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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
Annalisa Oboe and Elisa Bordin

patriarchal family reproduced in the workings of society, in this case inside the military structure that rules in times of war, where the perpetrator/victim binary affects relationships both inside the army and between the army and the civilians. Sexual violence is seen as an integral part of becoming a soldier, and My Luck operates under the control of a perverse black male adult figure of military authority who inducts him into it. However, the text takes an important stand against sexual assault and the equation of masculinity

in Chris Abani
Swooning in late medieval literature
Naomi Booth

] Whi she forshapen was […] How Tereus gan forth hire suster take. (II.63–73) It is with the myth of Procne and Philomela, the Greek tale of rape, revenge and metamorphosis, that Pandarus is roused from his sleep and reminded of his task to seduce Criseyde. This is an unsettling reminder of mythologies of sexual violence at the very start of Troilus and Criseyde's courtship, and it echoes darkly through the narrative. Later, when Troilus discovers that

in Swoon
Annalisa Oboe and Elisa Bordin

named Conrad, a reminiscence of Joseph Conrad’s Heart of Darkness (1899) and a literary homage that implicitly continues the denunciation of the never-ending exploitation of Africa. The violation of the integrity of the body, which reaches its peak in the human trafficking episode, is presented in the novel also in other forms. His prostitution as a taxi-driver is a mild form of bodily exploitation in comparison to the various episodes of sexual violence present in the book, such as the diverse occurrences of rape or

in Chris Abani
Abstract only
The first wife’s response
Caitlin Flynn

is applied to her speech, it clarifies the conflation of these multiple subjectivities. The fanciful assertions of a world in which women could move independently through social spaces and relationships is cast in an initially jocular and comic light. Yet the feminine reality of sexual violence and unhappiness in marriage comes to the forefront during the flyting, which begins at line 89. Using flyting as the foil to her dreamworld, as a form conducive to presenting a monstrous marital reality, the speech grotesquely

in The narrative grotesque in medieval Scottish poetry
Annalisa Oboe and Elisa Bordin

character of Abigail’. 14 Tunca mentions such devices as ‘linguistic deviations used to convey the full horror of sexual violence; minor sentences and oppositional constructions designed to reveal the restorative force of bodily rituals; deviant similes employed to suggest the unreality of the imagined memories that shape our existence; rhythmic patterns expressive of a paradoxical desire to be yet not to be; or repetitions aimed at conjuring the heroine into being’. 15 It is because of these stylistic traits, registering the

in Chris Abani
Abstract only
Heroism, masculinity and violence in Vietnam War narratives
Angela K. Smith

an examination of a range of textual representations of Vietnam: novels and memoirs by both men and women from both the West and the East. How do these narratives differ from those representing other wars? Does Vietnam bring to a climax the crises of masculinity first identified in the trenches of the Western Front? To what extent does the honesty about violence, and in particular sexual violence, influence the way that we

in Gender and warfare in the twentieth century
Remembering and forgetting
Yvette Hutchison

severe ill-treatment” or inciting thereto’ (ibid., vol. 1: 29, also Ross, 2003: 17–26), which defined ill-treatment in physical, body-bound terms, as opposed to exploring the psychological aspects. These terms also failed to take into account cultural taboos related to sexual violence, and the a priori definition of women’s roles in terms of the domestic sphere. Once again, it is important to acknowledge that the a priori conceptualisation of the Commission defined what memories would be included and excluded from this important public engagement with South Africa

in South African performance and archives of memory
Tim Woods

represented as palimpsests of the history of masculine sexual violence: ‘They are books, enormous quantities of books, in which are inscribed the monstrous crimes of man’s inhumanity to mankind’ ( The Sun : 15–16). In this mixed state of physical disgust and nostalgic yearning, Ateba desires a new world, a woman’s world, free of the corrupting masculine hand. Although censored by social pressures, Ateba

in African pasts
Katariina Kyrölä

explicitly depicting sexual violence, mental illness, or sexist, racist, ableist, cis-​sexist or heterosexist subordination. These warnings have unsurprisingly elicited heated debate in academic circles:  debate pieces appear on a regular basis in scholarly journals and blogs, such as Inside Higher Ed; the feminist journal Signs has assembled a digital archive of resources1 on trigger warnings; and the first book-​length collection of essays about them, Trigger Warnings: History, Theory, Context, appeared in 2017 (Knox, 2017). The online magazine Slate declared year 2013

in The power of vulnerability