Political Representation Of Political Violence

David Nirenberg talks about two types of violence, “cataclysmic violence” and “systematic violence”. The first part of the book discusses “cataclysmic” violence, while the second part of the book focuses on “systematic violence.”

People’s perceptions of incessant societal issues are inherently influenced by their social and cultural contexts. In the prescribed non-fiction text, “The Prince,” written by Niccolo Machiavelli in 1532, is a didactic explanation of the political struggles of Renaissance Italy. Similarly, William Shakespeare’s play, “Julius Caesar,” composed in 1599, depicts the historical events surrounding Julius Caesar’s assassination. The ideas of manipulation and fate versus free will are presented through literary devices in “The Prince” and dramatised staging features in Shakespeare’s play. Both texts effectively highlight continuous human concerns as a result of the context in which they are written.

An individual's response to conditions of internal and external conflict is explored throughout literature. In his play, Hamlet, Shakespeare delves into the themes of appearance versus reality, lies versus deceit, rejection versus self doubt and tragedy, and in doing so attacks the frivolous state of humanity in contemporary society. In order to explore these themes, however, he uses several forms of conflict to project his opinions and expand his ideas relating to the themes of the play. Internal conflict, as well as external conflict are dominant features of his works, and in Hamlet are made evident through a succession of dire events which can attack and destroy

The main objective of this chapter is to describe violence and its purpose in a literary work.

The history of humanity is written in blood. Even as violence as a whole is decreasing, acts of extreme violence continue to be perpetrated. To be clear, this essay is not about individuals violent and cold at their core. Such people are readily understood within the image of a lone, antisocial killer set apart from humanity by their very lacking of it. This essay is about violence conducted on a scale that can only be enabled by the participation of people who, under normal circumstances, would not act violent. The puzzle of how and why genocides, apartheid, state brutality, torture, and mob killings are perpetrated by ordinary people points to psychosocial mechanisms as their cause. Ordinarily non-violent people commit extreme violence

Power is something that every human would like to acquire. The desire to earn power can be so important for some individuals that they use violence to acquire it. Violence can often cause jealousy, greed and hatred for each another. It is the violence of many humans that can lead them into doing such “unforgivable” acts. In both the plays, William Shakespeare and Arthur Miller with their famous novels, The Merchant of Venice and The Crucible, have shown how Grudges and Rivalries can cause such destruction in the lives of the people and the society in this play.

Although the catalyst arises from a particular set of historical and cultural circumstances, the idea of the individual pitted against the state has a universal resonance. In this case,

Violence and war is notable throughout history. However, it is lazy to say that this proves humans are naturally violent. Rather than using nature as an excuse for those who chose to act violently it’s important we recognize that we have a choice to decide how we act. In Howard Zinn’s, “Violence and Human Nature” He shows that violence is not an instinct but that the environment in which they live in provokes them to act violently or peacefully depending on their choice (43). In City of God, a film concentrating on the gangs of Rio de Janeiro during the 1960’s to the 1980’s, specifically the township of Cidade de Deus, we are introduced to various characters who all make different choices under different motivations. Rocket, the little brother to a member of the Tender Trio, who are essentially the Robin Hood’s of the City of God, to act non-violently despite his environment and the influences around him.

The chapters that are being reviewed in this analysis, chapters five, six, and seven, are far more explanatory about the pattern of semi-recent violent acts and the basis of human nature than the previous four chapters.

As more violent influences poison the minds of the people violent acts themselves also become more prominent. Hardman states “we are constructing our language to glorify war and violence and in that way make such violence appear appropriate even acceptable when it appears in reality.” In Kinkade’s Poem Skinning these violent influences surface in reality through the action of revenge. Kinkade writes “How easy it is/ to cut a throat/ let the blood roll over a pocket knife/ onto the ground” (pg. 63). This poem continues to compare the how easy it would be to skin the man who had raped a little girl just like an animal in metaphors like the ones above. As Hardman states in her work Language and War “We further make war an ‘appropriate’ response to problems by inverting the metaphors when we metaphorize the violent as peace”, just like people turning to revenge to solve their problems. The prevalent idea that violent metaphors are escaping the pages of literature and entering into reality is unmistakable true. No one is usual taught that revenge is the device to turn to when life throws them a curve ball, but the poison of todays metaphors has begun to engrave itself into the minds of today culture.

The mastermind of the play, Vindice, commits heinous acts in order to enact revenge on his foes. The rest of characters in the play have their own agenda, from which they too also commit heinous acts for revenge, but the series of events finally ends in Vindice’s death, as well the deaths of many others. The audience becomes greatly indebted to his insidious ways and blatant disregard for morality. This paper will demonstrate how Vindice’s actions are unduly inappropriate and extreme. Vindice’s fate and the death sentence served to him are well justified, considering his initial identity is lost throughout the play and he becomes more conniving and not humble. Between the ingenious ways that Vindice convinces people to do things for him it

Humanity’s capacity for all types of violence – wanton, revolutionary, productive, vengeful, et cetera – has been a focus of artists during every epoch of human history. Francisco Goya’s The Mob (part of his series The Disasters of War) and Käthe Kollwitz’s Uprising, both prints, deal with human violence in the context of reaction to adversity. Goya’s work shows the effects of Napoleon’s oppressive rule over the people of Spain in the early nineteenth century, while Kollwitz’s art deals with the difficulties endured by German peasants near the dawn of the twentieth century. Both artists depict some sort of violence in response to oppression and hardship, but the ways in which they go about this are different according to the response they wish

The issues about violence should have been handled in a much different way than they have been handled so far. The candidates fail to accept what is happening by their own supporters and only reflect on what others candidates supporters are doing incorrectly. As stated above one of Trump’s rallies was cancelled due to safety concerns, when the other candidates were questioned about it they each stated that they didn’t approve, but they didn’t say how it should be changed. Senator Ted Cruz said “America is better than this. We don't have to tear each other apart… "When you have a campaign that disrespects the voters, when you have a campaign that affirmatively encourages violence, when you have campaign that is facing allegations of physical

The article ‘Long Term Effects of Political Violence: Narrative Inquiry Across a 20-Year Period’ was co-written by Professor Karola Dillenburger, Director of the Centre for Behaviour Analysis, Dr. Montserrat Fargas Research Fellow School of Sociology, and Rym Akhonzada, Research Co-ordinator, all at the Queen’s University of Belfast, Belfast, United Kingdom.

Caryl Churchill’s play Far Away and Jane Taylor’s Ubu and the Truth Commission are two plays that both concern violent, corrupt political systems, but each playwright goes about confronting these issues in a quite different style. Jane Taylor structures her work with an omniscient perspective that allows the audience to see the reality of what is happening at all times, while Churchill utilizes a limited perspective that leaves the audience as unaware of the truth as her characters. These approaches result in two plays that are very different in character, but at the same time, both of the works successfully create a similar uneasy, frightening atmosphere