Drafted into the US Army, Ronald Evers never fit in, and after one last firefight in Vietnam, he has had enough. Deserting his company to form a band of criminals from many other countries, he becomes the "King of the Jungle." Tasked to find Evers and bring him to justice, Hank Maples is thrown into one dangerous situation after another, until he badly wounds and almost captures Evers. But the hunt is not over. Escaping deeper into the jungle, Evers survives his wounds and swears to hunt down Maples-no matter how long or how far he has to go to get his revenge. In Traitor's Revenge, the hunted becomes the hunter. But who will become the prey?

This volume was first published by Inter-Disciplinary Press in 2012. The present book assesses the multifaceted phenomenon of revenge and tries to open a hatch to the human comprehension of vengeance, its roots, role and functions in philosophy, history, societies and literature. It introduces studies as they were presented at the Inter-Disciplinary.Net's 2nd Global Conference on Revenge, which took place in July, 2011 at Mansfield College in Oxford University.

Revenge is a primal force at the heart of conflict and justice—as ancient as humanity itself. It can be found in nearly all societies and, culturally, we are fascinated by it—as countless novels, dramas, films, and computer games attest. “Getting even” can restore the balance of relationships and bring order. It can fill the vacuum left by imperfect or unjust justice systems. It can rescue people trapped in oppressive conditions. But revenge can also get out of control; spirals of revenge are notoriously destructive and impervious to appeals for peace and forgiveness. In this bold new book, Stephen Fineman lifts the lid on revenge, exposing its intriguing contours in arenas as diverse as the workplace, intimate relationships, the search for societal justice, war, and politics. He explores the psychology and experience of revenge and touches on more recent manifestations, like cyber-stalking and revenge pornography, in order to ask important questions: How best can we prevent the most damaging effects of revenge? When should retribution be tolerated, or even celebrated? If we are all potential avengers, what does that say about us? In an age when digital media has created a new generation of armchair avengers, settling real or imaginary scores and starting-up new ones, Revenge is more than timely. Thoughtful and critical, Revenge tackles one of society’s oldest and greatest vices.

This is a powerful exploration of our attitudes to serious wrong-doings and a careful examination of the values that underlie our thinking about revenge and forgiveness.This text examines the impact of revenge and forgiveness.

'We're coming. The martyrs are awakening. Spirits are gathering. This will be our time...' In York and London, strange shapes are taking form, emerging from the shadows. And who is the man who lies in a pitch-black room, listening to a voice that seems to speak from the darkness itself? Jud Lester knows that something evil is afoot. He also knows that it can't be investigated by any normal brand of counter-intelligence... This is a case for CRYPT: a team of elite teenage agents who use their extra sensory perception and arsenal of high-tech gadgets to investigate crimes that the police can't solve.

"Style has often been understood both too broadly and too narrowly. In consequence, it has not defined a psychologically coherent area of study. In the opening chapter, Hogan first defines style so as to make possible a consistent and systematic theoretical account of the topic in relation to cognitive and affective science. Hogan illustrates the main points of the first, theoretical chapter by reference to several works, prominently Woolf's Mrs. Dalloway. Subsequent chapters in Part I focus on some under-researched aspects of literary style. Specifically, the second chapter explores the level of story construction for the scope of an authorial canon, treating Shakespeare. The third chapter turns to verbal narration in a single work, Faulkner's As I Lay Dying. Part II, on film style, begins with a theoretical chapter on film style. It turns, in chapter 5, to the perceptual interface in the genre of "painterly" films (films that draw on stylistic features of other visual arts), examining works by Rodriguez, Mehta, Rohmer, and Husain. The sixth chapter treats the level of plot in the postwar films of Ozu. The remaining film chapter turns to visual narration in a single work, Lu's Nanjing! Nanjing! The third part comprises a single chapter. It addresses theoretical and interpretive issues bearing on style in graphic fiction, with a focus on Spiegelman's Maus. An Afterword touches briefly on some possible implications of stylistic analysis for political critique"--