Senso is an Italian novella by Camillo Boito , an Italian author and architect. He wrote it around 1882. The novella develops a disturbing account of indiscriminate indulgence in selfish sensuality . The word "senso" is Italian for "sense," "feeling," or "lust." The title refers to the delight Livia experiences while reflecting on her affair with a handsome lieutenant. The novella is typical of Scapigliatura literature, which was at its peak at the time.
37-1155: [REDACTED] Look up senso in Wiktionary, the free dictionary. Senso may refer to: Senso (novel) , Italian novella by Camillo Boito 1882 Senso (film) , 1954 Italian historical melodrama film by Luchino Visconti Senso (opera), Marco Tutino Senso (game) , disc-shaped musical toy Senso (album) album by Australian singer-songwriter Stephen Cummings 1984 Senso (grape) , Cinsaut See also [ edit ] In ogni senso (In Every Sense) album by Eros Ramazzotti 1990 Sensō-ji (金龍山浅草寺, Kinryū-zan Sensō-ji) Tokyo's oldest temple Sensō Sōshitsu (仙叟 宗室, 1622-1697) Japanese tea master Ahen senso (阿片戦爭 The Opium War) 1943 black-and-white Japanese film directed by Masahiro Makino Shojō Sensō (少女戦争 The Virgin War) 2011 Japanese film directed by Ataru Oikawa Mahō Sensō (魔法戦争 Magical Warfare) Japanese light novel series written by Hisashi Suzuki and illustrated by Lunalia Otome Sensō (Z女戦争, "Girl's War") single by
74-485: A heritage that passes from generation to generation. Whenever it is compromised, the affected family or community members might feel compelled to retaliate against an offender to restore the initial "balance of honor" that preceded the perceived injury. This cycle of honor might expand by bringing the family members and then the entire community of the new victim into the brand-new, endless cycle of revenge that may pervade generations. Francis Bacon described revenge as
111-423: A drowning child. Though the war drives the lovers apart, Livia feels driven to revisit Remigio. When she joins him for a tryst, he asks for more money, to bribe the army doctors for a reprieve from the battlefield. Livia gladly gives him all her jewels and gold. Remigio flees to Verona, without bothering even to kiss her goodbye. Eventually her yearning for Remigio drives Livia nearly mad, but her spirits soar when
148-483: A drunken, ungrateful rogue, in the company of a prostitute who openly mocks Livia for accepting his abuse. Mortification drives Livia out into the night. Shame shapes her lingering lust into vengeance when Livia remembers she still has his letter. Livia finds the Austrian army headquarters, where she indicts Remigio by presenting his proof of desertion to a general. Her vengeance for Remigio's philandering infidelity
185-619: A few years after the war, with Livia reminiscing on her 39th birthday about her first truly passionate affair . Her reverie transports us to Venice during the war, where Livia falls in love with Remigio Ruz, a dashing young lieutenant in the Austrian army. Although he obviously is using her, her money, and her social status, Livia throws herself into an affair of complete sexual abandon with Remigio. She lets him spend her money freely, cares nothing of what society thinks of her, and ignores her new lover's pathetic cowardice when he refuses to rescue
222-597: A kind of "wild justice" that "does [..]. offend the law [and] putteth the law out of office." Feuds are cycles of provocation and retaliation, fueled by a desire for revenge and carried out over long periods of time by familial or tribal groups. They were an important part of many pre-industrial societies , especially in the Mediterranean region. They still persist in some areas, notably in Albania with its tradition of gjakmarrja or "blood feuds", revenge that
259-513: A later squabble. Chimpanzees are one of the most common species that show revenge due to their desire for dominance. Studies have also been performed on less cognitive species such as fish to demonstrate that not only intellectual animals execute revenge. Studies of crows by Professor John Marzluff have also shown that some animals can carry "blood feuds" in similar ways to humans. Using a "dangerous" mask to cover their face and trap, band, and then release crows, Marzluff observed that within two weeks,
296-461: A letter from him finally arrives. His letter says that he loves and misses her, and that her money and his bribery had allowed him to evade any combat. He asks Livia not to look for him. Still clutching his letter, she promptly boards a carriage and heads straight to Verona to find her loyal lover. She finds the city in ruins, with dead and wounded everywhere. Livia's undeterred. She heads to the apartment she had bought for Remigio, where she finds him,
333-554: A means of justice restoration. A growing body of research reveals that a vengeful disposition is correlated to adverse health outcomes: strong desires for revenge and greater willingness to act on these desires have been correlated with post-traumatic stress disorder symptoms and psychiatric morbidity. The popular expression "revenge is a dish best served cold" suggests that revenge is more satisfying if enacted when unexpected or long-feared, inverting traditional civilized revulsion toward "cold-blooded" violence. The idea's origin
370-518: A popular literary theme historically and continues to play a role in contemporary works. Examples of literature that feature revenge as a theme include the plays Hamlet and Othello by William Shakespeare , the novel The Count of Monte Cristo by Alexandre Dumas , and the short story " The Cask of Amontillado " by Edgar Allan Poe . More modern examples include the novels Carrie by Stephen King , Gone Girl by Gillian Flynn , and The Princess Bride by William Goldman . Although revenge
407-531: A proverbial saying, and translated "revenge is very good eaten cold". The phrase has been wrongly credited to the novel Les Liaisons Dangereuses (1782). The phrase has also been credited to the Pashtuns of Afghanistan. Earlier speakers of English might use the set phrase "with a wanion " rather than the more modern standard "with a vengeance" to express intensity. A Japanese proverb states, "If you want revenge, then dig two graves". While this reference
