Rambo (2008) marked the return of Sylvester Stallone's iconic action hero. What is most striking about the fourth film (as the response from reviewers testifies), is its graphic violence. My intention here is to critically engage with Rambo (2008) as rewriting the series' established aesthetic of violence. My overarching aim is to highlight how the popular press has sought to read the 2008 version of Rambo according to the discursive narratives surrounding Stallone's 1980s action films. The negative response to (...) Rambo, I argue, stems from relying on critical patterns that do not fit the film itself. (shrink)

RESUMEN En la Carta a Voetius, Descartes escribe que su enemigo es el diablo, el enemigo. La acusación es etimológicamente coherente e introduce una excepción a la metafísica, una voluntad de mal. Finalmente, la malignidad odia la verdad : es deliberadamente irracional. Examinamos aquí la oratoria del mal: primero, sus recursos retóricos ; segundo, las pasiones que excita y su combinación en una pasión particular, la cólera piadosa; tercero, sus efectos: la disolución del vínculo civil entre ciudadanos y amistoso (...) entre familiares. -/- ABSTRACT In his Letter to Voetius, Descartes writes that his enemy is the devil, the enemy. The accusation is etymologically coherent and introduces an exception to metaphysics, a will to evil. Finally, malignity hates truth : it is deliberately irrational. The article examines the oratory of evil: first, its rhetorical devices ; second, the passions it elicits and their combination with a specific passion, pious rage; and third, its effects: the dissolution of the civil bond among citizens and the friendship bond family members. (shrink)

The Ramayana and the Mahabharata written in Sanskrit are considered to be the standard texts in India. During the medieval period, the poets have composed these two epics in regional languages incorporating their social elements. While the regional poets maintained the characters of the standard texts constant, the events and functions were variable in their cultural context. The reinterpretation of standard Sanskrit texts in different and diverse contexts was maintained in the vernacular languages and cultures during the medieval period was (...) embedded with many local imaginations connected to these epics. Surdamuni Sarala Das was the first composer of Odia Mahabharata during the 15th Century .His writing was the first of its kind to compose a complete eighteen parvas of the Mahabharata. The Sarala Mahabharata is the foundation of Odia language and has shaped the Odia identity. Surdamuni Sarala Das was an epic singer who mastered the text in his mind through his experience, knowledge, and creativity, and then he wrote the epic poetry in Odia. (shrink)