Journal articles: 'Voyeurs'

1

Rancourt, Jacques J. "Voyeurs." Colorado Review 44, no. 2 (2017): 148–49. http://dx.doi.org/10.1353/col.2017.0057.

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Kemp, Martin. "Venus's voyeurs." Nature 393, no. 6686 (June 1998): 633. http://dx.doi.org/10.1038/31367.

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Partearroyo, Manuela. "The beauty in the beast and the beast in the beauty. The voyeur’s view." Escritura e Imagen 16 (December 16, 2020): 57–69. http://dx.doi.org/10.5209/esim.73025.

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This paper would like to analyse two films, The Elephant Man (David Lynch, 1981) and Blow up (Michelangelo Antonioni, 1966) and one classic myth, Mary Shelley’s Frankenstein, through the very poignant figure of the voyeur. We will investigate this observer of the unnamable focusing on two characters, two eyewitnesses: the scientist who discovers John Merrick and the photographer who becomes obsessed with finding a corpse in an amplified picture. Both these voyeurs seem to be in search of the bewitching and sublime darkness that lies within, a search that in a way is inaugurated by the Promethean doctor at the break of Modernity. The corporeal distance between monster and voyeur creates the unbearable morbidity that devours our gaze. And at that exact point, the figures are reversed and the voyeur becomes the actual monster. Soon enough, we discover that their perspective as voyeurs becomes ours, because through the cinematic experience the spectator becomes witness of the crime, part of the freak show, morbid viewer of the abject. Lynch and Antonioni, together with Shelley’s creature and creator, put the question of the body through a microscope and dare us spectators to look inside, to find the morbidity of truth and the limits of art.

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Heer, Jeffrey, Fernanda B. Viégas, and Martin Wattenberg. "Voyagers and voyeurs." Communications of the ACM 52, no. 1 (January 2009): 87–97. http://dx.doi.org/10.1145/1435417.1435439.

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Bynum, W. F. "American voyeurs in Paris." Nature 392, no. 6674 (March 1998): 349–50. http://dx.doi.org/10.1038/32813.

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Dutta, Ashish. "Livestreaming procedures: visionaries or voyeurs?" Journal of Aesthetic Nursing 7, no. 2 (March 2, 2018): 66. http://dx.doi.org/10.12968/joan.2018.7.2.66.

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Espuelas, Fernando. "Intrusos, voyeurs y prisioneros voluntarios." Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, no. 7 (May 1, 2019): 81–95. http://dx.doi.org/10.31921/constelaciones.n7a5.

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La casa como ámbito prelingüístico de la arquitectura desempeña un papel protagonista en la conformación de la intimidad y resulta, en consecuencia, una colaboradora necesaria de sus anomalías. Introducirse en el interior doméstico –sorprendiendo la intimidad del habitante en su ausencia– robar inadvertidamente la visión de la privacidad ajena o hacer del recinto interior de la casa un mundo completo y autosuficiente en el que recluirse, son las situaciones en las que el espacio resulta, en la sombra, decisivo.

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Teyssèdre, Bernard. "L'Origine, son Double et ses voyeurs." Ligeia N°41-44, no. 1 (2002): 62. http://dx.doi.org/10.3917/lige.040.0062.

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O’Dell, Kevin M. C. "The voyeurs’ guide to Drosophila melanogaster courtship." Behavioural Processes 64, no. 2 (September 2003): 211–23. http://dx.doi.org/10.1016/s0376-6357(03)00136-0.

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Kohiyama, M. "Bacterial Sex: Playing Voyeurs 50 Years Later." Science 301, no. 5634 (August 8, 2003): 802–3. http://dx.doi.org/10.1126/science.1085154.

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Milani, Farzaneh. "Voyeurs, nannies, winds, and gypsies in Persian literature." Critique: Critical Middle Eastern Studies 8, no. 14 (March 1999): 107–23. http://dx.doi.org/10.1080/10669929908720143.

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Knowles, Harry. "Voyeurs or scholars? Biography's role in labour history." Journal of Australian Studies 25, no. 69 (January 2001): 63–75. http://dx.doi.org/10.1080/14443050109387688.

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Strukov, Vlad. "Video Anekdot: Auteurs and Voyeurs of Russian Flash Animation." Animation 2, no. 2 (July 2007): 129–51. http://dx.doi.org/10.1177/1746847707078274.