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#1732790828258444-412: A significant percentage of crows encountered - 26%, to be exact - would "scold" the people wearing the dangerous mask, proving that crows pass information pertaining to feuds within their family units to spread awareness about dangers they may face. This included crows not initially trapped by the mask-wearing researchers, seeing as some of the crows were un-banded. This was further proven three years after
481-399: Is a theme in itself, it is also considered to be a genre . Revenge as a genre has been consistent with a variety of themes that have frequently appeared in different texts over the last few centuries. Such themes include but are not limited to: disguise , masking , sex , cannibalism , the grotesque , bodily fluids, power, violent murders, and secrecy. Each theme is usually coupled with
518-421: Is a theme in various woodblock prints depicting the forty-seven rōnin by many well-known and influential artists, including Utagawa Kuniyoshi . The Chinese playwright Ji Junxiang used revenge as the central theme in his theatrical work The Orphan of Zhao ; it depicts more specifically familial revenge, which is placed in the context of Confucian morality and social hierarchical structure. Revenge has been
555-498: Is carried out not only by the individual, but by their extended relations for generations to come. Blood feuds are still practised in many parts of the world, including Kurdish regions of Turkey and in Papua New Guinea . In Japan, honouring one's family, clan, or lord through the practice of revenge killings is called "katakiuchi" (敵討ち). These killings could also involve the relatives of an offender. Today, katakiuchi
592-467: Is different from Wikidata All article disambiguation pages All disambiguation pages Senso (novel) Senso is set in Venetia and Trentino about the time of Third Italian War of Independence in 1866. Its protagonist is Livia, a countess from Trento , who is married unhappily to a stuffy old aristocrat , and who willingly wanders in response to her yearnings. The story opens
629-532: Is frequently misunderstood by Western audiences, the Japanese reader understands that this proverb means that enactors of revenge must be more dedicated to killing their enemy than to surviving the ordeal themselves. Revenge is a popular subject across many forms of art. Some examples include the painting Herodias' Revenge by Juan de Flandes and the operas Don Giovanni and The Marriage of Figaro , both by Wolfgang Amadeus Mozart . In Japanese art, revenge
666-497: Is most often pursued by peaceful means, but revenge remains an important part of Japanese culture. Philosophers tend to believe that to punish and to take revenge are vastly different activities: "One who undertakes to punish rationally does not do so for the sake of the wrongdoing, which is now in the past - but for the sake of the future, that the wrongdoing shall not be repeated, either by him, or by others who see him, or by others who see him punished". In contrast, seeking revenge
703-448: Is motivated by a yearning to see a transgressor suffer; revenge is necessarily preceded by anger, whereas punishment does not have to be. Indeed, Kaiser, Vick, and Major point out the following: "An important psychological implication of the various efforts to define revenge is that there is no objective standard for declaring an act to be motivated by revenge or not. Revenge is a label that is ascribed based on perceivers’ attributions for
740-491: Is narrated through Livia's secret diary – and thus, solely focused on her perception – the film forsakes the diary and switches to third-person narration). The film starred Alida Valli as Livia and Farley Granger as her duplicitous lover. Tinto Brass adapted the story in 2002 as Senso '45 after reading the novella and finding himself unsatisfied with Visconti's liberally adapted version. The film starred Anna Galiena as Livia and Gabriel Garko as her lover. The story of
777-532: Is obscure. The French diplomat Charles Maurice de Talleyrand-Périgord (1754–1838) has been credited with the saying, "La vengeance est un met que l'on doit manger froid" ["Revenge is a dish that must be eaten cold"], albeit without supporting detail. The concept has been in the English language at least since the 1846 translation of the 1845 French novel Mathilde by Joseph Marie Eugène Sue : " la vengeance se mange très bien froide ", there italicized as if quoting
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#1732790828258814-428: Is obvious to the general, yet her motives lend her lover no exemption. The very next morning, Remigio and the doctors he bribed face a firing squad while Livia attends the execution. The novella presents Livia's perspective exclusively, in the form of her secret diary. She distinctly describes her selfish lust, her sexual desire, and something akin to joy that she feels on the occasion of her lover's execution. Unlike
851-437: Is then called a feud . These societies usually regard the honor of individuals and groups as of central importance. Thus, while protecting their reputation, an avenger feels as if they restore the previous state of dignity and justice . According to Michael Ignatieff , "Revenge is a profound moral desire to keep faith with the dead, to honor their memory by taking up their cause where they left off". Thus, honor may become
888-420: The protagonist and antagonist to develop a masked or disguised identity include sex, power, and even cannibalism . Examples of sex and power being used as themes can be seen in the novel Gone Girl by Gillian Flynn , as well as the aforementioned drama, Titus Andronicus . The emergence of the internet has provided new ways of exacting revenge. Customer revenge targets businesses and corporations with
