La visión y la vista transgresora son rasgos esenciales en la construcción psicosexual de los personajes de Celestina. Como notan los críticos, los discursos visuales condicionan el modo en que los personajes negocian relaciones interpersonales de poder y deseo, articulado por la mirada fálica. Este estudio es un análisis de la interacción de la escopofilia y la vergüenza en el encuentro sexual entre Pármeno y Areúsa y en los dos breves citas amorosas entre Calisto y Melibea en el jardín. El agudo sentido de vergüenza de Areúsa y Melibea repele la mirada transgresora de Celestina y Lucrecia respectivamente, pero a través de la astucia celestinesca y la excitación sexual, su vergüenza retrocede para dar paso a un aumentado placer sexual. Este estudio demuestra que ambas Areúsa y Melibea rechazan la mirada fálica de las voyeuses por la vergüenza. Después, su sentido de vergüenza es socavado por el discurso magistral de Celestina y una fuerte excitación sexual.

최근 불법촬영 범죄는 스마트폰 보급률의 증가와 변형 카메라의 무분별한 유통으로 인 해 날이 갈수록 심각해지고 있으며, 인터넷을 이용한 빠른 전파로 인해 피해가 매우 광범 위하게 나타나 국민들의 불법촬영 범죄에 대한 두려움은 점점 증대되고 있다. 이에 따라 본 연구에서는 불법촬영 범죄 현황과 최근 발생한 불법촬영 범죄 주요 사례를 살펴보고, 불법촬영 관련 주요 법률 개정 사항 및 정부의 종합대책과 외국의 불법촬영 실태를 파악하 여 불법촬영 범죄를 예방할 수 있는 효과적인 대응 방안을 제시하고자 한다. 이에 따라 개개인이 화장실이나 숙박시설, 탈의실 등을 이용할 경우 불법 촬영 기기에 대한 두려움을 없앨 수 있도록 보급형 불법 촬영 탐지기를 신속히 개발하여 보급할 필요가 있으며, 불법 촬영 기기의 탐지력을 향상시킬 수 있는 기기의 개발도 이루어져야 할 것이다. 이를 통해 불법 촬영 기기를 설치하여도 범죄자들이 소기의 목적을 달성할 수 없으며, 오히려 검거될 확률이 높고, 검거될 경우 엄격한 처벌을 받게 함으로써 잠재적 범죄자의 범행 동기를 억 제할 수 있다. 즉, 신속한 처벌, 확실한 처벌, 엄격한 처벌을 핵심개념으로 하는 억제이론 (Deterrence Theory)을 토대로 불법촬영 범죄를 근절해야 할 것이다.

Affect Unchained: Violence, Voyeurism and Affection in the Art of Quentin Tarantino

Watching You, Watching Me: Liability for Voyeurism When the Voyeur Is also a Participant in a Private Act: <i>R v Richards</i> [2020] EWCA Crim 95

Going to Town with Privacy: Exploring Voyeurism and the Motivations behind Exposure of Online Secrets

Reading the letters of others perhaps always feels voyeuristic. By perusing reflections that range from hasty missives, to dry business mundanities, to sincere updates on the writers’ personal cond...

Theatre as Voyeurism: The Pleasures of Watching ed. by George Rodosthenous

The Cinematographic Unconscious of Slum Voyeurism

This essay deals with voyeuristic attitudes and ʹscopic powerʹ, i.e. the power to gaze at forbidden things and people without being seen. Indeed, its object par excellence coincides with female nakedness, while its subject is an invisible masculinity, which takes delight in looking. The paper is based on a study of the Anglo-Saxon legend of Lady Godiva and it is strictly connected with the subject of my dissertation in progress – metaphorical and physical blindness in 18th century French literature (since several voyeurs got blind because of their instincts and desires). Lady Godiva’s voyeur, called Peeping Tom, is struck blind for having looked out of his window and seen the noblewoman riding naked. This legend has inspired many artists in different fields, and nowadays its heroine is very famous and venerated. In particular, this essay focuses on the relation between this legend and compulsive looking (or scopophilia) in two renowned films, Rear Window by Alfred Hitchcock, and Peeping Tom by Michael Powell.

