) whether trends in gun portrayal on these shows are associated with corresponding trends in the proportion of real-world violence attributable to firearms in the US from 2000 to 2018. To answer these questions, we coded annual instances of violence, gun violence, and proportion of violence involving guns for each 5-minute segment of 33 popular TV dramas in the police, medical, and legal genres from 2000 to 2018. Trends in annual rates of violence, gun violence and proportion of violence involving guns were determined over the study period and were compared to annual rates of homicide attributable to firearms in three age groups: 15-24, 25-34 and 35 and older. Although violence on TV dramas peaked in 2011, gun use steadily increased over the study period both in absolute terms and in relation to other violent methods. The latter metric paralleled trends in homicides attributable to firearms for all three age groups, with the strongest relationship for youth ages 15-24 (R2 = .40, P = .003). The positive relation between relative amount of TV violence involving guns and actual homicides due to firearms, especially among youth, is consistent with the hypothesis that entertainment media are contributing to the normative acceptance of guns for violent purposes. Future research is needed to study the influence of media violence on gun acquisition at the individual level.

“Thou maiest inforce my body but not mee”: Racializing Consent in John Marston’sThe Wonder of Women

“Thou maiest inforce my body but not mee”: Racializing Consent in John Marston’s<i>The Wonder of Women</i>