Mass murder

life in Argelouse ressembles a living death. He shrugs his shoulders, uninterested in the question. Thérèse thinks of Jean Azévédo and how, if she involves him the confession, Bernard will assume that she was in love with him and the attempted murder was therefore un crime passionnel. She thinks how untrue this is: she didn’t hate Bernard and never thought that another man could help her in any way. She reflects that Bernard wasn’t all that bad, and the only better man she had ever met was her

role of the eponymous hero[1]. Outside the theatre, huge posters showing Stephens’ bloodied face, bore the words, «He too was a natural born killer». This was an obvious publicity ploy to attract spectators by linking the production to Oliver Stone’s mass-audience film Natural Born Killers released earlier that year. More recently, Kate Bassett, in her Independent review[2] of Dominic Dromgoole’s 2006 production of the play at the Globe Theatre in London, wrote that the protagonist, as played by Jonathan

Intro: Il faut distinguer différents types d’auteurs d’homicide(s) : Le tueur de masse (ou mass murderer) : c’est un auteur de quatre homicides ou plus commis lors d’un événement unique et dans un même lieu. Il en existe trois types. Le tueur de masse classique est généralement un malade mental. Sa folie a pris des proportions telles qu’il tue impulsivement un groupe de personne avec une rare violence. C’est le solitaire qui tire un jour sur des inconnus, de manière imprévisible et incompréhensible

Congolese of Rwandese origin —both Hutus and Tutsis—and the other ethnic groups, and these fault lines are now part of the complex political landscape. In South Kivu, the presence of a large number of Burundian refugees who crossed the border after the murder of President Melchior Ndadaye in October 1993, was an additional complicating factor. Although the most recent fighting and atrocities in the Kivus were sparked by the rebellion of Laurent Nkunda, there is little prospect of stemming the violence

that determine its aesthetic dimension. Just like it is clear that it would be impossible to expect that a living performance can remain ontologically ‘genuine’, or that it can function within a cultural economics separate from the economics of mass media. Therefore the actors on stage turn their attention to the attempt to erase the general amnesia we witness in the beginning of the 21st century. This performance is resisting to the fact that the meaning is evaporating and that our time

into an aggregate of ‘‘volitional atoms,’’ and the foreclosure of the political—the incarnate divinity of the state itself—within the transparent homogeneity of a civil society sutured together by the anonymous rule of law.16 With the assumption of mass sovereignty as a sovereignty of immediacy we have the outline of the Sartean ‘‘group-in-fusion’’: the endless reversibility of democracy and dictatorship within what Alain Badiou has called a ‘‘fellowship of terror.’’ 17 Paranoia is another feature

is created partly through setting, appearance, plot and characterisation. It is based on the representations employing codes that are identifiable to the audience. For Snatch, we can say that there is many genre; action, crime (we can see weapon, murder, blood, fight), comedie (cynic answer, humour, etc). Institution has two meaning, it can be an industry or a business but it can also refers to centres of authority present in most developed societies, including the family, the Church, the monarchy

signifié des choses différentes pour chaque survivant. In interviews conducted in 1990 nearly seventy years later Osamu Hiroi, a renowned researcher of Japanese earthquakes, survivors shared the destruction and trauma experienced as a firestorm caused mass casualties in what was a defunct Army clothing depot ( Hihukusho ) located in Tokyo's Honjo district. Dans des entrevues menées en 1990 près de 70 années plus tard, Osamu Hiroi, un chercheur de renom des tremblements de terre japonais, survivants partagé

d’opération/*profiler=des personnes qui peuvent brosser le personnage du criminel. *il y a eu la réaction d’un centre américain N.C.A.V.A.C= national center for the analysis of violent crime ; qui distingue 3 types d’homicide multiples : +Mass murder : tueur en masse : quelqu’un qui fait énormément de victime dans une place (unité de la place), il a généralement recours à l’arme de feu. Il a une sorte de déchainement puisqu’il tire aveuglement ; c’est une personne psychotique qui agit sous l’effet

frequently moves back and forth in time, also suggests the fluidity of the interaction between past and present. Tom's tale of the fens is sometimes lurid. It includes a family history going back to the eighteenth century and such lurid topics as murder, suicide, abortion, incest, and madness. These events are set against a background of some of the great events in history, such as World War I and World War II. The novel also includes digressions on such off-beat topics as the sex life of the eel