A Newsletter from Rape Crisis Scotland Issue 12 - Spring 2014
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MC17-34 Pornography Working Group
MC/17/34 Notice of Motion 215: Responding to the realities and challenges of pornography Contact Name and Dr Richard Vautrey, Chair of the Working Group, c/o Methodist Church House Details Resolutions The resolutions are presented at the end of the report Summary of Content Subject and Aims To explore the realities and challenges of pornography and enable different age groups to understand these through resourcing informed and reflective conversations on these issues Main Points This report responds to a call from 3Generate 2014 which challenged the Methodist Church in Britain to help people of all ages, not just young people or youth workers, to discuss the realities and challenges of pornography. It highlights the complexity of defining and agreeing what is pornography and explores some of the challenges raised by a rapidly changing agenda, in part driven by the development of digital technology. It includes reference to publicly available research evidence and in particular seeks to hear the voices of children and young people. It reviews recent responses taken by policy makers and the wider church and does some initial theological exploration. The report identifies resources that can be used safely by individuals and groups and also makes recommendations for the development of further resources that could be used to support reflective conversations throughout the Church on this subject. The report concludes with a call on government to improve sex and relationship education and to make this mandatory in the school curriculum. The report is not a position statement for the Methodist Church and only seeks to offer a limited exploration of the issues involved which may form the basis for the development of more focused or detailed resources in the future which could be used in local churches or other appropriate settings. -
Criminalization Downloads Evil: Reexamining the Approach to Electronic Possession When Child Pornography Goes International
\\jciprod01\productn\B\BIN\34-2\BIN203.txt unknown Seq: 1 2-JUN-16 14:19 CRIMINALIZATION DOWNLOADS EVIL: REEXAMINING THE APPROACH TO ELECTRONIC POSSESSION WHEN CHILD PORNOGRAPHY GOES INTERNATIONAL Asaf Harduf* INTRODUCTION ................................................... 280 R I. THE LADDER OF CRIMINALIZATION ....................... 281 R A. The Matter of Criminalization ......................... 282 R B. The Rungs of the Ladder of Criminalization ........... 284 R 1. First Rung: Identifying the Conduct, Causation, and Harm ......................................... 285 R 2. Second Rung: Examining the Ability to Achieve Goals ............................................. 286 R 3. Third Rung: Examining Alternatives to Criminalization .................................... 287 R 4. Fourth Rung: Assessing the Social Costs of Solutions and Striking a Balance .................. 288 R C. Towards an Analysis of Child Pornography Possession ............................................. 288 R II. APPLICATION TO THE ELECTRONIC POSSESSION OF CHILD PORNOGRAPHY ............................................ 289 R A. First Rung: The Offensive Conduct of Electronic Possession ............................................. 292 R 1. Conduct of Electronic Possession .................. 292 R 2. Harms to Children ................................ 294 R 3. Causation: Four Possible Links .................... 295 R 4. Offensiveness: Summation ......................... 302 R B. Second Rung: Criminal Law’s Ability to Reduce Harm to Children ........................................... -
How to Organise a Reclaim the Night March
How to organise a Reclaim the Night march First of all, it’s good to point out what Reclaim the Night (RTN) is. It’s traditionally a women’s march to reclaim the streets after dark, a show of resistance and strength against sexual harassment and assault. It is to make the point that women do not have the right to use public space alone, or with female friends, especially at night, without being seen as ‘fair game’ for harassment and the threat or reality of sexual violence. We should not need chaperones (though that whole Mr Darcy scene is arguably a bit cool, as is Victorian clothing, but not the values). We should not need to have a man with us at all times to protect us from other men. This is also the reason why the marches are traditionally women-only; having men there dilutes our visi- ble point. Our message has much more symbolism if we are women together. How many marches do you see through your town centre that are made up of just women? Exactly. So do think before ruling out your biggest unique selling point. Anyway, the RTN marches first started in several cities in Britain in November 1977, when the Women’s Liberation Movement (WLM) was last at its height, a period called the Second Wave. The idea for the marches was copied from co-ordinated midnight marches across West German cities earlier that same year in April 1977. The marches came to stand for women’s protest against all forms of male violence against women, but particularly sexual vio- lence. -
