It is also possible to believe victims while supporting the victimizer.
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Textbook isolation off a switch, the perpetual victimizer roasting the perpetual victim.
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This is a person who is a victimizer that acts like a victim, typical.
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Their stories then shift to picking up their lives again, without their victimizer hanging around.
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As with the discrimination of the past, the lines between victim and victimizer are deliberately blurred.
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How can we offer redemption when no one — not the victimizer, not his employer — takes meaningful responsibility?
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His view of human interaction is that one must be either victimizer or victim, predator or prey.
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"There's part of her that's a victim and there's a part that's a victimizer," said the first woman.
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If she's the men's victim how is she also, in deliberately bedding them with no long-term interest, their victimizer?
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He's the victimizer (he did plow into the motorcyclist, though extenuating circumstances materialize), but he soon becomes the accident's other victim.
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That means they are often blind to the ways in which they end up being the victimizer, imposing itself on minority groups.
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And Burma's Aung San Suu Kyi showed how even a Nobel Peace Prize can't guarantee that today's human rights heroine won't become tomorrow's victimizer.
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Yes, Omar and Tlaib had an agenda that was one-sided and designed to make Israel look exclusively like the victimizer and Palestinians look like helpless victims.
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I don't see anything from the prophetic tradition that would support WMD's or less destructive forms of weaponry that cannot discriminate between friend and foe, victimizer and bystander.
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And while the decision to consistently cut between Breivik and Viljar creates tension, it also means that victim and victimizer too often carry similar narrative weight, which is unfortunate.
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The BBC has an excellent rundown of the timeline of Assange's legal woes and appeals, as well as his efforts to present himself as the victim rather than the victimizer.
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" The slap to which they refer is, of course, the one delivered to Alicia by Diane in the final minutes — a moment in which Michelle King says was to communicate that "the victim becomes the victimizer.
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That deepens the tragedy of Ladji (an excellent Ibrahim Koma), who turns to gangsterism so that his sister will stop turning tricks and who, even as he advances through the underworld, remains as much a victim as a victimizer. (M.
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King published a blog post headlined , "When the 'victim' you fought for turns out to be the victimizer: Sherita Dixon-Cole and the painful consequences of a false report of sexual assault and police misconduct," in which he backtracks his attacks on the trooper and admits he was duped by Dixon-Cole.
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By the final sequence, the show had steered the viewer into a set of challenging insights: that a victimizer might be a victim, too, and worthy of pity; that a teen-ager can have the potential for evil and still lack the moral capacity of an adult; and that bad acts and brave ones can coexist without blotting each other out.
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Gothic literature includes elements of horror and terror as well as a victim who is helpless against his enemy or victimizer. This victimizer usually possesses some form of supernatural power or advantage over the victim, and uses it to cause strife in the life of the victim. In Monster literature, the victimizer is portrayed in the form of a monster that torments the protagonists. In addition, Gothic inspired Monster literature evokes extreme emotions of sorrow, desolation, and isolation.
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She learns the corrupt practices of the powerful syndicate behind Vivian. The victim eventually becomes the victimizer.
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The two antagonists depict the relationship between God and man, also father and son, victimizer and victim, antisemitic figure and Jew.
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Indistinctively, all participant swear casual street clothing, suggesting that we all have the potential to be both the victim and victimizer.
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Institutional cruelty is a model developed by Philip Hallie, who believes ethics are rooted in passion and common sense rather than in technical science. Hallie defines "institutional cruelty" as a persistent pattern of humiliation that endures for years in a community, but the victimizer and the victim find ways to downplay the harm that is being done. Both the victim and the victimizer justify cruel actions based on what they have been led to believe is "actual" inferiority. Hallie argues that cruelty is created by an imbalance of power, or hierarchy.
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After the victim loses confidence in their mental capacities and develops a sense of learned helplessness, they become more susceptible to the victimizer's control. Victims tend to be people with less power and authority. The role of either victimizer or victim can oscillate within a given relationship, and often each of the participants is convinced that they are the victim. When a group of people acts as the victimizer, gaslighting does its damage through the group members' "small, often invisible actions that have power through their accumulation and reinforcement".
