Journal articles on the topic 'Artistic Responses to Terrorism'

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1

Catchpole, Mike, and Alain Moren. "Responses to terrorism." Lancet 358, no. 9296 (December 2001): 1911. http://dx.doi.org/10.1016/s0140-6736(01)06921-5.

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2

Butler, Amir. "Responses to terrorism." Lancet 358, no. 9296 (December 2001): 1911. http://dx.doi.org/10.1016/s0140-6736(01)06922-7.

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3

Ali, Asif, and *Muhammed Akunjee. "Responses to terrorism." Lancet 358, no. 9296 (December 2001): 1911–12. http://dx.doi.org/10.1016/s0140-6736(01)06923-9.

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4

Kudo, Kei. "Responses to terrorism." Lancet 358, no. 9296 (December 2001): 1912. http://dx.doi.org/10.1016/s0140-6736(01)06924-0.

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Burns-Cox, Chris. "Responses to terrorism." Lancet 358, no. 9296 (December 2001): 1912. http://dx.doi.org/10.1016/s0140-6736(01)06925-2.

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6

Smith, Ray. "Responses to terrorism." Lancet 358, no. 9296 (December 2001): 1912. http://dx.doi.org/10.1016/s0140-6736(01)06926-4.

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7

Abeyratne, R. I. R., Yonah Alexander, and Allan S. Nanes. "Legislative Responses to Terrorism." American Journal of Comparative Law 35, no. 3 (1987): 614. http://dx.doi.org/10.2307/840485.

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8

Moxon-Browne, Edward. "Western responses to terrorism." International Affairs 70, no. 2 (April 1994): 361–62. http://dx.doi.org/10.2307/2625314.

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9

Green, L. C. "Terrorism and its responses." Terrorism 8, no. 1 (January 1986): 33–77. http://dx.doi.org/10.1080/10576108608435593.

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10

Meisenhelder, Janice Bell. "Anniversary Responses to Terrorism." AJN, American Journal of Nursing 102, no. 9 (September 2002): 24AA. http://dx.doi.org/10.1097/00000446-200209000-00025.

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11

Nadeem Kazmi, Sayyed. "Islamic Responses to Terrorism." Yearbook of Islamic and Middle Eastern Law Online 8, no. 1 (January 1, 2001): xvii—26. http://dx.doi.org/10.1163/221129802x00030.

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12

Yehuda, Rachel, Richard Bryant, Charles Marmar, and Joseph Zohar. "Pathological Responses to Terrorism." Neuropsychopharmacology 30, no. 10 (July 13, 2005): 1793–805. http://dx.doi.org/10.1038/sj.npp.1300816.

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13

Peers, Steve. "Eu Responses to Terrorism." International and Comparative Law Quarterly 52, no. 1 (January 2003): 227–43. http://dx.doi.org/10.1093/iclq/52.1.227.

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Following the last update in this Quarterly,1 the European Union (EU) has been quite active in agreeing new measures relating to cross-border policing and criminal law. First of all, the Tampere European Council meeting in October 1999 agreed a list of measures to be adopted to develop the EU's ‘Area of Freedom, Security and Justice’, particularly as regards criminal procedure. Here the European Council requested the Council to agree a work programme on mutual recognition in criminal matters within a year, and to establish an EU organisation facilitating cross-border prosecutions (Eurojust) within 2 years. Following agreement in the meantime on a Convention on Mutual Assistance in Criminal Matters after 5 years’ negotiations,2 the work programme was duly adopted in November 2000, setting out a list of twenty-four measures which the Council should agree in the medium-term to facilitate cross-border investigations, prosecutions, and enforcement of judgments.3 Several Member States then began to implement this plan, tabling two versions of a proposed Decision to set up Eurojust and also making proposals for ‘Framework Decisions’ to harmonise national laws as regards enforcement of other Member States’ orders to freeze assets and evidence and enforcement of judgments imposing financial penalties.4
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14

D.P. "Western responses to terrorism." Orbis 38, no. 1 (December 1994): 132. http://dx.doi.org/10.1016/0030-4387(94)90118-x.

