Jealous Men but Evil Women: The Double Standard in Cases of Domestic Homicide

In 1989, Sarah Thornton killed her abusive husband with a knife, after years of abuse and threats to her daughter. She was convicted of murder and sentenced to life imprisonment. Also in 1989, Kiranjit Ahluwalia soaked her husband’s bedclothes with petrol and set them alight. He died from burns 10 days later, and she was subsequently convicted of murder and sentenced to life in prison. In 1991, Joseph McGrail kicked his alcoholic common-law wife to death whilst she lay unconscious. He walked free from court, the judge telling him that “this lady would have tried the patience of a saint”. In 1992, Les Humes told a court that he “saw a red mist” after his wife admitted loving someone else. He fatally stabbed her whilst their teenage children struggled with him. He was convicted of manslaughter due to provocation and was imprisoned for 7 years. Double standards in judicial processes are notorious. Chivalric justice is the case in which women are given lighter sentences for similar offences to men. This does not apply in the case of domestic homicide, where women are seen as evil and calculating when killing a spouse, men are seen as provoked beyond reason. Women who kill husbands do so with weapons that they need to acquire, men do it with their hands or weapons that are immediately available. So it is seems the defence of crime passionnel is reserved for men; women, it is implied, premeditate the murder of abusive husbands, and are justifiably punished. This paper explores the double standard in uxoricide vs. mariticide, and why it appears that killing a wife is justified and killing a husband is evi

David Stafford-Clark (1916-1999): seeing through a celebrity psychiatrist

This article uses the mass-media career of the British psychiatrist David Stafford-Clark (1916-1999) as a case study in the exercise of cultural authority by celebrity medical professionals in post-war Britain. Stafford-Clark rose to prominence in the mass media, particularly through his presenting work on medical and related topics for BBC TV and Radio, and was in the vanguard of psychiatrists and physicians who eroded professional edicts on anonymity. At the height of his career, he traded upon his celebrity status, and consequent cultural authority, to deliver mass media sermons on a variety of social, cultural, and political topics. Stafford-Clark tried to preserve his sense of personal and intellectual integrity by clinging to a belief that his authority in the public sphere was ultimately to be vindicated by his literary, intellectual, and spiritual significance. But as his credibility dwindled, he came to distrust the cultural intermediaries, such as broadcasters and publishers, who had supported him

Fluctuations from Thermalization at RHIC

The centrality dependence of dynamic fluctuations of the transverse momentum and the net charge can signal the approach to local thermal equilibrium in nuclear collisions. I explore this signal by comparing transport-theory calculations to STAR and PHENIX data at a range of energies. In particular, I find that this model can describe PHENIX data on the dependence of fluctuations on the transverse momentum range in which they are measured.Comment: 6 pages, 5 eps figures, Talk given at the 20th Winter Workshop on Nuclear Dynamics, Trelawny Beach, Jamaica, 15-20 March 200

Not-I/Thou: Agent Intellect and the Immemorial

Not-I/Thou: The Other Subject of Art & Architecture is to be a highly focused exhibition/folio of works by perhaps 12 artists (preferably little-known or obscure), with precise commentaries denoting the discord between the autonomous object (the artwork or architectural object per se) and the larger field of reference (worlds); inference (associative magic), and insurrection (against power and privilege) – or, the Immemorial. Engaging the age-old “theological apparatuses” of the artwork, the folio is intended to upend the current fascination with personality, celebrity, and fashion to reach the timeless horizon of the subject of Art and Architecture as the subject other than the subject of Art and Architecture proper. Word as image, and image as word, is the central paradox given to this discord – an elective, yet universal condition that also makes certain art and architectural works heedlessly existential-metaphysical (and, therefore, “theological”). This paper, as part of the essay “White Paper: Gray Areas and Black Zones,” is a preliminary investigation of the conceptual architecture for the overall, ongoing exhibition/book project

Measurement of the Charge Ratio of Atmospheric Muons with the CMS Detector

This paper describes a new measurement of the flux ratio of positive and negative muons from cosmic-ray interactions in the atmosphere, using data collected by the CMS detector at ground level and in the underground experimental cavern. The excellent performance of the CMS detector allowed detection of muons in the momentum range from 3 GeV to 1 TeV. For muon momenta below 100 GeV the flux ratio is measured to be a constant $1.2766 \pm 0.0032(stat) \pm 0.0032(syst)$, the most precise measurement to date. At higher momenta an increase in the charge asymmetry is observed, in agreement with models of muon production in cosmic-ray showers and compatible with previous measurements by deep-underground experiments.Comment: Invited talk given at XVI International Symposium on Very High Energy Cosmic Ray Interactions (ISVHECRI 2010), Batavia, IL, USA, 28 June - 2 July 2010. 4 page

Medvedkine

Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent like an “SOS” in multiple bottles to various film archives (one by one from deep within the Soviet film world), Marker and SLON received a copy by way of Jacques Ledoux (curator of the Cinémathèque Royale de Belgique, in Belgium). The film opened the floodgates of a retrospective survey of Soviet filmmaking repressed and forgotten other than by remote and distant figures (partisans) who somehow survived the Stalinist purges of the 1930s