sexualviolence against women. 9 In 2000, the UN General Assembly adopted
a protocol to the 1979 UN Convention on the Elimination of All Forms of
Discrimination against Women (CEDAW) allowing individuals to seek
redress for breaches of the treaty and establishing an inquiry procedure
where there is ‘reliable information’ of ‘grave or
systematic violations’ of the Convention. 10 International institutions began to
White feminism as war machine
On 21 January 2017 more than 5 million women and
people of other genders took to the streets in US cities.
It was the day after President Trump’s inauguration.
His candidacy for the presidency had put sexism and
sexualviolence centre stage, prompting seventeen allegations of harassment and/or assault. These arose after
the leak of a 2005 recording in which Trump bragged
about being able to ‘do anything’ to women. ‘When
you’re a star’, he said, ‘they let you do it. You can do
anything. Grab ’em by the pussy.’
One of the
Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.
interests of women have been accorded comparatively serious attention.
The following sections outline the ways this has been manifested.
Women’s participation in the
In reacting to the allegations of
sexualviolence against women and appointing staff to the international
criminal Tribunals, a greater degree of understanding of the need for
Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.
Victorian medical men could suffer numerous setbacks on their individual paths to professionalisation, and Thomas Elkanah Hoyle's career offers a telling exemplar. This book addresses a range of the financial, professional, and personal challenges that faced and sometimes defeated the aspiring medical men of England and Wales. Spanning the decades 1780-1890, from the publication of the first medical directory to the second Medical Registration Act, it considers their careers in England and Wales, and in the Indian Medical Service. The book questions the existing picture of broad and rising medical prosperity across the nineteenth century to consider the men who did not keep up with professionalising trends. Financial difficulty was widespread in medical practice, and while there are only a few who underwent bankruptcy or insolvency identified among medical suicides, the fear of financial failure could prove a powerful motive for self-destruction. The book unpicks the life stories of men such as Henry Edwards, who could not sustain a professional persona of disinterested expertise. In doing so it uncovers the trials of the medical marketplace and the pressures of medical masculinity. The book also considers charges against practitioners that entailed their neglect, incompetence or questionable practice which occasioned a threat to patients' lives. The occurrence and reporting of violent crime by medical men, specifically serious sexual assault and murder is also discussed. A tiny proportion of medical practitioners also experienced life as a patient in an asylum.
Bordering intimacy is a study of how borders and dominant forms of intimacy, such as family, are central to the governance of postcolonial states such as Britain. The book explores the connected history between contemporary border regimes and the policing of family with the role of borders under European and British empires. Building upon postcolonial, decolonial and black feminist theory, the investigation centres on how colonial bordering is remade in contemporary Britain through appeals to protect, sustain and make family life. Not only was family central to the making of colonial racism but claims to family continue to remake, shore up but also hide the organisation of racialised violence in liberal states. Drawing on historical investigations, the book investigates the continuity of colonial rule in numerous areas of contemporary government – family visa regimes, the policing of sham marriages, counterterror strategies, deprivation of citizenship, policing tactics, integration policy. In doing this, the book re-theorises how we think of the connection between liberal government, race, family, borders and empire. In using Britain as a case, this opens up further insights into the international/global circulations of liberal empire and its relationship to violence.
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
and sexploitation reflecting the
country’s ‘sex-positive’ standpoint. Combinations of these determinants feature across Swedish crime fiction, also gaining ground,
as we have discovered, from the 1960s onwards. Two recurrent
strands of interest emerge, on occasion troublingly intertwined:
homosexuality and sexualviolence.
A tolerant form?
Coming from under the banner of Sweden’s tolerant society,
crime fiction displays a complicated dynamic in terms of homosexuality. In implicit and explicit ways, the crime narratives
often suggest links between deviant criminal
: A Memoir of Cancer and Connection. The book
recalls Ensler’s struggle with liver cancer, explores her experience of
being sexually molested by her father and her attempts to build the
City of Joy, a healing space for women survivors of sexualviolence
in the Democratic Republic of the Congo (Ensler 2013a).1 The memoir presents two parallel and interlinked narratives: Ensler’s search for
a healing space for herself following her detachment from her body
throughout her life; and her engagement with structural violence
against women in the Democratic Republic of the Congo