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Adamson, Elizabeth. "Morbid obesity is exploited for pleasure of armchair voyeurs." Nursing Standard 28, no. 21 (January 22, 2014): 35. http://dx.doi.org/10.7748/ns2014.01.28.21.35.s44.

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Hoskins, Janet. "Predatory Voyeurs: Tourists and "Tribal Violence" in Remote Indonesia." American Ethnologist 29, no. 4 (November 2002): 797–828. http://dx.doi.org/10.1525/ae.2002.29.4.797.

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Andrieu, Jacques. "Les journalistes sur la place Tian'anmen [Tian'anmen acteurs ou voyeurs?]." Actes de la recherche en sciences sociales 101, no. 1 (1994): 119–28. http://dx.doi.org/10.3406/arss.1994.3090.

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Rekdal, Paisley. "Voyeurs, and: Flowers from a New Love after the Divorce." Ecotone 6, no. 1 (2010): 136–39. http://dx.doi.org/10.1353/ect.2010.0041.

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ELLIOTT, B. J. "Covent Garden Follies: Beardsley's Masquerade Images of Posers and Voyeurs." Oxford Art Journal 9, no. 1 (January 1, 1986): 38–48. http://dx.doi.org/10.1093/oxartj/9.1.38.

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Rouzer, Paul F. "Watching the Voyeurs: Palace Poetry and the Yuefu of Wen Tingyun." Chinese Literature: Essays, Articles, Reviews (CLEAR) 11 (December 1989): 13. http://dx.doi.org/10.2307/495525.

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Dasgupta, Shumona. "The spectacle of violence in Partition fiction: Women, voyeurs and witnesses." Journal of Postcolonial Writing 47, no. 1 (February 2011): 30–41. http://dx.doi.org/10.1080/17449855.2011.533952.

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Sabbadini, Andrea. "FILM REVIEW ESSAY: WATCHING VOYEURS: MICHAEL POWELL'S PEEPING TOM (1960)." International Journal of Psychoanalysis 81, no. 4 (August 7, 2000): 809–13. http://dx.doi.org/10.1516/0020757001600039.

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Ghasemi, Mehdi. "Replenishing and Recycling an Exhausted History in Lydia R. Diamond’s Voyeurs de Venus." Journal of Literary Studies 35, no. 3 (July 3, 2019): 80–93. http://dx.doi.org/10.1080/02564718.2019.1657284.

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Simon, Robert I. "Video Voyeurs and the Covert Videotaping of Unsuspecting Victims: Psychological and Legal Consequences." Journal of Forensic Sciences 42, no. 5 (September 1, 1997): 14224J. http://dx.doi.org/10.1520/jfs14224j.

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Balakrishnan, Vinod, and Anupama Asokan Ponnamma. "The Sculptor and the Professor: Two ages of objectification by the film spectator." Catalan Journal of Communication & Cultural Studies 12, no. 1 (April 1, 2020): 135–44. http://dx.doi.org/10.1386/cjcs_00018_1.

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A paradigm shift has happened in the relationship between the spectator and the woman-on-the-screen. The shift from an analogue to a digital era implies that the dynamics of objectification have also shifted irrevocably. The two ages of voyeurism are characterized, respectively, through Hitchcock’s Rear Window (1954) and Alex Garland’s Ex Machina (2014). The paper reads that the voyeur in the analogue frame of Rear Window (Jeff) is in a metaphoric relationship with the women-through-his-lens while the spectator ‐ post-2013-drawing from an archive of pornography is in a synecdochic relationship where the woman is, to invoke Shelley Jackson, a ‘Stitch Bitch’. The article posits that the telltale shift has caused a change in the materiality of the woman which has, technologically, gravitated from a celluloid frame to an algorithmic reconstitution. It means, in the digital era, the spectator‐voyeur’s relationship with and the objectification of the woman has been reset: From Pin-up to the Patchwork girl.

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Magennis, Caroline. "‘He devours her with his gaze’: Maurice Leitch's Stamping Ground and the Politics of the Visual." Irish University Review 44, no. 2 (November 2014): 288–304. http://dx.doi.org/10.3366/iur.2014.0125.

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This essay is a critical reappraisal of Maurice Leitch's 1975 novel Stamping Ground through theories of the gender, sexuality, and the visual. The novel will be read as a disruptive critique of hegemonic Unionist identity and the rural idyll in Northern Irish cultural discourse but, importantly, the limits of using gendered metaphors in the case will be considered. For, although this novel seeks to critique ideology built around a certain kind of masculine dominance it does so using tropes which will be deconstructed through theories of the body, sexuality, and the visual aesthetic. For Leitch, the Ulster countryside is recast as not the authentic space reconstructed by both Nationalist or Unionist ideology but rather as a nightmarish world of voyeurs, sexual assault, and bodily terror.

