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From content warning to censorship
Jack Halberstam

and among student bodies and they mark sexual violence in particular as the most damaging and the most common cause of trauma among students. Both sides ignore the differences between and among students, and all fail to account for the differences that race and class make to experiences with trauma, expectations around protection, and exposure to troubling materials. For example, we could argue that immense damage is done in the classroom through the casual avoidance of certain topics rather than in the act of calling attention to others. So while representations of

in The power of vulnerability
Louise A. Jackson

indistinguishable from ‘the police point of view’ in relation to the prevention of prostitu- 184 women, sexuality and the law tion. The moral protection of the young was the central priority for women officers, shaping their strategies in the policing of both street and family. No longer the specific target of rescue and reform, women working in prostitution were still caught within the regulatory gaze of penal-welfarism in their capacity as parents and guardians. Sexual violence In 1982 a BBC television documentary about the Thames Valley Police showed male detectives

in Women police
Open Access (free)
Disrupting the critical genealogy of the Gothic
Jenny DiPlacidi

understandings of it as law instituted by society. Incest, a sexual act associated with transgression, violations of power and violence, has readily been conflated with sexual violence in Gothic scholarship and consigned to one of two gendered plots. Anne K. Mellor, for example, argues that ‘the Gothic novel written by men presents the father’s incestuous rape of his daughter as the perverse desire of the older

in Gothic incest
Rowland Wymer

reading that it is not ‘conscience’ which is ‘born of love’ but rather the person ‘who knows not conscience’. At all events, the complex tangle of love, lust, and conscience in these lines is not the most obvious prelude to the rather chaste and idealised images which follow. The sexual violence which features in many of Jarman’s films has here been subjected to a rigorous repression, although since we are talking about a

in Derek Jarman
The poetics of the Epithalamia
Yulia Ryzhik

poets’ imagery, prosody, and tone. One critic even noted Donne’s ‘Spenserian sweetness’, and his grasp of Spenser’s ‘more literary style’. 2 What is altogether missing from the many comparisons between Spenser’s poem to his bride and Donne’s ‘Epithalamion Made at Lincoln’s Inn’ – and the commentary in the Donne Variorum is a virtual list of examples – is any attention to the poets’ shared invocations of sexual violence, and, specifically, the idea of the bride as fulfilling the role of sacrificial offering. The presence of sacrifice as a

in Spenser and Donne
Alison Phipps

-­ exclusionary and anti-sex-work feminism by white feminists (including me) who consider ourselves allies of the trans and sex-working communities. ‘This is not our feminism!’, we cry. But this is not wholly true. Mainstream white feminism, which uses the corporate media and state/institutional discipline to redress ­individual injuries, cannot tackle the intersections of heteropatriarchy, racial capitalism and colonialism that produce sexual violence. At the thicker end of this wedge, reactionary feminism is complicit with the farright politics also produced by this

in Me, not you
The ruins of memory and Holocaust historiography
Tom Lawson

Rwanda is testament to that.104 And it is also increasingly clear that the presence of an ideology which denies the humanity of the ‘other’, does not protect the women of that ‘other’ from sexual violence. As Katherine Derderian has recently argued, rape was a central tool in the dehumanisation of women during the Armenian genocide.105 As such it may once again be the case that this apparent silence in Holocaust testimony tells us more about memory 296 Lawson 08_Lawson 08/09/2010 13:41 Page 297 THE RUINS OF MEMORY AND HOLOCAUST HISTORIOGRAPHY than it does about the

in Debates on the Holocaust
Thomas Heywood and Hercules
Richard Rowland

captured admirably by Turberville’s ‘Of whome there scapte not one untoucht’. It is worth noting that this allegation of Herculean sexual violence is almost entirely muted in the translation that Wye Saltonstall produced in 1637, and disappears altogether from subsequent English translations throughout the seventeenth century. 16 And it is through his depictions of the women who come into the orbit of Hercules that Heywood destabilises the play’s representation of the protagonist’s inexorable progress from heroic deeds to deification. In the middle of the play, for

in Thomas Heywood and the classical tradition
Image management in conflicts in the eastern Democratic Republic of Congo
Julia Gallagher and V. Y. Mudimbe

decision-making on the type of intervention required in the east of Congo, thereby ensuring the FDLR’s survival. This was achieved discursively by appropriating externally created ‘strategic narratives’ about human insecurity and human rights abuses, including rape and sexual violence in the east of Congo and then, through the appropriation of these narratives, by weakening the legitimacy of FDLR enemies. There is a broad consensus in academia and international policy that armed groups use public relations (PR) to present themselves as legitimate

in Images of Africa
Abstract only
Volver
Ana María Sánchez-Arce

(including problematic stereotypes) to critique the persistence of patriarchal structures in contemporary Spain and repeated intergenerational sexual violence as symptomatic of the persistence of Franco’s ideological regime well into the democratic era. In this chapter, I argue that Volver ’s comic genre and pop aesthetic disguise its serious consideration of difficult issues, much as his earlier and later comedies do. The overt comedy, much of it relating to eschatological bodily fluids and noises such as the mother’s smell and farts, performs an act of amelioration

in The cinema of Pedro Almodóvar