Rape culture,misogyny, and urban anxiety in NH10 and Pink

One of the most pervasive aspects of Delhi’s post-liberalization psychopathology has been everyday violence against women. The city’s rape culture was given an exceptionally sharp global focus after the horrific gang rape of Jyoti Singh on December 16, 2012. Recent Hindi cinema has begun to engage with some aspects of the capital’s misogynist urban ethos. In this paper, I look at how the Delhi subgenre of the “multiplex film” has engaged with rape culture, misogyny, and urban anxiety through a close textual and discursive analysis of two recent films—NH10 (Navdeep Singh, 2015) and Pink (Aniruddha Roy Chowdhury, 2016). Specifically, I identify how the December 16 “trigger event” and Delhi’s notorious misogyny are finding newer modes of representation through the interplay of genre and exhibition space. In what ways do these films position and imagine the “multiplex viewer”? New engagements with the figure of the consuming middle-class woman and the public discourses that surround her sexual safety and navigation of space have taken a central position in understanding the present urban psychosis of the capital. I suggest that these films and the forms of spectatorial identification that they privilege are intricately linked to the gendered spatial politics of the multiplex.     

The business of writing: literature as a commodity in Claudia Piñeiro’s Betibú

This article presents considerations about the status of literature as a commodity and writers as professionals in the twenty-first century. These considerations are based on an analysis of Argentine writer Claudia Piñeiro’s Betibú (2011), which follows the story of an Argentine crime novel writer who becomes a ghostwriter after her latest novel receives harsh reviews for being considered commercial rather than literary. I argue that the novel in question points out misconceptions about the influence of the book industry on the aesthetic quality of literary writing, highlighting the need for literary criticism to look into everyday relations between readers, authors, and editors.     

论毒品犯罪中的诱惑侦查

在毒品案件侦查实践中,诱惑侦查已被大量使用,我国立法应有限度地承认诱惑侦查的合法性,并加强对其规制,建立侦查机关内部监督与检察机关外部监督相结合的监督体制。在司法实践中,应从诱惑侦查主体、适用范围、侦查对象选定、特情的建立和选派、立案及诱惑行为强度等几个方面进行规制。     

社区矫正对象之选择初探

通过对中外社区矫正制度的对比,指出解决问题的基础在于确定社区矫正之对象选择方法;通过对社区矫正与其他刑罚方式的比较,指出确定社区矫正对象需要在犯罪人格视角下进行;通过对犯罪人格的剖析,最终提出了社区矫正对象选择的路径,即以犯罪人格的区分来选取社区矫正的对象。矫正当局应当通过一系列法律制度、人员配置、经费划拨、机构设立,来保障社区矫正对象的正确选取,以实现社区矫正的目标和任务,体现人本主义关怀,使得犯罪人能够得到适宜其改造的矫治方法。     

非法经营罪探析

《中华人民共和国刑法》关于非法经营罪的规定是空白罪状,是一"口袋罪",其刑罚的设置不科学,因此,该罪应予分解,对已经分解出来的罪,不论刑罚轻重均不应再按非法经营罪追诉。     

对直接故意特殊形态的探究

我国刑法将故意犯罪分为直接故意和间接故意两种 ,在直接故意中 ,存在一种特殊形态 ,即 :明知—必然性—放任。由于立法的局限性 ,理论界对特殊形态中的意志因素认识不同 ,众说不一。本文围绕这一问题 ,结合故意犯罪的内涵、构成要素、直接故意与间接故意的区别 ,说明在直接故意特殊形态下 ,存在一种介乎于“希望”和“放任”之间的独立的心理态度 ,从而对我国刑法中犯罪故意的概念提出质疑     

人生之路——与大学生谈心

学生时代是人生旅途极为重要的关键的年代。人生道路怎么走,一个人怎样把握自己,怎样实现自己的理想,一个人如何设计自己,塑造自己,发展自己?这些问题是每位同学都十分关心,同时也是必须回答和实践的问题。下面从五个方面谈谈自己的人生体验。一、人生在于奋斗一个人来到这个世界,第一声就是啼哭,这也昭示着人的整个一生要与困苦相伴。幸福不会从天降,成功也不可能坐在家里等来。大家从小学读到大学,不勤奋刻苦学习,学习成绩会好吗?不可能。不勤奋刻苦学习,今后能为社会作出贡献吗?不可能。我认为,一个人的一生能否事业有成,20岁前后打基础,…     

青少年犯罪及治理对策

青少年犯罪是当今社会普遍关注的问题 ,来自家庭、学校、社会的负面影响 ,致使青少年犯罪日益增多。就青少年犯罪的特点和原因进行分析 ,提出实施四个预防和三个工程是治理青少年犯罪的有效途径。     

从“一个馒头引发的血案”看我国的“侵犯著作权罪”

2006年,网络短片“一个馒头引发的血案”挑起了自由职业者胡戈与导演陈凯歌之间的著作权侵权纠纷,也提出了我国著作权刑法保护方面存在的问题。本文试从著作权法的角度对“馒头案”进行分析,并对比《TRIPS协议》及其他发达国家关于“侵犯著作权罪”的规定,指出我国刑法关于“侵犯著作权罪”规定的不足之处及如何进一步完善。     

Falling into the existential abyss: Ivan Franko’s realist prose in experiments with Gothic and crime fiction modes

This article examines three novels by Ukrainian realist Ivan Franko (1856–1916): Dlia domashn'oho ohnyshcha (For the Home Hearth, 1892), Osnovy suspil'nosti (Pillars of Society, 1894), and Perekhresni stezhky (Fateful Crossroads, 1900). Previous scholars saw elements of crime fiction in these works, but the actual relationship between the two genres of crime fiction and realism has not been fully developed. By studying the conventions of crime fiction, along with its antecedent, the Gothic, and their influence on Franko, the author shows the make-up of the early Ukrainian crime fiction genre and points to its importance in understanding Franko’s vacillation between realist and modernist tendencies. As she argues, the scales of his vacillation are tipped toward modernism in its decadent form, an existential void that characterized fin de siècle Europe. Hence, Franko’s “ideal” or programmatic realism (defined by Franko as a literary style with a didactic tendency aimed at educating society), which he introduced under the appealing cover of crime and Gothic motifs, ultimately failed him. The author proposes that it is the creative modes (Gothic and crime fiction) that Franko chose for voicing his ideas about social reforms that led him, unsuspectingly, away from his programmatic goal and toward the decadent aspects of modernism.