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Willard, Thomas. "European Magic and Witchcraft: A Reader. Ed. Martha Rampton. Readings in Medieval Civilizations and Cultures, 20. Toronto: University of Toronto Press, 2018, pp. xv+461, 8 b/w illustrations." Mediaevistik 32, no. 1 (January 1, 2020): 281–83. http://dx.doi.org/10.3726/med.2019.01.27.

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In the brief preface to this collection of documents, Professor Rampton warns readers, most of whom she assumes will be college students, that they are going “to fly through a mirror,” into a distant country where they will meet people who think very differently than they do and indeed where nature seems to operate very differently than they would expect. Rampton explains that she has kept introductions to the selections “minimal,” so that readers can form their own impressions, becoming “witnesses” rather than “voyeurs.” She hopes they will appreciate the ecstasy of a magician discovering a new secret, the exasperation of a pastor whose parishioners keep going to the local cunning woman, and the indignity suffered by a woman interrogated on suspicion of being a witch.

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Skrbiš, Zlatko. "The Distant Observers? Towards the Politics of Diasporic Identification." Nationalities Papers 25, no. 3 (September 1997): 601–10. http://dx.doi.org/10.1080/00905999708408527.

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There are two common ways of reflecting upon the disintegration of the former Yugoslavia. The first one, journalistic, transmits and animates the images of horror, brutality, deprivation, and displacement. The second one, historicist—as opposed to historical—invests its energy into interpretation, construction and reconstruction of the past, attributing it with a self-explanatory power. “When and where did it all start? … So what does the past tell us?” (Sinclair-Loutit, 1994, p. 230). In this way, history is given the power to serve as an undisputed indicator and guide in the disarray of myths and facts. Both these positions share a common denominator; they both help us to assume a position of contemporary voyeurs—comfortable, distant observers who can do nothing but consume the provided imagery.

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Martín Lago, Zoe. "Ética y poética en el juego teatral de Reikiavik de Juan Mayorga." Laocoonte. Revista de Estética y Teoría de las Artes, no. 4 (December 12, 2017): 64. http://dx.doi.org/10.7203/laocoonte.0.4.11062.

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Reikiavik es una obra sobre el poder de la imaginación y de la memoria, como afirma su autor, y es también una obra que juega con la identidad individual y colectiva, como afirma su director. Juan Mayorga, que asume tanto la dramaturgia como la dirección escénica de esta pieza, propone un viaje en el que, como voyeurs, asistiremos a la partida de ajedrez que marcó la historia del ajedrez y de la Guerra Fría. La idea de ‘juego teatral’, que caracteriza tanto la estrategia dramatúrgica como la puesta en escena de la pieza, será el hilo conductor que nos lleve a analizar la construcción poética del texto y sus implicaciones éticas, asumiendo que el acto teatral debe abrir un espacio para el diálogo, la reflexión y la crítica no sólo en el marco de la propia obra, sino –lo que es más importante- entre la representación y el espectador.

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Jiménez, María Del Carmen Caña. "De perversos, voyeurs y locos: hacia una fenomenología de la violencia en la narrativa de Evelio Rosero." Revista de Estudios Hispánicos 48, no. 2 (2014): 329–51. http://dx.doi.org/10.1353/rvs.2014.0029.

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Auld, Heather L., and Jean-Guy J. Godin. "Sexual voyeurs and copiers: social copying and the audience effect on male mate choice in the guppy." Behavioral Ecology and Sociobiology 69, no. 11 (August 29, 2015): 1795–807. http://dx.doi.org/10.1007/s00265-015-1992-z.

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31

Kim, Ju Yon. "The Narrator as Dubious Witness: Adapting And the Soul Shall Dance for the Stage." Theatre Survey 57, no. 2 (April 13, 2016): 242–52. http://dx.doi.org/10.1017/s0040557416000090.

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Staged by East West Players in 1977, Wakako Yamauchi's And the Soul Shall Dance became one of the company's most successful and critically acclaimed productions. The drama launched Yamauchi's career as a playwright and helped East West Players (EWP) develop a strong audience base in the Japanese American community in southern California. Set in the 1930s in California's Imperial Valley, the play opens with the Japanese American Murata family surveying the damage caused by the accidental burning of their bathhouse. When the father (referred to only as “Murata” in the play) suggests that they might simply use the tub standing in the midst of razed walls, his wife Hana protests, “Everyone in the country can see us!” Murata quickly dismisses her concerns: “Who? Who'll see us? You think everyone in the country waits to watch us take a bath?” (157). Hana's uneasiness nevertheless injects a fear of scrutiny into the first scene of the play and turns those in the audience into the voyeurs whom she fears.

