Differences in Effects of Domestic Violence Between Latina and Non-Latina Women

There has been much research on the effects of domestic violence on women; however, little research has focused on possible differences in reactions to domestic violence between Latina and non-Latina women. Comparable samples of Latina and non-Latina women were obtained and analyses revealed that there were no significant differences between the two samples with regard to the nature and severity of the domestic violence to which they were exposed. However, results indicated that Latina women who had been victims of domestic violence had significantly greater trauma-related symptoms, depression, lower social and personal self-esteem, and were less likely to make global attributions for positive events than were non-Latina women. They also reported more parenting stress due to their child's behaviors than did non-Latina women. The implications of these results in light of cultural differences between Latina and non-Latina women are discussed.     

Confinement as a two‐stage turning point: Do changes in identity or social structure predict subsequent changes in criminal activity?*

Scholars frequently characterize incarceration as a possible turning point in criminal activity. This implies a two‐stage process: 1) change in life‐course mechanisms around confinement and reentry result in 2) subsequent change in criminal activity relative to preconfinement. Following this model, we examine change in criminal activity, criminal identity, and social/structural challenges using data from the Prison Project, a cohort of adult males with short‐term confinement in the Netherlands in 2010–2011. Results of a novel test for within‐individual change in arrests from preconfinement to post‐reentry show that most individuals are stable—yet there is a substantial group who go down meaningfully and a much smaller group who go up. Even though changes in criminal identity from the intervening period do not predict these change groups, increases in social/structural challenges predict those who go up in criminal activity. We build from prior work on desistance and reentry, contrasting our findings and highlighting the unique insight gained from, as well as challenges of, measuring individual change within our two‐stage turning point model. Although life‐course mechanisms often correspond with changes in criminal activity concurrently, identifying individual changes that are predictors of subsequent shifts in criminal offending remains elusive.     

“Commitment Through the Work of Art,” “Commitment Through the Name”: The Case of French Directors of “Social Films” in the 1990s–2000s

What is the commitment of left-leaning artists and intellectuals in a context where the legitimacy of politics and party activism is being called into question? The analysis of the case of the French directors who have made films dealing with social issues in the 1990s–2000s shows the complexity of the boundaries between art and politics and of the possible modes of commitment through their works and/or their name. Some directors who have made one or several films dealing with the working classes in France in this period have been associated with the label “social cinema” by the critic, as well as social scientists or “anti-globalization” activists. Despite the differences in their social and professional backgrounds, they all have in common the rejection of this label, opposing “social cinema” to artistic recognition and carefully distinguishing their artwork from commitment. In order to stabilize their careers and meet professional success, they often have to move from working class issues to more valued topics and from a realistic aesthetic to a more distinguished one. They mostly commit their names for the defence of the “independence of cinema” and for humanitarian causes, rather for more overtly political or partisan issues. More generally, this case study illustrates the forms and repertoires of commitment open to artists and intellectuals in the 1990s–2000s, showing how they try to use their professional skills and resources (including their notoriety) in the service of certain causes without jeopardizing their artistic autonomy, by distancing themselves both from partisan politics and from “commercial cinema.”     

The Media, The Campaign, and The Message

This article examines the 1996 press releases issued by Republican presidential nominee candidates during the invisible primary and the subsequent stories generated by these press releases in newspapers. We systematically examine how campaigns structure their messages, which messages are transmitted by the press to the voting public, and what factors influence the transmission of the campaign's message. We find that campaign organizations disseminate a variety of messages to the media. Our analysis demonstrates that national media organizations are most receptive to informative (logistical) messages disseminated by candidates who are at the head of the field and most hostile to substantive (issue-oriented) messages regardless of their campaign of origin. By contrast, the state press is most open to substantive messages issued by lower-tier candidates. It appears from our results that the media, more than the campaign, bear the responsibility for the emphasis on the horse race.