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15

Camic, Paul M. "Artistic responses to violence." Arts & Health 5, no. 1 (February 2013): 3–4. http://dx.doi.org/10.1080/17533015.2013.766378.

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16

Abbott, Alison. "Artistic responses to Darwinism." Nature 458, no. 7234 (March 2009): 33. http://dx.doi.org/10.1038/458033a.

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17

Green, L. C. "Review: Terrorism: Hydra of Carnage, Legislative Responses to Terrorism." International Journal: Canada's Journal of Global Policy Analysis 42, no. 3 (September 1987): 599–604. http://dx.doi.org/10.1177/002070208704200308.

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18

Jacobs, Gerard A., and Nitin Kulkarni. "Mental Health Responses to Terrorism." Psychiatric Annals 29, no. 6 (June 1, 1999): 376–80. http://dx.doi.org/10.3928/0048-5713-19990601-12.

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19

Alexander, Yonah, Phil Baum, Raphael Danziger, Daniel Patrick Moynihan, John F. Murphy, Thomas Cochran, Terrell E. Arnold, et al. "Terrorism: Future threats and responses." Terrorism 7, no. 4 (January 1985): 367–410. http://dx.doi.org/10.1080/10576108508435587.

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20

Bird, MichaelE, and MohammadN Akhter. "Public health responses to terrorism." Clinical Microbiology Newsletter 23, no. 23 (December 2001): 185–86. http://dx.doi.org/10.1016/s0196-4399(00)89002-9.

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21

Foster, Roxie L. "Assessing Children's Responses to Terrorism." Journal for Specialists in Pediatric Nursing 6, no. 4 (October 2001): 159–60. http://dx.doi.org/10.1111/j.1744-6155.2001.tb00239.x.

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22

Jensen, Thomas. "National Responses to Transnational Terrorism." Journal of Conflict Resolution 60, no. 3 (August 14, 2014): 530–54. http://dx.doi.org/10.1177/0022002714545221.

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23

Van Schepen, Randall K. "Gerhard Richter’s Critical Artistic Strategies: Politics, Terrorism and War." Messages, Sages, and Ages 4, no. 1 (August 1, 2017): 7–23. http://dx.doi.org/10.1515/msas-2017-0001.

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Abstract The present paper analyzes two artistic strategies employed by Gerhard Richter to deal with painful recent cultural memory. Two works in particular reveal the relative success of Richter’s varied artistic strategies addressing contemporary political events: 18. Oktober 1977 (1988) and War Cut (2004). In his series of paintings on the Baader-Meinhof terrorist group, Richter effectively employs his “photopainting” style to address the profoundly disturbing deaths of the Baader-Meinhof group in the 1970s. Richter chose mundane photographic sources for his imagery, denying a hierarchy of “correct” memories of the events and turning photographic indexicality against itself by employing a painterly medium, tinged with nostalgia, to represent it. Richter’s photopaintings of Baader-Meinhof thus use the “factual” nature of the photograph while also utilizing an elegiac painterly mist through which an indistinct emotional memory of the past seems to emerge. Richter’s blurring of images can thus be understood as a fulcrum on which the undecidability of history itself must be represented. Richter constructs War Cut (2004), on the other hand, as a work and aesthetic experience decidedly at odds with the iconicity of his Baader-Meinhof images by employing arbitrariness and conceptual abstraction.
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24

Johnson, Branden B. "Trust and Terrorism: Citizen Responses to Anti-Terrorism Performance History." Risk Analysis 30, no. 9 (September 2010): 1328–40. http://dx.doi.org/10.1111/j.1539-6924.2010.01422.x.

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25

Santoro, Karin, Luigi Vissicchio, Marco Bianchini, and Astrid Sosa. "Italian attitudes and responses to terrorism." Terrorism 10, no. 4 (January 1987): 289–310. http://dx.doi.org/10.1080/10576108708435688.

