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Othello in Oman

Aḥmad al-Izkī’s Fusion of Shakespeare and Classical Arab Epic

Katherine Hennessey

. Though it makes no direct reference to sectarian difference, all four of the play’s protagonists interact on a footing of mutual respect, which the villain Iago attempts to disrupt and throw into murderous chaos to further his own ends – thereby providing

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Speaking Back, Striking Back

Calls for Local Agency and Good Fieldwork in Development Encounters

Eugenie Reidy

, and villains called Vulnerabilities – and once they are on stage it is not very easy to change their role or the script. Looking back on this entry, it seems unsympathetic and cynical, perhaps even a result of frustration at the un-achievement of

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Making Sense of the Human-Nature Relationship

A Reception Study of the “Nature Is Speaking” Campaign on YouTube

Ulrika Olausson

discussions, commenters clearly respond to these structural oppositions of the storyline with dominant readings in which humans are pointed out as the villains of the world, as in the first quotation, and where nature has every right to reject humankind, as in

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Sol Neely

observes, “Really, the villains and all these antagonists are guys,” and he goes on to say that the film is about “exploring the darkness” we all have within us. It is an interesting tension that develops, then, between J.T. insisting that Deadgirl is “some

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Lawrence Ogbo Ugwuanyi

Africa is likened to a ‘basket case […] littered with debris of rogue states, failed governments, violent successions, […] and villains and victims, violently repressed secessions, interminable wars, in –terminable rows of wandering refugees, endemic

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David Leishman

with top hat, monocle, cane and cigar; 30 a posh schoolboy villain again in a bow tie and waistcoat; 31 arch-thieves Sydney and Ghastly Gus. 32 Figure 8: ‘Cut Up Some Wood’, Fife Free Press & Kirkcaldy Guardian (9 March 1940). Reproduced with

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Twofoldness in Moving Images

The Philosophy and Neuroscience of Filmic Experience

Joerg Fingerhut

). Smith's book constitutes a milestone for the naturalized aesthetics of film, yet, as I argued, it also underplays the role of twofoldness in our engagement with filmic scenes. In the scene at issue, the villain, Bruno (Robert Walker), drops a lighter

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What Was So Funny about Les Aventures de Rabbi Jacob (1973)

A Comedic Film between History and Memory

Michael Mulvey

of post-’68 trade unionism, burgeoning fears of restructuring and downsizing, and the Lip factory occupation, Pivert embodied the bourgeois villain. It is easy to overlook the fact that a labor dispute and its resolution facilitate the plot

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Neutrality in foreign aid

Shifting contexts, shifting meanings—examples from South Sudan

Elżbieta Drążkiewicz

considered a “state bureaucrat” and was often depicted as a villain (on state-nonstate conflict in Poland, see Drążkiewicz 2016 ). She frequently experienced the presumptions made by NGOs about their state counterparts and felt them to be damaging and unfair

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Jules Vallès and Séverine

Romantic Socialism and the Afterlife of a Cross-Sex Friendship in French Political Culture, 1880–1929

Michael Mulvey

corpus. 29 Daudet perhaps overlooked the fact that the true villain of Vallès’s pseudoautobiographical trilogy of L’Enfant (1876), Le Bachelier (1879), and L’Insurgé (1886)—more than Napoleon III, Adolphe Thiers, or the bourgeoisie—was Vallès