No subject

ngs, modern terror develops within a global network of increasing density a=
nd resonance. Terror one sees =E2=80=9Cover there=E2=80=9D suddenly is here=
, collapsing space and time and with them one=E2=80=99s points of reference=
.....And if clich=C3=A9s, images, ghosts preceded the real - what violence =
would there be in that?<br>
<br>
<br>
[Erik schreibt]<br>
excellent. in the perpetrator, victim, witness triad - the witness is shock=
ed/severed out of the equation, specifically in order to collapse imaginati=
ve and expressive space for the victim. the witness still exists, but to de=
monstrate estrangement. the perpetrators are fine because they have space b=
ehind them, up in the large house they&#39;ve stolen.<br>
<br>
<br>
[Ana schreibt]<br>
<br>
&quot;Violence is a key ingredient of human storytelling: from our first or=
al tales, violent acts have heightened audience attention and underlined th=
e dangers of our world. What happens to a child who goes<br>
off alone? She is beset by ogres! Djinn! Child-eating witches! As different=
 story traditions developed, most were rich in violence, which was often fo=
cused around a single enemy. This enemy could be<br>
battled (and tricked or beaten), offering the audience a psychological rele=
ase.<br>
<br>
<br>
<br>
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.au</a><br>
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re.library.cornell.edu</a><br>
</blockquote></div>

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