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26

Bahgat, Gawdat. "Iran and Terrorism: The Transatlantic Responses." Studies in Conflict & Terrorism 22, no. 2 (May 1999): 141–52. http://dx.doi.org/10.1080/105761099265801.

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27

Sandler, Todd. "Terrorism Shocks: Domestic Versus Transnational Responses." Studies in Conflict & Terrorism 33, no. 10 (September 20, 2010): 893–910. http://dx.doi.org/10.1080/1057610x.2010.508485.

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28

Singh, Daljit. "Responses to Terrorism in Southeast Asia." Journal of Policing, Intelligence and Counter Terrorism 4, no. 1 (April 2009): 15–28. http://dx.doi.org/10.1080/18335300.2009.9686921.

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29

Shaffer, Ryan. "Homegrown Terrorism and Responses in Europe." Terrorism and Political Violence 32, no. 5 (June 12, 2020): 1128–32. http://dx.doi.org/10.1080/09546553.2020.1776994.

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30

Schmid, Alex P., and Ronald D. Crelinsten. "Editor's introduction: Western responses to terrorism." Terrorism and Political Violence 4, no. 4 (December 1992): 1–6. http://dx.doi.org/10.1080/09546559208427171.

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31

Vetschera, Heinz. "Terrorism in Austria: Experiences and responses." Terrorism and Political Violence 4, no. 4 (December 1992): 210–33. http://dx.doi.org/10.1080/09546559208427182.

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32

Arehart-Treichel, Joan. "Terrorism Responses Similar Despite Cultural Differences." Psychiatric News 40, no. 13 (July 2005): 46–48. http://dx.doi.org/10.1176/pn.40.13.00400046.

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33

Slone, Michelle. "Responses to Media Coverage of Terrorism." Journal of Conflict Resolution 44, no. 4 (August 2000): 508–22. http://dx.doi.org/10.1177/0022002700044004005.

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34

Tehranian, Majid. "Global Terrorism: Searching for Appropriate Responses." Pacifica Review: Peace, Security & Global Change 14, no. 1 (February 2002): 57–65. http://dx.doi.org/10.1080/13239100120114372.

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35

Sandler, Todd. "Collective versus unilateral responses to terrorism." Public Choice 124, no. 1-2 (July 2005): 75–93. http://dx.doi.org/10.1007/s11127-005-4747-y.

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36

Saptouw, Fabian, and Sianne Alves. "Artistic Responses to Gender-based Violence." Open Journal for Studies in Arts 1, no. 2 (December 30, 2018): 61–74. http://dx.doi.org/10.32591/coas.ojsa.0102.02061s.

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37

Smith, Linda D., and Richard N. Williams. "Children's Artistic Responses to Musical Intervals." American Journal of Psychology 112, no. 3 (1999): 383. http://dx.doi.org/10.2307/1423638.

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38

Vukadin, Ana, Apiradee Wongkitrungrueng, and Nuttapol Assarut. "When art meets mall: impact on shopper responses." Journal of Product & Brand Management 27, no. 3 (May 14, 2018): 277–93. http://dx.doi.org/10.1108/jpbm-01-2017-1406.

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PurposeThe purpose of this study is to examine the role of artistic elements in a shopping mall’s experiential marketing strategy and the effects of artistic elements on customer shopping value (e.g. utilitarian, hedonic and symbolic) and shopper response (e.g. satisfaction, behavioural intention).Design/methodology/approachData were collected from 300 shoppers in a shopping mall in Bangkok, Thailand. A partial least square-structural equation model was used to examine the impact of the artistic elements along with other elements in the shopping mall on shopper response through perceived shopping value.FindingsEmpirical evidence shows that artistic elements in an artified mall have a positive effect on customer hedonic and symbolic value, which in turn leads to positive shopper response. Artistic elements perform better than other elements in predicting symbolic value.Research limitations/implicationsThe findings suggest that artistic elements should be considered a new source of mall differentiation and customer experience enhancement. Unique artistic elements add emotional and symbolic appeal to the mall, and mall managers should carefully choose artistic content that matches the position and target shoppers of their mall.Originality/valueThis paper proposed and empirically examined the effect of artistic elements as the new fourth atmospheric element. It extends the art infusion theory by applying it to the “non-luxury” shopping mall context to demonstrate the spillover effect of art on shopping value, which further influence shopper response.
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39

