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precariat (Standing 2014 ). The term ‘precarity’ is commonly used to denote instability, low wages, lack of security and thwarted possibilities of advancement, all related to adverse modes of employment, such as zero hours, part-time and flexible contracts. More generally, as feminist scholars such as Isabell Lorey and Judith Butler argue, precariousness is a fundamental condition of vulnerability, lack of protection, exposure to risks and violence, inherent not to any specific class of workers, but to whole populations, such as sans-papiers or women exposed to sexual
cultural norms relating to the hierarchal status of humans and nonhumans. Interestingly, there are strong analogies between the use of nonhuman beings in modern-day practices (such as factory farming and animal experimentation) and the position of women in contemporary crime fiction who are repeatedly ‘bound, gagged, strung up or tied down, raped, sliced, burned, blinded, beaten, staved, suffocated, stabbed, boiled or buried alive’ (Mann 2009 : n.p.). The imagery of butchering is often used to describe acts of sexual violence against women
producer Harvey Weinstein’s sexual crimes broke, this judgement typifies so much of what is wrong with legal redressal of sexual violence. In 2018, Indian journalism was forced to publicly confront what industry insiders had known, and experienced, for decades. Numerous female journalists – mostly urban and belonging to English-language media – recounted on social media their experiences of harassment and predatory behaviour in interactions with their colleagues. While some of them went on to file legal cases, most
: As much as this project is driven by women’s fear of sexual violence in both public and private spaces, this work is also a celebration of resistance. It seeks to capture both the women’s pain and trauma, but also their immense strength in the face of the sexual violence epidemic that continues to grip South Africa. Msebenzi’s photographs refuse victimhood to seek out quiet, meditative and creative ways of living while acknowledging the precarity of Black life
seem to indicate a range of unresolved traumas relating to wartime events and post-war cultural transformation that themselves function as a means of concealing, though not healing, the wounds of the past. For a culture notionally driven by Wa, or awareness of the necessity of harmony between all elements of society, Japanese popular culture continues to be strikingly saturated with images of sexual violence whereby, as Ian Buruma has outlined at length: photographs of nude women trussed up in ropes appear regularly in mass circulation newspapers; torture scenes are
.’ As Albert Camus once said, ‘Nobody realizes that some people expend tremendous energy merely to be normal’; the main characters in Sally Rooney’s novel are the embodiment of Camus’s insight into the human condition. Damage and integrity The language of ‘damage’ is appropriate. One of the most important works in philosophy on sexual violence is by Susan Brison, a survivor. In her outstanding book Aftermath: Violence and the Remaking of a Self , she analyses the impact on her conception of her ‘self’ of surviving a nearly fatal attempted sexual murder. 6 Brison
strongly argued, particularly in respect of crimes of sexual violence, that the phrase ‘associated with an … armed conflict’ in the Elements of Crimes (EOC) should be read widely enough to include crimes committed in the aftermath of war or taking advantage of the situation of war. 16 This approach was taken in the Kunarać case, where the Trial Chamber stated that ‘Muslim civilians were killed, raped or otherwise abused as a direct result of the armed conflict and because the armed conflict apparently offered blanket impunity to the perpetrators’. 17 It further held
and cities are periodically shut down; open drains fester in the capital; and the supply of goods (from grains to medical supplies) to local markets remains a gamble. Caught between the insurgents and the Indian Army, young Manipuri men live under the constant threat of interrogation, even death, while women are subject to daily sexual violence. It is this slow violence of depletion that Sharmila has turned into political theatre, the proverbial invasion of the feeding tube making visible the thanatopolitics of the state. Her iconic image of eviscerating corporeal
reclaim the textual property of women writers and ownership over a literary tradition. 58 It is, indeed, impossible to overlook so central a focus of Radcliffe’s texts, particularly when the themes of property are intriguingly united with threats of incestuous sexual violence, which we have already seen in play in Parsons’s work. E. J. Clery states that Radcliffe, ‘by regularly endowing her female
and murder, where the latter includes all cases of suspected intentional, malicious killing rather than instances of incompetent treatment.1 It argues that physical injury inflicted by medical men was likely to be penalised lightly by Victorian courts and exonerated by their peers unless, or until, the apparent evidence of gross wrong-doing became so blatant that wholesale condemnation was unavoidable. As the chapter demonstrates, this was never decisively the case in relation to sexual violence, but could apply in relation to murder or suspected murder. In some of