'Just the Women'*
‘Just the Women’* An evaluation of eleven British national newspapers’ portrayal of women over a two week period in September 2012, including recommendations on press regulation reform in order to reduce harm to, and discrimination against, women A joint report by: Eaves End Violence Against Women Coalition Equality Now OBJECT November 2012 * ‘just the women’ is what Newsnight editor Peter Rippon reportedly wrote in an email to a colleague concerning the lack of other authorities for evidence of Jimmy Savile’s abuse 1 Contents: Introduction and Executive Summary 3 ‘Now that’s an invasion of her privates’: Rape culture and the reporting of violence against women and girls 9 ‘Brit tot parade!’: The reporting of abuse of girls, and the sexualisation of girls in newspapers 15 ‘Irina is a booty’: The objectification and sexualisation of women and the mainstreaming of the sex industries in newspapers 20 ‘Babes, retro babes, celeb babes, sports babes, hot celeb babe pics’: Disappearing, stereotyping and humiliating women 26 Conclusions and Recommendations 31 2 INTRODUCTION The Leveson Inquiry was announced in July 2011 after months of allegations and revelations about press conduct. Although perhaps focused on phone hacking and relationships between the media, the police and politicians, the Inquiry’s actual terms of reference are broad1. They include: “To inquire into the culture, practices, and ethics of the press…: “To make recommendations: “For a new more effective policy and regulatory regime which supports the integrity and freedom of -
The Woman and the Gladiator on Television in the Twenty-First Century
NEW VOICES IN CLASSICAL RECEPTION STUDIES Conference Proceedings Volume Two REDIRECTING THE GAZE: THE WOMAN AND THE GLADIATOR ON TELEVISION IN THE TWENTY-FIRST CENTURY © Fiona Hobden, University of Liverpool and Amanda Potter, Open University INTRODUCTION Every woman loves a gladiator. This common knowledge underpins the first-century CE Roman poet Juvenal’s satirical portrait of Eppia, the runaway senator’s wife who abandoned her husband and family because she loved the ‘steel blade’, and whose life story should persuade Postumus away from the insanity of marriage, lest he find himself raising a gladiator’s son (Satire 6.80-113).1 And its broader truth is suggested in a boast made in graffiti at Pompeii that ‘Cresces the net-fighter is doctor to the night-time girls, the day-time girls, and all the others’ (CIL IV.4353).2 While there may be elements of fantasy in both proclamations, the satirist and seducer both trade on the allure of the gladiator to susceptible women. Sexual desire arises, moreover, in moments of viewing. Thus, for Ovid’s predatory lover, the games, where women ‘come to see and to themselves be seen’, offer a prime occasion to pursue an erotic advantage, as ‘Venus’s boy’ fights upon the forum sands (Ars Amatoria 1.97-9, 163-70). And it was the passing glimpse of a gladiator that led Faustina to conceive a passion that allegedly resulted in the birth of her gladiator-emperor son, Commodus (Historia Augusta, ‘Life of Marcus Aurelius’ 19.1-2). In the Roman imagination, visual encounters spark female desire; sexual encounters follow. -
Representations of Contemporary Feminist Protest in Germany and the UK Phd in German Department of Modern Languages and European Studies
Representations of Contemporary Feminist Protest in Germany and the UK PhD in German Department of Modern Languages and European Studies Sophie Payne 2018 Representations of Contemporary Feminist Protest I confirm that this is my own work and the use of all material from other sources has been properly and fully acknowledged. Sophie Payne i Representations of Contemporary Feminist Protest Abstract This thesis is situated within the increasing visibility of feminism in the public sphere in Germany and the UK. Case studies of three contemporary feminist groups, representing two forms of protest, comprise this study: FEMEN, an exclusive group who perform topless public protests across Europe; #aufschrei, an online anti-sexism campaign in Germany; and the Everyday Sexism Project, another online anti-sexism campaign in the UK which was a precursor to #aufschrei. I have selected texts from three different locations from the year 2013: self-representation online, including FEMEN’s reporting on their protests and the stories of sexism shared on the hashtag feminist groups’ websites; mainstream news media representation via online articles from four major newspapers per country, with a range of left and right-leaning and tabloid and broadsheet newspapers; and the discussion forum comments from these online news articles, which provide a view into more ‘general public’ discourse. The aim of this study is not to provide a comparison across countries or media types, but to explore the ways that feminist protest is represented in different locations: how is it constructed and legitimated by the groups themselves? How is it negotiated, supported or rejected in the news media and discussion forum comments? I work with a theoretical framework provided by Discourse Theory and linguistic analytical tools from CDA, namely, social actor theory and contextually constructed opposition. -