Saikal, Amin. "Afghanistan, terrorism, and American and Australian responses." Australian Journal of International Affairs 56, no. 1 (April 2002): 23–30. http://dx.doi.org/10.1080/10357710220120801.

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40

Wulf, Wm A., Yacov Y. Haimes, and Thomas A. Longstaff. "Strategic Alternative Responses to Risks of Terrorism." Risk Analysis 23, no. 3 (June 2003): 429–44. http://dx.doi.org/10.1111/1539-6924.00325.

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41

Porta, Donatella Della. "Institutional responses to terrorism: The Italian case." Terrorism and Political Violence 4, no. 4 (December 1992): 151–70. http://dx.doi.org/10.1080/09546559208427179.

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42

Armellini, Antonio. "International terrorism: Global challenges and Italian responses." International Spectator 38, no. 1 (January 2003): 103–16. http://dx.doi.org/10.1080/03932720308457017.

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43

Sageman, Marc. "France / United States, two responses to terrorism." Les Cahiers de la Justice N° 2, no. 2 (August 22, 2021): 284–95. http://dx.doi.org/10.3917/cdlj.2102.0284.

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44

Helmers, Marguerite. "Artistic Responses to the First World War." Women: A Cultural Review 29, no. 2 (April 3, 2018): 275–78. http://dx.doi.org/10.1080/09574042.2018.1449422.

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45

Metres, Philip. "Remaking/Unmaking: Abu Ghraib and Poetry." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1596–610. http://dx.doi.org/10.1632/pmla.2008.123.5.1596.

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So now the pictures will continue to “assault” us—as many Americans are bound to feel. Will people get used to them? Some Americans are already saying that they have seen “enough.”—Susan Sontag, “Regarding the Torture of Others”… a state anterior to language, to the sounds and cries a human being makes before language is learned.—Elaine Scarry, The Body in PainWhen The ABU Ghraib Prison torture scandal began to circulate throughout The MASS media in Spring 2004, most pundits and commentators neglected to note how those images hauntingly paralleled the 9/11 attacks, insofar as each event's widespread publicity—replayed and reposted images of physical and psychological destruction—participated in the very unmaking that the perpetrators intended. In other words, just as the terrorist act on the Twin Towers was an act of both material and symbolic destruction that required media representation of the planes hitting the towers, mass media's recirculation of visual images of naked and dominated Iraqi men completed the act that Charles Graner and other United States military police had begun. Though the disturbing video representation of the 9/11 attacks rapidly disappeared from television, the Abu Ghraib photos persisted far longer (see York). The rapid disappearance of video of the planes striking the buildings suggests its traumatic power for Americans. But why would the Abu Ghraib photos be less disturbing than those of the attacks of September 11, 2001—given what they say about United States conduct in the war? In this essay, I consider the Abu Ghraib effect in the wider context of imperial imaging of the other. Second, I analyze artistic and literary responses (including Fernando Botero's Abu Ghraib paintings, Daniel Heyman's etchings, and an anthology of poems on torture) that attempt to re-present Abu Ghraib and make visible the invisible of that torture. Third, I sketch out how Arab American poets have played (and can continue to play) a critical role in the conversation about the effects of United States policies in the Middle East. Finally, I share my own poetic project, a long poem called “–u –r—” that attempts to make audible the muted voices of the tortured Iraqis at Abu Ghraib.
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46

Sullivan, John P. "Medical Responses to Terrorist Incidents." Prehospital and Disaster Medicine 5, no. 2 (June 1990): 151–54. http://dx.doi.org/10.1017/s1049023x0002673x.

