Pussy grabbing; hot mommas; topless protest; nasty women. Whether hypersexualised, desexualised, venerated or maligned, women’s bodies in public space continue to be framed as a problem. A problem that is discursively ‘solved’ by the continued proliferation of rape culture in everyday life. Indeed, despite the rise in research and public awareness about rape culture and sexism in contemporary debates, gendered violence continues to be normalised. Using case studies from the US and UK – the de/sexualised pregnancy, the troublesome naked protest, the errant BDSM player – Fanghanel interrogates how the female body is figured through, and revolts against, gendered violence. Rape culture currently thrives. This book demonstrates how it happens, the politics that are mobilised to sustain it, and how we might act to contest it.

Many people have been victims of rape, but we are all victims of what has been called a "rape culture." This topic deserves more attention towards education and prevention, and not just on the college campus. Rape culture is an idea that links rape and sexual violence to the culture of a society, and in which commonly-held beliefs, attitudes, and practices normalize, excuse, tolerate, and even condone rape. This edited collection examines rape culture in the context of the current programming-attitudes, education, and awareness. Contributors explore changing the programming in terms of educational processes, practices, and experiences associated with rape culture across diverse cultural, historical, and geographic locations. The complexity of rape culture is discussed from a variety of contexts and perspectives, as this volume contains interdisciplinary academic submissions from educators and students, as well as experiential accounts from members of various community settings who are doing work aimed at making a positive difference towards programming change.

This book analyses rape culture through the lens of the ‘me too’ era. Drawing feminist theory into conversation with peace studies and improvisation theory, it advocates for peace- building opportunities to transform culture and for the improvisatory resources of ‘culture- jamming’ as a mechanism to dismantle rape culture. The book’s key argument is that cultural attitudes and behaviours can be shifted through the introduction of disrupting narratives, so each chapter ends with a ‘culture- jammed’ re- telling of a traditional fairy tale. Chapter 1 traces an overlap of feminist theory and peace studies, arguing that rape culture is most fruitfully understood through the concept of ‘structural violence.’ Chapter 2 investigates the gender scripts that rape culture produces, considering a female counterpart to the concept of ‘toxic masculinity’: ‘complicit femininity.’ Chapter 3 offers analysis of non- consensual sex and a history of consent education, culminating in an argument that we need to move beyond consent to conceptualise a robust ‘respectful mutuality.’ Chapter 4 ’s history of sexual harassment in the workplace and the rise of #metoo argues that its global manifestations are a powerful peace- building initiative. Chapter 5 situates ‘me too’ within a culture- jamming history, using improvisation theory to show how this movement’s potential can shape cultural reconstruction. This is a provocative and interventionist addition to feminist theory scholarship and is suitable for researchers and students in women’s and gender studies, feminist theory, sociology and peace studies.

From ‘Aggressive Masculinity’ to ‘Rape Culture’ is the fifth volume in this series and explores the relationship between gender and sex roles and socialisation and education, foregrounding issues of inequity and different forms of oppression in various contexts. It tells a rich story of transformation of a field over nearly half a century, in relation to the theorisation of gender and sexuality in educational philosophy and theory. The transformation of this field is mapped on to broader social trends during the same period, enabling a better understanding of the potential role of educational philosophy and theory in developing feminist, queer, and related veins of scholarship in the future. The collection of texts focuses on a wide range of topics, including nature versus nurture and the debate over whether gender and sex roles are natural or based upon culture and socialisation, gender and sexual binaries, and how power is organised and circulates within educational spaces (including possibly online spaces) with regard to enabling or disrupting sexually oppressive or violently gendered social conditions. Other important trends include Internet activism and the use of intersectional theory, postcolonial theory, and global studies approaches. From ‘Aggressive Masculinity’ to ‘Rape Culture’ will be key reading for academics, researchers and postgraduate students in the fields of philosophy of education, philosophy, education, educational theory, post-structural theory, the policy and politics of education, and the pedagogy of education.

Winner of the 2022 Association for the Rhetoric of Science, Technology, and Medicine (ARSTM) Book Award Winner of the 2022 Winifred Bryan Horner Outstanding Book Award from the Coalition of Feminist Scholars in the History of Rhetoric and Composition What It Feels Like interrogates an underexamined reason for our failure to abolish rape in the United States: the way we communicate about it. Using affective and feminist materialist approaches to rhetorical criticism, Stephanie Larson examines how discourses about rape and sexual assault rely on strategies of containment, denying the felt experiences of victims and ultimately stalling broader claims for justice. Investigating anti-pornography debates from the 1980s, Violence Against Women Act advocacy materials, sexual assault forensic kits, public performances, and the #MeToo movement, Larson reveals how our language privileges male perspectives and, more deeply, how it is shaped by systems of power—patriarchy, white supremacy, ableism, and heteronormativity. Interrogating how these systems work to propagate masculine commitments to “science” and “hard evidence,” Larson finds that US culture holds a general mistrust of testimony by women, stereotyping it as “emotional.” But she also gives us hope for change, arguing that testimonies grounded in the bodily, material expression of violation are necessary for giving voice to victims of sexual violence and presenting, accurately, the scale of these crimes. Larson makes a case for visceral rhetorics, theorizing them as powerful forms of communication and persuasion. Demonstrating the communicative power of bodily feeling, Larson challenges the long-held commitment to detached, distant, rationalized discourses of sexual harassment and rape. Timely and poignant, the book offers a much-needed corrective to our legal and political discourses.

