Histological examination of carotid artery tissue in cases of ligature strangulation and hanging

Violence against the neck can result in a range of macromorphological and micromorphological findings. However, the forensic relevance of the carotid sinus in cases of violence against the neck remains controversial. In this follow-up study of 22 cases of suicidal and accidental strangulations, carotid bifurcations were examined histologically for morphological changes implying direct trauma, including haemorrhage and immunohistochemical expression of heat-shock proteins 27, 60, and 70 and aquaporin-3. These cases were compared with a control group (82 cases) without neck compression or head trauma and with variable causes of death. No relevant histopathological findings implying direct trauma of the carotid bifurcation were found. No cases showed positive aquaporin-3 staining and only five cases showed positive heat-shock protein-27 staining, all of which were hangings. Without massive trauma of the carotid bifurcation, histological alterations cannot be expected. Without signs of rapid death, findings of acute circulatory failure, macromorphological and micromorphological findings of neck compression, and reliable markers indicating relevant impact on the carotid bifurcation the diagnosis of a lethal reflex cannot be verified.

Key points

• Among 22 cases of strangulation causing death, there were 16 cases of hanging and 6 cases of ligature strangulation
• Few cases showed small haemorrhages located predominantly in the surrounding fat and connective tissues; however, the haemorrhages did not have any effects on the tissues
• Neck compression had minimal effects on heat shock protein 27 expression in carotid artery tissue
• Aquaporin-3 staining suggested it is not a useful marker for relevant neck pressure, or that there had not been any relevant neck impact
• Our findings suggested no direct evidence for reflex cardiac death resulting from a brief force against the neck

     

The Representation of the Female Body in the Multimedia Works of Regina José Galindo

The female body is central to the performance art, poetry and blog site interventions of Guatemalan Regina José Galindo. While Galindo is best known for her performance work, this article compares the hereto overlooked, distinctive and often shocking representations of the female body across her multimedia outputs. We first consider the ways in which, in all three media, Galindo presents an ‘excessive’, carnivalised, grotesque and abject female body. Second, we analyse representations of the female body that has been subjected to violence at a private and public level. In so doing, we show how Galindo not only contests hegemonic visions of gender and (national) identity but also challenges the viewer/reader to engage with, rather than look away from, the violence to which women are subjected in patriarchal society.     

论犯罪客体要件的重构

犯罪客体要件对准确定罪具有十分重要的意义。通说的犯罪客体理论存在严重缺陷,不足以承担犯罪构成要件之重任。为完善犯罪构成理论,本文在基本坚持通说犯罪构成的基础上,引入法益理论,实现对犯罪客体要件的重构,并具体阐述了犯罪客体要件的概念以及法益、法益主体、法益侵犯以及法益受到侵犯的程度等犯罪客体要件构成要素。     

Bulging biceps and tender kisses: the sexualisation of fatherhood

This article explores recent developments in masculinity, focusing on the sexualisation of fatherhood in Anglophone media. As it becomes socially acceptable for men to engage with “hands-on” fatherhood roles that had previously been primarily associated with motherhood, the appeal lies not just in this shift in gendered performance, but the representation of this as an opportunity for men to reveal a desirably body image. Where previously the hands-on fatherhood role had been glossed as “nappy changing duties,” this more recent development focuses on men’s bodies and in particular the act of carrying a young child which affords the chance for biceps to be flexed in juxtaposition with the gentle act of holding a child. Colloquially, this has led to the emergence of the “DILF,” particularly on social media where sites are devoted to photos of such men.     

Call me Caitlyn: making and making over the ‘authentic’ transgender body in Anglo-American popular culture

A conception of transgender identity as an ‘authentic’ gendered core ‘trapped’ within a mismatched corporeality, and made tangible through corporeal transformations, has attained unprecedented legibility in contemporary Anglo-American media. Whilst pop-cultural articulations of this discourse have received some scholarly attention, the question of why this ‘wrong body’ paradigm has solidified as the normative explanation for gender transition within the popular media remains underexplored. This paper argues that this discourse has attained cultural pre-eminence through its convergence with a broader media and commercial zeitgeist, in which corporeal alteration and maintenance are perceived as means of accessing one’s ‘authentic’ self. I analyse the media representations of two transgender celebrities: Caitlyn Jenner and Nadia Almada, alongside the reality TV show TRANSform Me, exploring how these women’s gender transitions have been discursively aligned with a cultural imperative for all women, cisgender or trans, to display their authentic femininity through bodily work. This demonstrates how established tropes of authenticity-via-bodily transformation, have enabled transgender to become culturally legible through the wrong body trope. Problematically, I argue, this process has worked to demarcate ideals of ‘acceptable’ transgender subjectivity: self-sufficient, normatively feminine, and eager to embrace the possibilities for happiness and social integration provided by the commercial domain.     

Body and experiment – reflecting Kawabata Yasunari's counter-aesthetics

Abstract

From his earliest works, Kawabata, known as an explicit aestheticist, deals in his works with flawed and disabled bodies in contrast to beautiful ones, evoking feelings of revulsion, awkwardness, disgust and premonitions of decay and death. The dynamism created out of these tensions and ruptures in the aestheticized world is scrutizined as hidden counter-aesthetics through questions such as: Which kinds of impairments are to be observed? Can they be classified according to grades? Are there gender specificities? How are these tensions and ruptures organized, and which categories (semantic, biological, political, moral) are concerned? Which narratorial and other functions are served through the counter-image of the flawed (impaired) body? And finally, how do the findings from these investigations into the flipside, the ‘Other’ of Kawabata's aesthetic universe, contribute to complementary or alternative ways of reading and understanding his literature? In a final section, Kawabata's treatment of female bodies as a site of experimenting with extreme situations of passivity and agency is highlighted, challenging more conventional readings of this and other works. The works discussed are from a deliberately broad chronological and generic range, including canonical and popular works. They range from the newspaper novels ‘Utsukushii!’ (1927) and ‘Maihime’ (1950/1), the novel ‘Senbazuru’ (1952) to the stories and palm-of-the-hand stories ‘Ningen no ashioto’ (1925),’Izu no odoriko’ (1926), ‘Mekura to shōjo’ (1928), ‘Utsukushiki haka’ (1929) ‘Hokuro no tegami’ (1940), ‘Sasabune’ (1950), and, in the final section, ‘Kataude’ (1963/4) and ‘Nemureru bijo’ (1960/1).     

人民政协作为专门协商机构的时代特色与优势

人民政协作为专门协商机构是新时代党和人民赋予人民政协的新方位新使命.基于专门协商机构的制度定位,人民政协协商作为一种全职全程的常态化协商形式,在整个社会主义协商民主体系中占有重要地位,独具特色和优势.人民政协一切工作都基于协商民主而展开,是一种超越自身范围的资政协商,较之于其他的协商形式和渠道,人民政协协商组织性最强、制度化最高、协商主体最为专业.总之,人民政协作为专门协商机构,具有无与伦比的时代意蕴和独特优势,能够有效地将协商民主的制度优势转化为国家治理的效能.     

志愿服务主体法律关系探讨

近年我国志愿服务事业得以蓬勃发展,亟需将志愿服务纳入法制化轨道。志愿活动中纠纷的处理、责任的承担等,都需要首先对志愿服务主体法律关系予以明确界定。志愿服务的核心精神自愿性、无偿性、利他性决定了志愿者、志愿者服务组织、志愿者服务对象之间的关系建立在具有服务与帮助性质的帮工合同、委托合同基础上。志愿服务主体地位平等,志愿服务导致的损害,责任方应承担民事侵权责任。