Les femmes qui agressent sexuellement en compagnie de leur conjoint : trajectoire de vie et passage à l’acte

Si au cours des dernières décennies les connaissances relatives aux délinquantes sexuelles se sont accrues, celles relatives aux co-délinquantes sont encore rares, alors que ces femmes représentent une part importante du total des délinquantes sexuelles. Le but de la présente étude était de mettre en lumière les trajectoires de vie des femmes qui agressent en compagnie de leur conjoint et de dresser un modèle descriptif du processus de leur passage à l’acte. Sur la base de 17 entretiens non directifs avec des femmes incarcérées en France pour des faits de co-délinquance sexuelle, notre recherche suggère que les co-délinquantes présentent majoritairement un historique de vie abusif et des difficultés émotionnelles, relationnelles, économiques et éducatives importantes. Ces facteurs de vulnérabilité ont été acquis au cours de leur enfance et par leurs expériences sentimentales négatives et abusives. Un modèle descriptif de leur passage à l’acte en trois phases a été établi. Il est apparu que la délinquance sexuelle des co-délinquantes se modifiait au fil des agressions, tant dans leur implication dans les abus qu’au niveau de leur coercition. Les données ont aussi révélé un nombre non négligeable de femmes qui agressent ensuite par elles-mêmes. Ces constatations nous ont amenés à une classification en trois catégories des femmes qui agressent sexuellement : les femmes asservies, les femmes impliquées et les femmes diversifiées.

A descriptive model of the offense process for female sexual offenders

Although considerable efforts have been made to develop and validate etiological models of male sexual offending, no theory is available to guide research or practice with female sexual offenders (FSOs). In this study, the authors developed a descriptive, offense process model of female sexual offending. Systematic qualitative analyses (i.e., grounded theory) of 22 FSOs' offense interviews were used to develop a temporal model documenting the contributory roles of cognitive, behavioral, affective, and contextual factors in female sexual abuse. The model highlights notable similarities and divergences between male and female sexual offenders' vulnerability factors and offense styles. In particular, the model incorporates male co-offender and group co-offender influences and describes how these interact with vulnerability factors to generate female sexual offending. The gender-specific research and clinical implications of the model are discussed.

“The Ministry of Obligation warns”: it is necessary to protect the sexual offender adolescents

This text deals with a part of the research-action “Multifamiliar groups with sexual offender adolescents” and emphasizes the written production of the adolescents during the process. two texts were involved: the first one was a letter addressed to the parents and the second was an evaluation of the multifamiliar group. Seven adolescents between 14 and 17 years old wrote the texts. About the first text we discussed: the adolescent as responsible for the domestic work; the adolescent and his need to receive support and protection and the adolescent and the recognition of his growth phase. about the second text: the feelings of the adolescent regarding sexual abuse; the relation with the institution that carries out the intervention; the symbols that identify his ambivalence. We comment about the sexual abuse practiced by these adolescents as from two main points: the adolescence seen as a development phase and the role played by the family in the conduction of this phase.

Co-creative media : theorising digital storytelling as a platform for researching and developing participatory culture

This paper considers the question, ‘what is co-creative media, and why is it a useful idea in social media research’? The term ‘co-creative media’ is now used by Creative Industries researchers at QUT to describe their digital storytelling practices. Digital storytelling is a set of collaborative digital media production techniques that have been used to facilitate social participation in numerous Australian and international contexts. Digital storytelling has been adapted by Creative Industries researchers at QUT as a platform for researching the potential of vernacular creativity in a variety of contexts, including social inclusion of marginalized and disadvantaged groups; inclusion in public histories of narratives that might be overlooked; and articulation of voices that otherwise remain silent in the formulation of social and economic development strategies. The adaption of digital storytelling to different contexts has been shaped by the reflexive, recursive, and pragmatic requirements of action research. Amongst other things, this activity draws attention to the agency of researchers in facilitating these kinds of participatory media processes and outcomes. This discussion serves to problematise concepts of participatory media by introducing the term ‘co-creative media’ and differentiating these from other social media production practices.

Co-creating games: A co-evolutionary analysis

ABSTRACT. The phenomenon of consumer co-creation is often framed in terms of whether either economic market forces or socio-cultural non-market forces ultimately dominate. We propose an alternate model of consumer co-creation in terms of co-evolution between markets and non-markets. Our model is based on a recent ethnographic study of a massively multiplayer online game through its development, release and ultimate failure, and cast in terms of two explanatory models: multiple games and social network markets. We conclude that consumer co-creation is indeed complex, but in ways that relate to both emergent market expectations and the evolution of markets, not to the transcendence of markets.

Co-creative expertise : Auran Games and Fury - a case study

This article discusses the ways in which the relations among professional and non-professional participants in co-creative relations are being reconfigured as part of the shift from a closed industrial paradigm of expertise toward open and distributed expertise networks. This article draws on ethnographic consultancy research undertaken throughout 2007 with Auran Games, a Brisbane, Australia based games developer, to explore the co-creative relationships between professional developers and gamers. This research followed and informed Auran’s online community management and social networking strategies for Fury (http://unleashthefury.com), a massively multiplayer online game released in October 2007. This paper argues that these co-creative forms of expertise involve co-ordinating expertises through social-network markets.

Co-constructed interaction in a paired speaking test : the rater's perspective

The definition and operationalisation of interactional competence in speaking tests that entail co-construction of discourse is an area of language testing requiring further research. This article explores the reactions of four trained raters to paired candidates who oriented to asymmetric patterns of interaction in a discussion task. Through an analysis of candidate discourse combined with rater notes, stimulated verbal recalls, rater discussions and scores awarded for interactional effectiveness, the article examines the extent to which raters compensate or penalise candidates for their role in co-constructing asymmetric interactional patterns. The article argues that key features of the interaction are perceived by the raters as mutual achievements, and it further suggests that the awarding of shared scores for interactional competence is one way of acknowledging the inherently co-constructed nature of interaction in a paired speaking test.

In the mouth of the imagination : positioning children as co-researchers and co-artists to create a professional children's theatre production

In recent decades a number of Australian artists and teacher/artists have given serious attention to the creation of performance forms and performance engagement models that respect children’s intelligence, engage with themes of relevance, avoid the cliche´s of children’s theatre whilst connecting both sincerely and playfully with current understandings of the way in which young children develop and engage with the world. Historically a majority of performing arts companies touring Australian schools or companies seeking schools to view a performance in a dedicated performance venue engage with their audiences in what can be called a ‘drop-in drop-out’ model. A six-month practice-led research project (The Tashi Project) which challenged the tenets of the ‘drop-in drop-out’ model has been recently undertaken by Sandra Gattenhof and Mark Radvan in conjunction with early childhood students from three Brisbane primary school classrooms who were positioned as co-researchers and co-artists. The children, researchers and performers worked in a complimentary relationship in both the artistic process and the development of product.

Non-adversarial advocates and gatekeepers : lawyers, FDR practitioners and co-operative post-separation parenting

The compulsory dispute resolution requirements in family law parenting cases create new roles and obligations for both lawyers and family dispute resolution (FDR) practitioners. This article will discuss how the legislative provisions impact on both sets of professionals in practice. It will also highlight the increased non-adversarial role of lawyers and a new role for FDR practitioners as “gatekeepers” to family courts in cases requiring FDR certificates.