925-675: The 1954 version, Senso '45 did not romanticize the affair between Livia and Ruz (Helmut Schultz in the 2002 film), but showed it for what it was: a clinical study in vanity and lust. However, it should be worth noting that both films significantly altered Livia's character, making her much older and sympathetic than she appeared in Boito's original novella. In 2011, an opera based on the novella premiered in Teatro Massimo in Palermo , Sicily, with music by Marco Tutino . The role of Livia in
962-484: The Japanese female idol group Momoiro Clover Z 2012 Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Senso . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Senso&oldid=1192371199 " Category : Disambiguation pages Hidden categories: Short description
999-472: The act. Revenge is an inference, regardless of whether the individuals making the inference are the harmdoers themselves, the injured parties, or outsiders. Because revenge is an inference, various individuals can disagree on whether the same action is revenge or not." Belief in the just-world fallacy is also associated with revenge: in particular, having strong experiences or challenges against, can increase distress and motivate individuals to seek revenge, as
1036-433: The authors of such similar characters as Anna Karenina and Madame Bovary , Camillo Boito presents his protagonist without sympathy. Senso' s Livia is conscious of her conduct and may cherish the consequence. She feels either indifferent or oblivious to the damage she might do to others. She's ingenuously remorseless, while single-mindedly seeking what is best for herself alone. Luchino Visconti very loosely adapted
1073-424: The concept of dramatic irony . Dramatic irony is a literary device in which the audience possesses knowledge unavailable to characters in a novel, play, or film. Its purpose is to intensify the tragic events that are going to unfold by creating tension between the audience and the actions of the characters. The most common theme within the genre of revenge is the recurring violent murders that take place throughout
1110-399: The desire for the sustenance of power motivates vengeful behavior as a means of impression management: "People who are more vengeful tend to be those who are motivated by power, by authority and by the desire for status. They don't want to lose face ". Vengeful behavior has been found across a majority of human societies throughout history. Some societies encourage vengeful behavior, which
1147-546: The film is much more faithful to Camillo Boito's work than the earlier adaptation in terms of tone and story, but the action was transported from the Third Italian War of Independence to the end of World War II , with Remigio becoming a Nazi Lieutenant and Livia updated to being the wife of a high ranking Fascist official. Brass later explained that the change in time was made because he did not want to compete with Visconti's vision of Risorgimento -era Italy. Unlike
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1184-658: The intent to cause damage or harm. In general, people tend to place more credence in online reviews rather than corporate communications . With technology becoming more readily available, corporations and firms are more likely to experience damage caused by negative reviews posted online going viral . Recent studies indicate this type of consumer rage aimed at corporations is becoming more common, especially in Western societies . The rise of social media sites like Facebook , Twitter , and YouTube act as public platforms for exacting new forms of revenge. Revenge porn involves
1221-459: The novella in 1954 using the same title , but with heavy alterations to characters and introducing numerous new subplots, such as Livia's rebellious cousin Roberto, whose fight against the Austrian occupation troops is chronicled in a good deal of battles. The adaptation moves closer to the war, depicting it explicitly, whilst pushing Livia's back story into the background (unlike the novella, which
1258-918: The original poster provides the victim's personal information, including links to social media accounts, furthering the harassment. Online revenge porn's origins can be traced to 2010 when Hunter Moore created the first site, IsAnyoneUp , to share nude photos of his girlfriend. Humans are not the only species known to take revenge. There are several species such as camels , elephants , fish , lions , coots , crows , and many species of primates ( chimpanzees , macaques , baboons , etc.) that have been recognized to seek revenge. Primatologists Frans de Waal and Lesleigh Luttrellave conducted numerous studies that provide evidence of revenge in many species of primates. They observed chimpanzees and noticed patterns of revenge. For example, if chimpanzee A helped chimpanzee B defeat his opponent, chimpanzee C, then chimpanzee C would be more likely to help chimpanzee A's opponent in
1295-507: The premiere was played by Nicola Beller Carbone . [1] For books or films with similar themes: Revenge Revenge is defined as committing a harmful action against a person or group in response to a grievance , be it real or perceived. Vengeful forms of justice, such as primitive justice or retributive justice , are often differentiated from more formal and refined forms of justice such as distributive justice or restorative justice . Social psychologist Ian Mckee states that
1332-455: The text, especially in the final act or scene. The root of the violence is usually derived from the characters' childhood development. The themes of masking and disguise have the ability to go hand in hand with each other. A character may employ disguise literally or metaphorically . A mask is the literal example of this theme; while pretending to be something one is not is considered to be the metaphoric example. Additional themes that may cause
1369-466: The vengeful public dissemination of intimate pictures and videos of another person's sexual activity with the intent of creating widespread shame . Participation in online revenge porn activities incites a sense of pleasure through the harm, embarrassment, and humiliation being inflicted on the victim. The allowance of anonymity on revenge porn sites encourages further incivility by empowering and encouraging this type of behavior. In many instances,
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