This book offers a comprehensive analysis of the causes and consequences of, as well as responses to, sexual violence in contemporary armed conflict. It explores the functions and effects of wartime sexual violence as part of a global political economy of violence. To understand the motivations of the men (and occasionally women) who perpetrate this violence, the book analyzes the role played by systemic and situational factors such as patriarchy and militarized masculinity in a tangled web of plunder and profit. Difficult questions of accountability are tacked; in particular, the caes of child soldiers, who often suffer a double victimization when forced to commit sexual atrocities and other crimes.

The woods were insane in the dark, terrifying and magical at the same time. But best of all were the stars, which trumpeted their light into the misty dark. Castella Cresswell and her five siblings???Hannan, Casper, Mortimer, Delvive, and Jerusalem??? know what it's like to be different. For years, their world has been confined to their ramshackle family home deep in the woods of upstate New York. They abide by the strict rule of God, whose messages come directly from their father. Slowly, Castley and her siblings start to test the boundaries of the laws that bind them. But, at school, they're still the freaks they've always been to the outside world. Marked by their plain clothing. Unexplained bruising. Utter isolation from their classmates. That is, until Castley is forced to partner with the totally irritating, totally normal George Gray, who offers her a glimpse of a life filled with freedom and choice. Castley's world rapidly expands beyond the woods she knows so well and the beliefs she once thought were the only truths. There is a future waiting for her if she can escape her father's grasp, but Castley refuses to leave her siblings behind. Just as she begins to form a plan, her father makes a chilling announcement: the Cresswells will soon return to their home in heaven. With time running out on all of their lives, Castley must expose the depth of her father's lies. The forest has buried the truth in darkness for far too long. Castley might be their last hope for salvation.

Despite the current survivor-affirming awareness around sexual violence, child sexual abuse, most notably when it’s a family member or friend, is still a very taboo topic. There are approximately 42 million child sexual abuse survivors in the U.S. and millions of bystanders who look the other way as the abuse occurs and cover for the harm-doers with no accountability. Documentary filmmaker and survivor of child sexual abuse and adult rape, Aishah Shahidah Simmons invites diasporic Black people to join her in transformative storytelling that envisions a world that ends child sexual abuse without relying on the criminal justice system. Love WITH Accountability features compelling writings by child sexual abuse survivors, advocates, and Simmons’s mother, who underscores the detrimental impact of parents/caregivers not believing their children when they disclose their sexual abuse. This collection explores disrupting the inhumane epidemic of child sexual abuse, humanely.

This volume offers a timely collection of research-based studies that engage with contemporary conditions of precarity across an array of locations, exploring how it is understood, experienced, and acted upon by educators in schools, universities, and nonformal educational spaces. Precarity presents as layered, unpredictable, destabilizing, and rapidly shifting sociopolitical and economic dynamics, shown here in various forms, including the global pandemic, divisive populist politics, displacement of refugees and the landless, race and gender injustices, and neoliberal policies that constrain educational and social possibilities. Grouped around reflection, educational practice, and social activism, the authors show how educators engage these precarious conditions as they work toward a more interconnected, humane, and just society. This text will benefit researchers, academics, and educators with an interest in social foundations of education, multicultural and social justice education, educational policy, and international and comparative education, sociology and anthropology of education, and cultural studies within education, among other fields.

An examination of women's self-defense culture and its relationship to feminism. I was once a frightened feminist. So begins Martha McCaughey's odyssey into the dynamic world of women's self- defense, a culture which transforms women involved with it and which has equally profound implications for feminist theory and activism. Unprecedented numbers of American women are learning how to knock out, maim, even kill men who assault them. Sales of mace and pepper spray have skyrocketed. Some 14 million women own handguns. From behind the scenes at gun ranges, martial arts dojos, fitness centers offering Cardio Combat, and in padded attacker courses like Model Mugging, Real Knockouts demonstrates how self-defense trains women out of the femininity that makes them easy targets for men's abuse. And yet much feminist thought, like the broader American culture, seems deeply ambivalent about women's embrace of violence, even in self-defense. Investigating the connection between feminist theory and women physically fighting back, McCaughey found self-defense culture to embody, literally, a new brand of feminism.