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The Iceman Tapes Dr Park Dietz evaluates and interviews Richard The Iceman Kuklinski

Discuss and critically evaluate the relationship between what you see in the “Iceman” with sections of the text. Your paper should draw a relationship between what you see in the video with what you have read in the text. You must explain what you’re quoting instead of merely citing text. In other words you must ground the text in some aspect of the video. You may use any part of the text. You may also use information as provided in the video or make your own assumptions based on demeanor, lack of affect etc.
Specifically address the following:

According Hare’s typology which of the three types of psychopaths would you consider Kuklinski? Substantiate your claim based on your behavioral observations.
What actions did Kuklinski do in his crimes to lead one to believe he is a psychopath? What Behavioral Descriptions from the text did he exhibit during the interview? The book also discovers other traits of psychopaths explain the ones you saw in the interview.
What were the possible early signs of psychopathic behavior in Kuklinski (See Chapter Two- Conduct Disorders too)?
At one point the psychiatrist gets Kuklinski mad at him. What does that tell you about one possible causation of psychopathy?
Reflect on his parenting versus yours – How far out of the realm was parenting in the Kuklinski household?
The book notes that psychopathic behavior has a biological component. It talks about different theories of the brain. At times Kuklinski provides behavioral cues about possible biological deficiencies. Explain at least two of those times you see Kuklinski display signs of a possible biological problem based on how he describes his behavior.

Sample Solution

Whether or not Carnival is a politically subversive act or restorative of the status quo is subjective to each individual. To argue whether or not it is a subversive act and challenges society or, is entirely reinforcing the status quo: I will engage with the ideas of Mikhail Bakhtin’s Rabelais and His World, Michael Bristol’s Carnival and Theatre (2014) and Sibylle Baumbach’s Introduction to the study of Plays and Drama (2019) as well as referring to ideas presented by Dr Catherine Rosario in her lecture ‘Carnival, Carnivalesque and Medieval Morality Plays’ (2019) to analyse the plays Mankind (1407) and Shakespeare’s Twelfth Night (1601) in the context of the question. In Aristotle’s Poetics (330BC) Tragedy acts as a moral lesson in which fear and sympathy caused by the plight of the tragic hero serve to warn the spectator not to offend providence similarly. In a similar effect, Baumbach states that Morality Plays aimed at improving their audience, providing guidance on how to differentiate between evil and virtue; who were both fighting for the soul of man. Morality plays were performed during Carnival-like (carnivalesque) celebrations such as Eucharist. Carnival itself follows a topsy-turvy principle that governs the acts, according to Bristol’s Carnival and Theatre tools are used not for building but for breaking and killing. The inversion of rank is a critical part of the celebration, for example, a fool would be elevated to the status of a king for one day, and a king would be treated like a fool, making Carnival a special opportunity for all community members.

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