网络主播色情直播的定罪问题研究

网络直播作为一个新兴事物,在蓬勃发展的同时也显现出诸多弊端。其中,网络直播涉黄是比较典型的问题,挑战着法律与道德的底线。然而司法实践对此类案件的定性不一而足,引发社会各界广泛的讨论。因此,有必要理顺网络主播直播色情内容与传播淫秽物品牟利罪、组织淫秽表演罪和聚众淫乱罪之间的关系,以规范实务中罪名的认定。     

The failure of british obscenity law in the regulation of pornography

Abstract

Summary: In this paper the author addresses the problem of pornography with particular reference to legal regulation in England and Wales against the wider context of the lack of adequate control of pornography world-wide. This is explored first by an examination of the nature and increasing availability of pornography. Second, is provided a consideration of the competing philosophical and ideological arguments for and against its regulation. Third, is provided a statement of the current legal regulatory mechanisms of control germane to the global dissemination of pornography. Finally, the application and effectiveness of obscenity law in England and Wales is considered.     

Aesthetic Vertigo and the Jurisprudence of Disgust

This article engages with the intersection of law, legitimation and aesthetics by examining the controversies surrounding the exhibition in 1997 of two artworks: Piss Christ by Andres Serrano, andMyra by Marcus Harvey. The article is less concerned with issues such as freedom of expression or the rights of display, which by now are well-known in debates on censorship and the arts; rather, its focus is on the consequences for an artwork's exhibition when it is deemed to be `disgusting'. The judgment of the two selected artworks as disgusting is traced in public discourse, through newspaper reports, public protest, and in socio-legal responses to the artwork such as a civil suit for possible obscenity, in decency or blasphemy. The argument suggests that the jurisprudence of disgust in its response to a sensation of ‘aesthetic vertigo’ can provide a key means of understanding aesthetic controversies, and their legal regulation. This revised version was published online in July 2006 with corrections to the Cover Date.     

同性性侵犯行为犯罪化之立法探析

中国现行刑法关于同性性犯罪的规定存在立法缺陷,应当在进行自我检讨的基础上,基于法益侵害说的观点对同性性侵犯行为进行犯罪化思考,行为对同性性的自主权的侵害达到严重程度应当规定为犯罪;同时借鉴其他国家相关法律的规定,充实我国的性犯罪规定,构想在中国针对同性性侵犯行为如何设置罪名的问题。     

淫秽的宪法分析——性表达自由的视角

在一定意义上,淫秽体现的是一种自然的、本源的权利和自由,从宪法的角度来看,它既是表达自由的一种,同时也是作为人权的性权利必不可少的内涵之一,其实质就是宪法所应保护的性表达自由。性表达自由并不仅仅是性的权利,而是人的权利,将性表达自由作为一种人权予以法律保护不仅对个人和社会都有着积极的意义,而且具有无可替代的宪法价值。     

关于强迫虚拟"性行为"的本质及其处罚的思考

关于强迫虚拟"性行为",即虚拟强奸行为和虚拟强制猥亵行为,学术界对此并没有理论研究热情,而司法机关在实践中,对部分具有危害性的虚拟性行为如组织虚拟卖淫以及虚拟卖淫行为以组织表演淫秽罪、传播淫秽物品牟利罪、传播淫秽物品罪等罪名进行定罪量刑.但是,虚拟强奸和虚拟强制猥亵行为却处于惩罚上的空白地段.因此,很有必要启动立法程序对此类危害行为进行立法规定,以便及时地以刑罚的方法进行调整.     

论传播淫秽、色情物品犯罪的刑事立法政策--以无被害人犯罪为视角

在宽严相济的刑事政策背景下,无被害人犯罪的刑事立法应当以"当宽则宽"为基本思路。对于传播淫秽、色情物品犯罪,我国实行全面规制政策,即不区分受众和内容,均严厉打击。由于向自愿接受的成年人散布色情物品并未侵害任何法益,反色情立法受到限制言论自由权的质疑;淫秽性的认定标准模糊,时常面临违背罪刑法定原则的责难;色情物品具有精神补偿作用,色情物品与犯罪、道德败坏没有明显关系。调查显示,多数民众认为现行法律对传播淫秽物品犯罪的处罚过重,因此,传播色情物品应采取区别对待的刑事立法政策,将有被害人的犯罪与无被害人犯罪进行区分。总的来说,禁止向未成年人及不愿接受的成年人散布色情物品,禁止散布硬色情;对向自愿的成人散布软色情的无被害人犯罪采取管理措施。     

The man who envied women

Boredom is a permeating, trespassing force – an intensity not necessarily recognized as such. This essay approaches the aesthetics of political failure, and in particular, the cinematic intensities of boredom as affective expressions of post-traumatic malaise. Lou Ye’s Summer Palace (2006), one of only three Chinese narrative films to represent the 1989 Tiananmen Incident, draws upon an aesthetics of banality to dramatize the epistemological limits and resultant trauma of 6/4, a historical event subsequently repressed in mainland Chinese media. Refusing melodramatic catharsis, the film’s stalling and stupefying effects perform both the amnesiac circumstances surrounding 6/4, as well as the compassion fatigue that followed. Even more surprisingly, Lou’s overuse of sex, a dull instrument by the film’s end, constitutes Summer Palace’s privileged sight/site of boredom. Indeed, sex, rather than constituting the censored obscene act, stands in for something far more offensive. Summer Palace frenetically pivots around an open secret, the historical memory of Tiananmen, as nervous sensation is composed within and without the text, centering on women’s bodies. Drawing on close textual analyses, this essay contends that the excessive contours and shapes of the memorial wound in Summer Palace take on the particularly anxious forms of dull sex in a messy Square.