Radical Feminism: Feminist Activism in Movement
Radical Feminism This page intentionally left blank Radical Feminism Feminist Activism in Movement Finn Mackay University of the West of England, UK © Finn Mackay 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–36357–2 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. -
Let's Get Real About Page 3 Coverup – the Sun Still Treats Women As Sex
07/07/2016 Let's get real about Page 3 coverup – The Sun still treats women as sex objects Let’s get real about Page 3 coverup – The Sun still treats women as sex objects January 20, 2015 11.25am GMT Karen Boyle Chair in Feminist Media Studies, University of Stirling The Conversation’s partners The Conversation UK receives funding from Hefce, Hefcw, SAGE, SFC, RCUK, The Nuffield Foundation, The Ogden Trust, The Royal Society, The Wellcome Trust, Esmée Fairbairn Foundation and The Alliance for Useful Evidence, as well as sixty five university members. View the full list Feminism has won the battle, but certainly not the war. Clive Gee/PA So finally The Sun has dropped the Page 3 topless model. In the absence of any announcement from the paper, it was a Marks & Spencer’s bra which heralded the new era on Monday January 19, covering up the bare breasts that have appeared in the UK’s largestselling newspaper for the last 44 years. Later, in what was the first statement from the redtop tabloid, an unnamed spokesman was quoted in The Times on Tuesday in typically irreverent mode: “Page 3 of The Sun is where it’s always been, between pages 2 and 4, and you can find Lucy from Warwick at page3.com.” This might have sounded more like a twintrack marketing strategy than a feminist victory, but it is easy to be too cynical here. The No More Page 3 campaign has galvanised considerable popular debate about key issues which have concerned feminist media critics for decades – among them: objectification, news values, trivialisation of violence against women and sexual harassment in public spaces. -
Complicity in Contemporary Feminist Discourse Giuliana Monteverde
Complicity in Contemporary Feminist Discourse Giuliana Monteverde BA (Hons) English Literature with Spanish, Faculty of Arts, Ulster University MRes, Complicity in Contemporary Feminist Discourse, Faculty of Arts, Ulster University Faculty of Arts, Ulster University Thesis submitted for the degree of Doctor of Philosophy April 2018 I confirm that the word count of this thesis is less than 100,000 words excluding the title page, contents acknowledgements, summary or abstract, abbreviations, footnotes, diagrams, maps, illustrations, tables, appendices, and references or bibliography. Contents Acknowledgements i Abstract ii Declaration iii Images iv INTRODUCTION: ‘Shut up! Shut up! Shut up!’ 1 0.1 Complicit with what? 3 0.2 Exploring Complicity: Literature Review 10 0.3 The Personal is Political: Complicity in the Women’s Liberation Movement 14 0.4 Moving away from a Complicit Feminist Subject: Research Trajectory 17 0.5 Defining Feminisms, Grappling with Power: Theoretical Framework 22 0.6 Methodological Flights of Fancy, and Case-Studies as Dramatization 30 0.7 What’s New? Original Contribution 38 0.8 Chapter Breakdown 40 CHAPTER 1: ‘Is woman smart to do sex work? Can college student prostitute? Is hooker businessperson?’: Navigating Feminist Histories and Contemporary Culture 42 1.1 ‘All men keep all women in a state of fear’: Previous Feminisms, Essentialism, and Complicity 42 1.2 ‘Women are Strong’/‘No To Feminism’: Contemporary Feminisms, Postfeminist Neoliberalism, and Complicity 51 1.3 ‘We must all make a conscious break with the -
Image, Text, Therapy and Vengeance in Art by Women