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Terrorism can be considered a form of low-intensity conflict. It results from extreme reactions to sociopolitical conditions. These reactions, through a variety of intellectual and emotional processes, are manifest as overt acts of violence. Terrorism includes acts by individuals or organizations which seek to change political or social conditions, make political or ideological statements, or obtain funds for sustaining ongoing terrorist or revolutionary campaigns. Terrorist incidents are increasingly prevalent. Often, they involve loss of lives and mass casualties and have special medical dimensions. As such, the role of EMS in terrorist incidents needs to be defined clearly.
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47

Piasecki, Alannah. "Labeling and Framing: Understanding Responses to Terrorism and the Far-Right." Political Science Undergraduate Review 3, no. 1 (February 15, 2018): 68–76. http://dx.doi.org/10.29173/psur51.

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The War on Terror narrative has created gaps in the critical understanding of terrorism studies, particularly in how the media and the state label politically motivated violence. The understanding of what terrorism means for western states has shifted dramatically after the events of September 11, 2001. With that shift, there has also been an increase in social movements that attempt to work within or work outside the current government rhetoric. However, the existence of such movements and groups and the violent acts they commit has been on the rise. This paper seeks to explore whether or not the inconsistent labeling of far-right social movement violence in western states as ‘lone wolf violence’ or ‘hate crime’ rather than ‘terrorism’ is detrimental to the critical understanding of both terrorism and counter terrorism.
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48

Kamm, Frances. "Responses." Journal of Moral Philosophy 11, no. 4 (July 16, 2014): 476–517. http://dx.doi.org/10.1163/17455243-01104007.

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In this essay I respond to commentators on Ethics for Enemies, including (1) Caspar Hare on torture and other harms imposed on an agent after his act, (2) Suzanne Uniacke on conceptual issues related to terrorism, (3) Thomas Hurka on right reason and proportionality conditions in the justice of going to war (jus ad bellum), (4) Jeff McMahan on liability, proportionality, and harm in jus ad bellum, and (5) Gabriella Blum and John Goldberg on the moral and legal status of action prompted by bad intentions.
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49

Herrera-Vega, Eliana. "The politics of torture in antagonistic politics, and its displacement by the regime of the arts: Abu Ghraib, Colombian paramilitaries and Fernando Botero." Current Sociology 59, no. 6 (October 20, 2011): 675–95. http://dx.doi.org/10.1177/0011392111419754.

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This article proposes a functional analysis of torture, following Luhmann’s social systems theory. Its guiding hypothesis is that torture belongs to a specific type of politics, namely antagonistic politics, and that violence is an essential part of this particular presentation of politics. The article goes on to propose a view on the praxis of torture, which is observed by making a case based on two seemingly isolated situations: the first, a systematic practice in the context of the Colombian conflict: torture followed by dismembering of identified enemies. The second one is torture of presumed terrorists at Abu Ghraib, in the context of the Iraq war. The analysis identifies the common aesthetic elements in the technology of torture in order to ascertain their function within political communication. The analysis finishes by examining the response to torture from an artist’s stance: Fernando Botero’s paintings of both the Colombian violence and the torture in Abu Ghraib. This association introduces the observation of the uses of torture within artistic communication, in contrast with former uses within antagonistic politics. The article concludes by situating the relation between politics and aesthetics, and the conditions for their mutual dialogical interference: from politics towards aesthetics, and from aesthetics towards politics.
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50

Cherney, Adrian, and Kristina Murphy. "Support for Terrorism: The Role of Beliefs in Jihad and Institutional Responses to Terrorism." Terrorism and Political Violence 31, no. 5 (May 3, 2017): 1049–69. http://dx.doi.org/10.1080/09546553.2017.1313735.

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