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This hypothesis was confirmed when agents found María's phone. After making records of the incoming and outcoming calls hours before and after the murder, they found that the victimizer had made two calls to phone sex services. The calls lasted between five and six minutes. That was one of the clues that led agents closer to consider Chamba as the main suspect.
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The 2016 mystery and psychological thriller film The Girl on the Train explored the direct effects gaslighting had on the protagonist (Rachel). During her marriage, Rachel's ex- husband Tom was a violent abuser and victimizer. Rachel suffered from severe depression and alcoholism. When Rachel would black out drunk, he consistently told her that she had done terrible things that she was incapable of remembering.
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Hustisya () is a 2014 Filipino political thriller-drama film starring Nora Aunor. The film is about the story of a foul-mouthed woman fighting for her soul in the belly of the city. Working for a human trafficking agency controlled by a powerful syndicate, she sees no evil, hears no evil. In a society like ours, you have only two choices - to be a victim, or a victimizer - she makes her choice.
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Bordo's critique of gendered, and particularly feminine, bodies stems from both feminist and gender studies methodologies. She critiques, re-evaluates, and reconfigures old and new feminist methodology, not excluding certain earlier feminist concerns that focused on the dichotomies of oppressor/oppressed, victimizer/victim, but re-evaluating their effectiveness and application to contemporary feminine concerns. As Bordo points out, feminism of the late 1960s and 1970s viewed "the female body [as] a socially shaped and historically 'colonized' territory".Bordo, Unbearable Weight, p. 21.
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Diane, hurt and betrayed, blames Alicia for destroying her marriage. After attending Peter’s resignation, she confronts Alicia and, without saying anything, slaps Alicia and walks away. This scene was significant to writer Robert and Michelle King, who saw this as symbolizing Alicia’s transition from being the "victimized", having her life ruined by her unfaithful and corrupt husband, to the "victimizer" having destroyed Kurt and Diane's marriage so she may pursue her own relationship. In effect, by the finale, Alicia had become Peter.
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Donna Erikson is a Native Alaskan woman and a survivor of sexual abuse. She, and those who share this devastating history, are now embracing the transformative power of lifting the Burden of Silence within their community by speaking out about sexual assault. In Burden of Silence we hear her story and see, through the work of a Native Alaskan state trooper, the challenging reality of law enforcement for a crime that is so frequently hushed up by victim and victimizer alike.
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The next day, in Tokyo, Waddle met with Masumi Terata. Speaking of her meeting with Waddle, Terata stated, "I am first and foremost the family member of a victim and Mr. Waddle is first and foremost a victimizer. But when I saw Mr. Waddle as a person who was crying and apologizing, I thought he was apologizing from the heart."Kyodo, "Waddle visits Ehime memorial", Tyler, "Former USS Greeneville skipper places wreath at Ehime Maru memorial", Giordono, "Family of Ehime Maru victim to settle suit".
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It appears Margallo was the sole hands-on victimizer of Daisy: the introduction to the film invites the viewer to watch Daisy's "mental ruin" as she "learn[s] how to please her mistress". Among those who acquired it was one of the biggest-ever purveyors of child pornography, Scully's fellow Australian Matthew David Graham, better known by his online pseudonym Lux. Apprehended at age 22, he ran a series of "hurtcore" child pornography sites. Graham said he got the video so he could use it to attract more viewers to his network of websites.
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After playing saintly or oppressed characters for many years, this time around, Aunor plays the victimizer. Biring is probably Aunor’s most shady character, which further expands her acting repertoire.” \--- Brun Philippines Online Magazine “It’s fascinating to watch Nora Aunor radiate the talent on the big screen up today. She displays perfect restraint and fluidity in playing a character so candid and blunt as Biring, especially during the first half of the film prior to when her character “breaks bad.” She manages to crack jokes in the face of the risks entailed by her means of living.