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32

Metzl, Jonathan M. "Voyeur Nation? Changing Definitions of Voyeurism, 1950–2004." Harvard Review of Psychiatry 12, no. 2 (March 2004): 127–31. http://dx.doi.org/10.1080/10673220490447245.

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33

Hellier-Tinoco, Ruth. "Corpo-Reality, Voyeurs and the Responsibility of Seeing: Night of the Dead on the island of Janitzio, Mexico." Performance Research 15, no. 1 (March 2010): 23–31. http://dx.doi.org/10.1080/13528165.2010.485759.

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34

Rosenberg, Alexander. "Privacy as a Matter of Taste and Right." Social Philosophy and Policy 17, no. 2 (2000): 68–90. http://dx.doi.org/10.1017/s0265052500002119.

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Privacy is something we all want. We seek privacy to prevent others from securing information about us that is immediately embarrassing, and so causes us pain but not material loss. We also value privacy for strategic reasons in order to prevent others from imposing material and perhaps psychic costs upon us. I use the expression “securing information” so that it covers everything from the immediate sensory data that a voyeur acquires to the financial data a rival may acquire about our businesses. In the degenerate case of the Peeping Tom's invasion of our privacy, suffering is caused just by the voyeur's having acquired the information, even if nothing is ever done with it beyond the voyeur's recalling it from time to time. In all other cases, privacy prevents others from imposing costs or harms on us in ways that require that they secure information about us.

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Lorek-Jezińska, Edyta. "On Freaks, Voyeurs, and the Cultural Uses of the Freak Show in the Residents’ Art and CD-ROM Project." Rock Music Studies 8, no. 2 (May 4, 2021): 158–71. http://dx.doi.org/10.1080/19401159.2021.1956098.

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36

Hilson, Chris. "Sensitivity in the law of nuisance: Should people in glass houses expect voyeurs? Fearn v Tate Gallery [2019] EWHC 246 (Ch)." Environmental Law Review 21, no. 2 (June 2019): 136–39. http://dx.doi.org/10.1177/1461452919843663.

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The case Fearn v Tate Gallery involved claims brought by luxury London flat owners for breach of privacy in relation to the Tate Modern’s nearby viewing platform. One of the key issues in the case, heard by Mann J in the High Court, was whether the floor-to-ceiling glass windows of the flats – through which members of the public on the viewing platform could easily gaze – meant the residents were unduly sensitive users of the land for the purposes of the tort of nuisance. This case note considers this question along with the principle in nuisance that it is normally no defence to say that the claimant came to the nuisance. Both sensitivity and the coming to the nuisance (non-) defence are important elements of nuisance as an environmental tort and hence the case is worthy of note for environmental lawyers.

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37

Challinor, Laura Elizabeth, and Simon Duff. "Sexual offending hierarchies, personality attributions, and the clinical implications." Journal of Forensic Practice 19, no. 3 (August 14, 2017): 190–97. http://dx.doi.org/10.1108/jfp-07-2016-0031.

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Purpose The purpose of this paper is to examine sexual offending hierarchies constructed by the general public and forensic staff based on personal attitudes and perceived severity of offence. In addition, six sexual offence perpetrators are differentiated using the Five Factor Model of personality. Design/methodology/approach Vignettes represented six sexual offence perpetrators. Participants built a hierarchy based on perceived severity of offence, before attributing personality characteristics to each offender using a Likert-type scale. Findings Contact offenders were perceived as more dangerous than non-contact offenders. Rapists were perceived as the most dangerous, and voyeurs the least dangerous. Offenders were attributed significantly different personality traits. Generally, men who sexually offend are perceived to be low in agreeableness, openness and conscientiousness and high in impulsivity, manipulativeness and neuroticism. Practical implications The research highlights the importance of individual risk assessment in determining best practice treatment for men who have sexually offended (MSO). The Five Factor Model has been proven to be a useful tool to explore the impact staff attitudes have on risk assessment and treatment. Low-risk and high-risk MSO would benefit from divergent treatment. Consideration should be given to personality characteristics in addition to level of risk. Originality/value The research determines a hierarchy of men who sexually offend, and goes beyond the “label” of sexual offenders to explore how personality impacts on formation of attitudes.