Gunther von Hagens' development of plastination as a method for preserving human remains has enabled his public display of skinless, dissected bodies in a series of popular international exhibitions entitled Body Worlds. These spectacular displays claim to be educative, democratizing the study of anatomy and liberating it from the traditional confines of professional medical study. However, Body Worlds has raised various ethical objections to its commercial purpose, sourcing of some bodies and arrangement of bodies in poses or dissections that some viewers find offensive. Here we consider a different, often overlooked ethical conundrum raised by these exhibitions: the likelihood that the viewing of plastinates posed in 'frozen motion' is ill‑suited to the psychological development of young children (5-10 years old) whose understanding of death is still in formation. Often young children mistake corpses for models, even for living beings if they are posed in arrested motion. The educative value of Body Worlds for younger viewers is questionable and the display may even interfere with their understanding of death. If the exhibition of human remains can be justified where their authenticity can be made known to viewers and the remains invested by them with sympathetic emotional meaning, it may be pointless if not unethical to show quasi‑lifelike posed plastinates to young children in lieu of replica models.

Sightseeing in the poorest quarters of southern hemisphere cities has been observed occurring in Cape Town, Rio de Janeiro, Mumbai and many other cities. The increasing global interest in touring poor urban environments is accompanied by a strong morally charged debate; so far, this debate has not been critically addressed. This article avoids asking if slum tourism is good or bad, but instead seeks a second-order observation, i.e. to investigate under what conditions the social praxis of slum tourism is considered as good or bad, by processing information on esteem or disesteem among tourists and tour providers. Special attention is given to any relation between morality and place, and the thesis posited is that the moral charging of slum tourism is dependent on the presence of specific preconceived notions of slums and poverty. This shall be clarified by means of references to two empirical case studies carried out in (1) Cape Town in 2007 and 2008 and (2) Mumbai in 2009.

Marlene van Niekerk’s Triomf has attained both literary acclaim and notoriety since it was first published in Afrikaans in 1994 (English translation 1999). This darkly comic novel is set at the dawn of the democratic election and as such, the fictional context mirrors the historical moment in which it was published. The novel relates the misadventures of the incestuous and indigent Afrikaans family, the Benades, whose grotesque bodies are described in minute detail. The paper examines the reason for this visceral corporeality in the context of Louise Bethlehem’s classification of the post-apartheid literary canon as one “in which the abject body is a privileged trope.” During apartheid, relationships were governed by racist laws, stereotypes, and perceptions (rather than intimate conversations or reciprocal interactions). Van Niekerk explores this dominance of the visual in encounters with others, and in the process unpacks the “ensemble of practices” which made up what Allen Feldman calls the apartheid “scopic regime.” Van Niekerk enquires whether looking at the other could potentially facilitate empathy and understanding, or whether this remains merely an act of voyeurism. In this regard, the paper examines the meaning of the motif of binoculars and peepholes in Triomf, and argues that the Benades’ thwarted desire for connection and empathy is enacted through the visual medium. The reader, too, acts as literary voyeur, yet in this manner begins to care for and empathize with the Benades. In conclusion, Van Niekerk’s visceral descriptions should not be classified as merely sensationalist or exhibitionist. Rather they represent an ethical intervention and an attempt to explore the formation of intimate relationships which, for Van Niekerk, are always mediated by the body.

Elyse Mallouk. Review of "Exposed: Voyeurism, Surveillance, and the Camera Since 1870" by Sandra S. Phillips.

Wordsworth and the Ethics of Voyeurism

"a strange and ecstatic pleasure": The Voyeurism of the Naturalist's Gaze in Frank Norris's Vandover and the Brute and McTeague

Exposed: voyeurism, surveillance, and the camera since 1870

The decision to write this article was not an easy one, putting aside the issues of exhibitionism and voyeurism, which, in themselves, are not easy to come to terms with. I found myself struggling ...

Utopian Voyeurism: Androgyny and the Language of the Eyes in Haywood's <i>Love in Excess</i>

L'article relate le scandale sexuel autour de l'enseignante Amy Gehring au Royaume Uni et son utilisation par les medias

Vision and Division: Voyeurism in the Works of Isabel Allende