“I'm No Cactus Expert, But I Know A Prick When I See One” -Image, Text, Therapy and Vengeance in Art by Women Toni-Marie Harrold A thesis submitted for the degree of MA by Dissertation in Art and Design Department of Art and Design Writtle School of Design, Writtle College University of Essex Date of Submission: July 2016 2 Contents Page Contents……………………………………………………………………2 Illustrations…………………………………………….………………...3 Abstract……………………………………………………………………6 Overview………………………………………………………………….6 Women Artists, Text and Image………………...……………….8 Art as Therapy………………………………………...……………….25 Art as Vengeance………………………………………..……………25 Background, Intentions, Influences………………..…………31 Presentation of Work………………………………………..……..37 Responses: Both Negative and Positive……………………..40 Conclusion:…………………………………………………………..….44 References……………………………………………………..………..46 3 Illustrations Figure 1. This Isn’t About You, Toni-Marie Harrold, 2015, https://www.flickr.com/photos/67921617@N04/27035718565/in/album- 72157668127578552/……………………………………………………………..………………….…..…..7 Figure 2. This Isn’t About You, Toni-Marie Harrold, 2015 https://www.flickr.com/photos/67921617@N04/26941383172/in/album- 72157668127578552/………………………………………………..………………………………….….7 Figure 3. This Isn’t About You, Toni-Marie Harrold, 2015 https://www.flickr.com/photos/67921617@N04/26941383172/in/album- 72157668127578552/……………………………………………………………………………..…..…….8 Figure 4. Abuse Of Power Comes As No Surprise, Selection from Truism, Jenny Holzer, 1982, Times Square New York http://www.dvdtalk.com/reviews/50909/about-jenny- holzer/…………………………………...…………………………………………………………………….……10 Figure 5. Suite Venitienne, selection of photographs from Suite Venitienne, Sophie Calle, 1981, http://jacindarussellart.blogspot.co.uk/2011/07/sophie-calles-suite- venitienne.html…….……………………………………………………..…………………………………..…12 Figure 6. Sarah, 24, from Sussex, The Protest of The Sun's Page Three 40th Anniversary, Sarah Maple, 2009, http://mookychick-online.tumblr.com/post/61030413894/artist- sarah-maple-takes-on-the-suns-page-3-by ……………………………………………..……..……15 Figure 7. -
Download Marques Amended Criminal Complaint
91 (Rev. 11/l l) Criminal Complaint UNITED STATES DISTRICT COURT for the District of Maryland United States of America ) v. ) ) Case No. ) 13-1789 JKS =--=------.J.Jll.FJ) ENTERED ) LODGED ---RECEIVED ERIC EOIN MARQUES ) ) Defendant(s) AUG O 8 2013 AMENDED CRIMINAL COMPLAINT r I, the complainant in this case, state that the following is true to the best of my knowledge and belief. On or about the date(s) of July 24, 2008 through July 29, 2013 in the county of Prince George's . in the Southern District of ______M--a_,_ry--la __ n--d ___ , the defendant(s) violated: Code Section Offense Description 18 U.S.C. §§ 2251(d)(1), (e) Conspiracy to Advertise Child Pornography 18 U.S.C. §§ 2252A(a)(2), (b )(1) Conspiracy to Distribute Child Pornography 18 U.S.C. §§ 2, 2251(d)(1) Advertising Child Pornography <"! . } - I hereby attest and certify on !i / 1: t3 18 U.S.C. §§ 2, 2252A(a)(2) Distribution of Child Porno9raphy that the foregoing document is a full, true and correct copy of the originai on file in my office and in my legal custody. This criminal complaint is based on these facts: FELICIA C. CANNON . CLERK, U.S.-DISTRICT COURT " '. · See attached affidavit. (~) {t . DISTR[T OF ~ARYLAN_D By )a.Jµ.1,,[,_.J CJ...0 .liUx/ ( -Deputy · ~ Continued on the attached sheet. SA Shanna G. Daniels, FBI Printed name and title Sworn to before me and signed in my presence. Date: ___0_8!_0_8!_2_01_3 __ ~_.e.:,. ~ e. '<-- Judge 's signature \ City and state: Greenbelt, Maryland William Connelly, United States Magistrate Judge PrinY.ed nqme and title IN SUPPORT OF AMENDED COMPLAINT I, Shanna G. -
The Femme Fatale and the Female
STRIPPERS, LESBIANS AND WITCHES: THE FEMME FATALE AND THE FEMALE GAZE IN FEMINIST CINEMA A historical film analysis of the femme fatale archetype in The Working Girls (1974), Bound (1996) and The Love Witch (2016) Word count: 33,609 Ophelia Van Wijmeersch Student number: 01607848 Supervisor: Prof. Dr. Margo De Koster A master’s dissertation submitted to Ghent University in partial fulfillment of the requirements for the degree of Master of Arts in History. Academic year: 2019 – 2020 Copyright Statement (EN) The author and the supervisor(s) grant permission to make this study as a whole available for consultation for personal use. Any other use is subject to copyright restrictions, in particular with regard to the obligation to explicitly mention the source when quoting data from this study. (NL) De auteur en de promotor(en) geven de toelating deze studie als geheel voor consultatie beschikbaar te stellen voor persoonlijk gebruik. Elk ander gebruik valt onder de beperkingen van het auteursrecht, in het bijzonder met betrekking tot de verplichting de bron uitdrukkelijk te vermelden bij het aanhalen van gegevens uit deze studie. II Acknowledgments I would like to express my deepest gratitude to my wonderful family for being my best friends in the whole world and for their endless support throughout these intense years of university studies. To my parents, Cathy and Stany: thank you for sparking my passion for film and history. To my brother, Sebastian: thank you for all your wise words, patience and motivational talks. I want to thank Grim Junes for watching tons of films with me.