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Thread Waxing Space installation, 2001 Landau is a multi-disciplinary artist whose work includes drawing, sculpture, video and performance art, sometimes self-standing and sometimes forming whole environments. Her complex works touch on social, historical, political, and ecological issues, embracing topics such as homelessness, banishment, and the relationships between victim and victimizer and between decay and growth. As much of her work is concerned with the human condition, the body (often her own) is a key motif and guide. Using salt, sugar, paper and ready-made objects, Landau creates large-scale in site installations, which totally change the spaces she works in.
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He was the first of his generation of peace activists to begin to question the then-dominant narrative of Japan as a victim of war aggression, rather than as victimizer, during the Second World War. Oda died of stomach cancer in July 2007, aged 75. His memorial service was held on August 4, 2007 at the Aoyama Sogisho funeral hall in Tokyo and was attended by about 800 people, including well-known persons in the political, literary and activist fields in Japan. Afterward, an estimated 500 people held a peace march in Oda's memory, marching through the streets of downtown Tokyo and vowing to carry on Oda's anti-war activist efforts.
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The other source indicated that 'The necessary conditions for traumatic bonding are that one person must dominate the other and that the level of abuse chronically spikes and then subsides. The relationship is characterized by periods of permissive, compassionate, and even affectionate behavior from the dominant person, punctuated by intermittent episodes of intense abuse. To maintain the upper hand, the victimizer manipulates the behavior of the victim and limits the victim's options so as to perpetuate the power imbalance. Any threat to the balance of dominance and submission may be met with an escalating cycle of punishment ranging from seething intimidation to intensely violent outbursts.
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The victimizer also isolates the victim from other sources of support, which reduces the likelihood of detection and intervention, impairs the victim's ability to receive countervailing self- referent feedback, and strengthens the sense of unilateral dependency...The traumatic effects of these abusive relationships may include the impairment of the victim's capacity for accurate self-appraisal, leading to a sense of personal inadequacy and a subordinate sense of dependence upon the dominating person. Victims also may encounter a variety of unpleasant social and legal consequences of their emotional and behavioral affiliation with someone who perpetrated aggressive acts, even if they themselves were the recipients of the aggression. '.
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Alicia Florrick (née Cavanaugh) is the lead character of CBS television series The Good Wife and is portrayed by Julianna Margulies, who has received positive reviews for her performance, winning two Primetime Emmy Awards for Outstanding Lead Actress in a Drama Series. Alicia's storyline focuses on her romantic relationships, including the struggle between staying with or divorcing her unfaithful husband, Peter Florrick, or pursuing other relationships with other men, most notably Will Gardner. Other storylines include Alicia's transformation from "the victim" to "the victimizer", her dealing with the negative consequences of her actions, her devotion to her children among political turmoil, her obsession with power, and her growth in confidence.
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In a 1981 article, psychoanalysts Victor Calef and Edward Weinshel argued that gaslighting involves the projection and introjection (the "transfer") of psychic contents from the victimizer to the victim. The psychic contents include affects, perceptions, impulses, resistances, fantasies, delusions, conflicts. The authors explored a variety of reasons why the victims may have "a tendency to incorporate and assimilate what others externalize and project onto them", and concluded that gaslighting may be "a very complex highly structured configuration which encompasses contributions from many elements of the psychic apparatus". Later, psychiatrist Theodore Dorpat described this "transfer" of the victimizer's unconscious psychic contents as an example of projective identification.
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Mahoney says that sadomasochism, homoeroticism, and homophobia are highlighted in Bryan Singer's retelling of Stephen King's novella. In Frames of Evil: The Holocaust as Horror in American Film, Caroline Picart and David Frank write that the face of evil is represented in the film as Nazism, oft labeled as "quintessentially innate [and] supernaturally crafty", but also "in a more subterranean way, dangerously blurring ... the boundaries between homoeroticism and homosexuality". The Nazi monstrosity in Apt Pupil is structured through sexual "abnormality", where a series of binary dichotomies are introduced: "normal versus monstrous, heterosexual versus homosexual, and healthy versus sick". An additional dichotomy, victimizer (masculinized) versus victim (feminized), reflects the film's "hidden tensions" in which Bowden and Dussander's roles of powers are reversible.