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Pirkalani, K. K., and Z. Talaee Rad. "Reciprocal interaction between sexuality and personality: parallel assessment of patients with QSAF- 2009 and MCMI-III." European Psychiatry 26, S2 (March 2011): 1552. http://dx.doi.org/10.1016/s0924-9338(11)73256-4.

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ObjectiveTo evaluate mutual interaction between sexuality and personality we tried to study 111 patients with QSAF 2009 and MCMI-III.MethodsHundred and eleven consecutive patients with sexual problems (76) or personality disorders (35) were examined with two tests. Only volunteer personality disorder patients were enrolled to this trial. The results were compared with 325 examinees evaluated with QSAF and 1600 patients evaluated with MCMI-III.ResultsAll patients with sexual problems showed at least two scores higher than 72 in their MCMI-III. This was more prominent in sexual deviations than dysfunctions. Homosexuals had higher scores in schizoid and schizotypal, pedophiles in schizoid and antisocial, voyeurs in schizoid and avoidant, masochists in dependent and self defeating personality scales …. Sexually deviated persons remain clinically latent and show themselves as alien, aloof and eccentric. Almost all deviated persons show high scores in personality disorder scales. On the contrary, only a minority of personality disorder patients show prominent sexual problems in the form of deviation. They predominantly have disturbed sexual self image, show inhibited sexual desire problems (dependent, schizoid and avoidant) personality, dyspareunia and vaginism (avoidant and schizotypal personality), spouse abuse (borderline and antisocial personality) postcoital disorders (borderline, dependent and narcissistic personality) and extramarital relationship in a series of disorders including histrionic personality …. as studied by the QSAF 2009 which evaluates 64 sexual scales.ConclusionEvaluation of personality disordered patients in regard to sexuality and vice versa is essential for better understanding the pathogenesis of each disease and helps in smoother treatments.

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Hammer, David. "Voyeur." Rocky Mountain Review 40, no. 1-2 (1986): 34. http://dx.doi.org/10.1353/rmr.1986.0009.

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Tammer, David. "Voyeur." Rocky Mountain Review of Language and Literature 40, no. 1/2 (1986): 34. http://dx.doi.org/10.2307/1566600.

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Weissmiller, Jan. "Voyeur." Iowa Review 28, no. 2 (July 1998): 36. http://dx.doi.org/10.17077/0021-065x.4995.

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Singh, Debashis. "Voyeur." BMJ 322, Suppl S5 (May 1, 2001): 0105169b. http://dx.doi.org/10.1136/sbmj.0105169b.

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Mosher, Paul W., and Jeffrey Berman. "Book Review: Stalker, Hacker, Voyeur, Spy: A Psychoanalytic Study of Erotomania, Voyeurism, Surveillance, and Invasions of Privacy." Journal of the American Psychoanalytic Association 66, no. 2 (April 2018): 381–86. http://dx.doi.org/10.1177/0003065118763549.

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Gioia, Dana. "The Voyeur." Hudson Review 49, no. 3 (1996): 423. http://dx.doi.org/10.2307/3852510.

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Veinberg, Jon. "The Voyeur." Missouri Review 12, no. 2 (1989): 57. http://dx.doi.org/10.1353/mis.1989.0100.

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Johnston, Fred, Aidan Murphy, Dermot Bolger, Angela Greene, and Tom Morgan. "Voyeur and Craftsman." Books Ireland, no. 145 (1990): 199. http://dx.doi.org/10.2307/20630665.

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Levine, Les. "V for VOYEUR." Public 28, no. 56 (October 1, 2017): 162–65. http://dx.doi.org/10.1386/public.28.56.162_7.

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48

Smith, Anna Deavere, Henry Louis Gates, and Diane Wood Middlebrook. "The Artful Voyeur." Transition, no. 67 (1995): 186. http://dx.doi.org/10.2307/2935266.

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Wu, Fan. "A porn voyeur's discourse." Porn Studies 6, no. 1 (January 2, 2019): 38–47. http://dx.doi.org/10.1080/23268743.2018.1559086.

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Dora, Daniela. "Pilger, Voyeure und Touristen." Zeitschrift für interkulturelle Germanistik 8, no. 1 (April 25, 2017): 75–90. http://dx.doi.org/10.14361/zig-2017-0107.

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Journal articles on the topic 'Voyeurs'

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