Presents a powerful thesis on the nature and significance of violence and its mythos in Western culture, and offers an alternative interactive mythos that bridges the mind/body split inherent in most theories of violence. "The Violence Mythos presents us with a powerful thesis on the nature and significance of violence in human society. It develops its argument with passion and concern, combined with a lucid and sensitive intelligence. The book is sharp .and to the point, challenging any complacency with its idealism and its commitment to change. Whitmer is an author with attitude and with spirit. The violence mythos is a collection of beliefs, attitudes, behaviors, and social expectations about violence in Western culture. It includes the war hero myth, the victimizer/victim exploitative dynamic, the theory of innate violence, the mind/body dualism, the myth of male aggression and the subordination of women, the marginalization of trust, and the development of technology in a tradition of destructive instrumentalism. At the core of the violence mythos is the belief that humans are innately violent. The cultural system is then able to legitimate, rationalize, and use violence to control "violent humans", and thus becomes a self-reinforcing, self-perpetuating system of direct and indirect means of social control. This is the repetitive cycle of violence in trauma reenactment, transferred intergenerationally through the roles and rituals of the hero/perpetrator myth. The cycle ceases with the understanding of trauma in the trust triad of the interdependent mythos.

The Greek myths are amongst the best stories ever told, passed down through millennia and inspiring writers and artists as varied as Shakespeare, Michelangelo, James Joyce and Walt Disney. They are embedded deeply in the traditions, tales and cultural DNA of the West. You'll fall in love with Zeus, marvel at the birth of Athena, wince at Cronus and Gaia's revenge on Ouranos, weep with King Midas and hunt with the beautiful and ferocious Artemis. Spellbinding, informative and moving, Stephen Fry's Mythos perfectly captures these stories for the modern age - in all their rich and deeply human relevance.

How do humans stop fighting? Where do the gods of myth come from? What does it mean to go mad? Mark R. Anspach tackles these and other conundrums as he draws on ethnography, literature, psychotherapy, and the theory of René Girard to explore some of the fundamental mechanisms of human interaction. Likening gift exchange to vengeance in reverse, the first part of the book outlines a fresh approach to reciprocity, while the second part traces the emergence of transcendence in collective myths and individual delusions. From the peacemaking rituals of prestate societies to the paradoxical structure of consciousness, Anspach takes the reader on an intellectual journey that begins with the problem of how to deceive violence and ends with the riddle of how one can deceive oneself.

In the past twenty years Quebec women writers, including Aline Chamberland, Claire Dé, Suzanne Jacob, and Hélène Rioux, have created female characters who are fascinated with bold sexual actions and language, cruelty, and violence, at times culminating in infanticide and serial killing. Paula Ruth Gilbert argues that these Quebec feminist writers are "re-framing" gender. Violence and the Female Imagination explores whether these imagined women are striking out at an external other or harming themselves through acts of self-destruction and depression. Gilbert examines the degree to which women are imitating men in the outward direction of their anger and hostility and suggests that such "tough" women may be mocking men in their "macho" exploits of sexuality and violence. She illustrates the ways in which Quebec female authors are "feminizing" violence or re-envisioning gender in North American culture. Gilbert bridges methodological gaps and integrates history, sociology, literary theory, feminist theory, and other disciplinary approaches to provide a framework for the discussion of important ethical and aesthetic questions.

In essence, the book focuses on violence as a gendered activity - specifically, a masculine activity."--BOOK JACKET.

This volume explores the relationship among beauty, violence, and representation in a broad range of artistic and cultural texts, including literature, visual art, theatre, film, and music. Charting diversifying interests in the subject of violence and beauty, dealing with the multiple inflections of these questions and representing a spectrum of voices, the volume takes its place in a growing body of recent critical work that takes violence and representation as its object. This collection offers a unique opportunity, however, to address a significant gap in the critical field, for it seeks to interrogate specifically the nexus or interface between beauty and violence. While other texts on violence make use of regimes of representation as their subject matter and consider the effects of aestheticization, beauty as a critical category is conspicuously absent. Furthermore, the book aims to "rehabilitate" beauty, implicitly conceptualized as politically or ethically regressive by postmodern anti-aesthetics cultural positions, and further facilitate its come-back into critical discourse.