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The film's name references the W.E.B. Dubois book The Souls of Black Folk. Of the film, Valerius has said, "I think this piece resonates across race and gender because it is a piece that is the voice of the victim and not the voice of the victimizer or spokesman, it's our hurts, our pains, our insecurities, our story that no one else can tell but us." The film was well-received, premiering at the 2007 Pan African Film Festival and screening at festivals including the Roxbury Film Festival, the Harlem International Film Festival, and the Martha's Vineyard African American Film Festival, where it was earned the Audience Choice Award for Best Documentary. It was also shown on AOL Black Voices.
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Gaslighting involves a person, or a group of persons, the mental abuser or the victimizer, and a second person, the victim. It can be either conscious or unconscious, and is carried out covertly such, that the resulting emotional abuse is not overtly abusive. Gaslighting depends on "first convincing the victim that [the victim's] thinking is distorted and secondly persuading [the victim] that the victimizer's ideas are the correct and true ones". Gaslighting induces cognitive dissonance in the victim, "often quite emotionally charged cognitive dissonance", and makes the victim question their own thinking, perception, and reality testing, and thereby tends to evoke in them low self-esteem and disturbing ideas and affects, and may facilitate development of confusion, anxiety, depression, and in some extreme cases, even psychosis.
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Her defense counsel, veteran international lawyer Édouard Clunet,Mauro Macedonio Mata Hari, a life through images, Tricase: Youcanprint, 2017 p. 207. faced impossible odds; he was denied permission either to cross-examine the prosecution's witnesses or to examine his own witnesses directly. Bouchardon used the very fact that Zelle was a woman as evidence of her guilt, saying: "Without scruples, accustomed to making use of men, she is the type of woman who is born to be a spy." Zelle has often been portrayed as a femme fatale, the dangerous, seductive woman who uses her sexuality to effortlessly manipulate men, but others view her differently: in the words of the American historians Norman Polmer and Thomas Allen she was "naïve and easily duped", a victim of men rather than a victimizer.
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She tenaciously traces these sexual predators' thought process back to male presumption: "From a patriarchal point of view, the mass rapes and gang rapes of German women that occurred in the Soviet occupied zone were an act of revenge, not necessarily just, but understandable, in view of the atrocities the German forces has committed in the Soviet Union. To that way of thinking, rape is an encroachment on male prerogatives, getting at Uncle Siegfried through Auntie Gudrun, as it were...Language favors the male, by putting the shame of the victim into the service of the victimizer." Apart from this "substratum" of war memory, Klüger made a less emotionally and politically charged observation that Jewish tradition only allowed male descendants to say Kaddish. This reportedly affected her desire to use faith as a means of coping with the Holocaust.
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17, 1975 Breton coined the term for his 1940 book Anthology of Black Humor (Anthologie de l'humour noir), in which he credited Jonathan Swift as the originator of black humor and gallows humor (particularly in his pieces Directions to Servants (1731), A Modest Proposal (1729), Meditation Upon a Broomstick (1710), and in a few aphorisms).André Breton introduction to Swift in Anthology of Black Humor, quote: In his book, Breton also included excerpts from 45 other writers, including both examples in which the wit arises from a victim with which the audience empathizes, as is more typical in the tradition of gallows humor, and examples in which the comedy is used to mock the victim. In the last cases, the victim's suffering is trivialized, which leads to sympathizing with the victimizer, as analogously found in the social commentary and social criticism of the writings of (for instance) Sade.
