Revenge is not a publicly admissible motive for individual action. Church, state, and reason all line up against it. Officially revenge is thus sinful to the theologian, illegal to the prince, and irrational to the economist (it defies the rule of sunk costs). Order and peace depend upon its extirpation; salvation and rational political and economic arrangements on its denial. The official antivengeance discourse has a long history even preceding the Stoics, taken up and elaborated by medieval churchmen and later by the architects of state building
Trudy Govier offers a sweeping moral critique of revenge, arguing that even non-violent, limited, ac...
Clint Eastwood's Dirty Harry became the prototype for a new kind of movie cop--an antihero in pursui...
This essay examines recent European art films that reinterpret the revenge plot and radically challe...
Revenge is not a publicly admissible motive for individual action. Church, state, and reason all lin...
The object of the research is the movie entitled Changeling. The major problem of this study is how ...
Joe Street, Dirty Harry’s America: Clint Eastwood, Harry Callahan, and the Conservative Backlash Uni...
The thirst for vengeance is a timeless subject in popular entertainment. One need only think of Old ...
This is a book review of Sara Anson Vaux, The Ethical Vision of Clint Eastwood (Michigan: William B....
This course explores the moral and aesthetic tenets of revenge passion as represented in Western lit...
Cost and Benefit of Revenge: A Sociology of Literature Study on Sidney Sheldon’s Master of the Game....
The index to the 2018 VideoHound Guide to Films suggests that under the broad heading of “revenge” t...
The guilt-ridden character archetype is a recurring premise in Clint Eastwood’s cinema, recognizable...
One of the risks of studying the Icelandic sagas and loving them, is, precisely, loving them. And wh...
This Article is based on a presentation at the 2012 conference on “Struggles for Recognition: Indivi...
267 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2002.The main argument in this dis...
Trudy Govier offers a sweeping moral critique of revenge, arguing that even non-violent, limited, ac...
Clint Eastwood's Dirty Harry became the prototype for a new kind of movie cop--an antihero in pursui...
This essay examines recent European art films that reinterpret the revenge plot and radically challe...
Revenge is not a publicly admissible motive for individual action. Church, state, and reason all lin...
The object of the research is the movie entitled Changeling. The major problem of this study is how ...
Joe Street, Dirty Harry’s America: Clint Eastwood, Harry Callahan, and the Conservative Backlash Uni...
The thirst for vengeance is a timeless subject in popular entertainment. One need only think of Old ...
This is a book review of Sara Anson Vaux, The Ethical Vision of Clint Eastwood (Michigan: William B....
This course explores the moral and aesthetic tenets of revenge passion as represented in Western lit...
Cost and Benefit of Revenge: A Sociology of Literature Study on Sidney Sheldon’s Master of the Game....
The index to the 2018 VideoHound Guide to Films suggests that under the broad heading of “revenge” t...
The guilt-ridden character archetype is a recurring premise in Clint Eastwood’s cinema, recognizable...
One of the risks of studying the Icelandic sagas and loving them, is, precisely, loving them. And wh...
This Article is based on a presentation at the 2012 conference on “Struggles for Recognition: Indivi...
267 p.Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2002.The main argument in this dis...
Trudy Govier offers a sweeping moral critique of revenge, arguing that even non-violent, limited, ac...
Clint Eastwood's Dirty Harry became the prototype for a new kind of movie cop--an antihero in pursui...
This essay examines recent European art films that reinterpret the revenge plot and radically challe...