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In Film Comment's "Queer and Now and Then" column on Femme Fatale, film critic Michael Koresky writes that "De Palma's films radiate an undeniable queer energy" and notes the "intense appeal" De Palma's films have for gay critics. In her book The Erotic Thriller in Contemporary Cinema, Linda Ruth Williams writes that "De Palma understood the cinematic potency of dangerous fucking, perhaps earlier than his feminist detractors". Robin Wood considered Sisters an overtly feminist film, writing that "one can define the monster of Sisters as women's liberation; adding only that the film follows the time-honored horror film tradition of making the monster emerge as the most sympathetic character and its emotional center." Pauline Kael's review of Casualties of War, "A Wounded Apparition", describes the film as "feminist" and notes that "De Palma was always involved in examining (and sometimes satirizing) victimization, but he was often accused of being a victimizer".
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127-128, March 1998 The CurtainUp reviewer of the original 1997 Off-Broadway production wrote: "Ms. Vogel has achieved the seemingly impossible: A story about a disturbing subject, pedophilia, that is as funny--yes, really,--as it is disturbing. Li'l Bit (Mary-Louise Parker) and Uncle Peck (David Morse) are painted with the delicate brush strokes of a sumi painting, more subtle than sensational, and as unstereotypical a victim and victimizer as Lolita and Humbert Humbert (from Nabokov's Lolita which the playwright credits as her inspiration)...Before I say one more word, this is one of the must-see events of the season..."Sommer, Elyse. "Review of How I Learned to Drive CurtainUp, accessed August 14, 2019 The Baltimore Sun reviewer wrote of the 1998 Center Stage production: "The surprising gift Vogel has given her two main characters is that, instead of labeling them good and evil, or victim and criminal, she treats them both with respect.
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Ghettoization and genocide. The Jew, the > dirty Jew, once the ultimate victim of capitalism's soul, fascism, would > become a victimizer on behalf of capitalism, a self-righteous dehumanizer > and murderer of people of color, a racist bigot whom in the language of > Zionism changed the meaning of "Never Again" from "Never Again for anyone" > to "Never again for us - and let the devil take everyone else. The ADL also criticized the Newman's 2004 play, Crown Heights, which was based on the 1991 riots sparked by the accidental death of a black child who was struck and killed by the motorcade of a prominent local rabbi. The ADL claimed that the production "distorts history and refuels hatred.""ADL Says 'Crown Heights' Distorts History and Refuels Hatred" , ADL press release, January 27, 2004; accessed October 2006 One reviewer considered the production to be one that "seeks to unite the city's diverse youth and heal some of the wounds of past racial violence.
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It is revealed that the killer is wearing the mask and pacing about the house. The scene cuts again to a corridor in the house—the word "Look" is graffitied along the wall where the masked man is bound at the wrists to a rope connected to the ceiling. The camera spins around the room before showing the two men outside again, this time the masked victim being led by his rope into a cellar. There the victimizer empties his entire brief case, among his things a deck of pornographic cards, a large metal key, a wig, a black die with a chaosphere engraved on one side, a bondage mask, gloves, a chain, a bowie knife and other assorted cutlery, a cleaver, a pair of pliers, papers, at least two pairs of scissors, a plastic funnel with a feeding tube, and (perhaps most importantly) a book entitled Why God Permits Evil, among other items.
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Burlingame is a critic of radical Islam. In 2010, she issued a press release denouncing President Barack Obama’s support of the Park51 community center. She wrote: "Demolishing a building that was damaged by wreckage from one of the hijacked planes in order to build a mosque and Islamic Center will further energize those who regard it as a ratification of their violent and divinely ordered mission: the spread of shariah law and its subjugation of all free people, including secular Muslims who come to this country fleeing that medieval ideology, which destroys lives and crushes the human spirit." Burlingame also wrote a letter attacking the Liam Neeson film Non-Stop (2014), which portrays a 9/11 family member and military combat veteran as a vengeful murderer—and, in Burlingame's words: “Worse, the flight’s quiet hero who comes to the aid of the protagonist, thereby saving the day, is a Muslim doctor.” She said that this was "ironic" given the fact that the Al Qaeda's leader, Ayman Al Zawahiri, was a doctor, a "complete [reversal] of the roles [of] victim and victimizer [in] 9/11".
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