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Violence against women in plays bywomen has earned little mention. This revolutionary collection fills that gap, focusing on plays by American women dramatists, written in the last thirty years, that deal with different forms of gender violence. Each author discusses specific manifestations of violence in carefully selected plays: psychological, familial, war-time, and social injustice. This book encompasses the theatrical devices used to represent violence on the stage in an age of virtual, immediate reality as much as the problematics of gender violence in modern society.
What do the Catholic Church, college sports, Hollywood, prisons, the military, fraternities and politics have in common? All have extraordinarily high rates of sexual and intimate partner violence, and child sexual abuse. Sexual and intimate partner violence is part of the landscape that women and children live with. Women and children are subjected to high levels of sexual and intimate partner violence and in the era of #metoo, Gender, Power and Violence provides a nuanced analysis of the ways in which the organizational structure of an institution, like a college campus or Hollywood, can create an environment ripe for sexual and intimate partner violence and even child sexual abuse. Gender, Power, and Violence looks at the problem of sexual and intimate partner violence through cases, observing the role that institutions play in perpetuating gender based violence, and provide a better understanding about the ways in which institutional structures shape, or have mishandled, gender based violence. Angela J. Hattery and Earl Smith touch on current events that have highlighted the pervasiveness of gender based violence across the institutions they interrogate throughout the book, but also in the entertainment industry, the government, and television journalism. Gender, Power, and Violence gives the reader a better understanding of what factors shape who will be perpetrators, who will be victims, and how organizations respond (or not) when it is reported. It also offers recommendations for transforming these institutions so that they are safe for women and children of all genders.
Acknowledgements — Preface by Maria Anita Stefanelli — 1. Making Visible. Theatrical Form as Metaphor: Marina Carr and Caryl Churchill by Cathy Leeney — 2. Obscene Transformations: Violence, Women and Theatre in Sarah Kane and Marina Carr by Melissa Sihra — 3. Can the Subaltern Dream? Epistemic Violence, Oneiric Awakenings and the Quest for Subjective Duality in Marina Carr’s Marble - Interview with Marina Carr - Excerpt from Marble by Marina Carr by Valentina Rapetti — 4. “The house is a battlefield now”: War of the Sexes and Domestic Violence in Van Badham’s Kitchen and Warren Adler’s The War of the Roses - Interview with Van Badham - Excerpt from Kitchen by Van Badham by Barbara Miceli — 5. Serial Killers, Serial Lovers: Raquel Almazan’s La Paloma Prisoner - Interview with Raquel Almazan - Excerpt from La Paloma Prisoner by Raquel Almazan by Alessandro Clericuzio — 6. “To Put My Life Back into the Main Text”: Re-Dressing History in The Second Coming of Joan of Arc by Carolyn Gage - Interview with Carolyn Gage - Excerpt from The Second Coming of Joan of Arc and Selected Plays by Carolyn Gage by Sabrina Vellucci — 7. Turning Muteness into Performance in Erin Shields’ If We Were Birds - Interview with Erin Shields - Excerpt from If We Were Birds by Erin Shields by Maria Anita Stefanelli — 8. Afterword: Vocal and Verbal Assertiveness by Kate Burke — Contributors An extraordinary complexity characterizes the encounter between theatre, mythology, and human rights when gender-based violence is on the platform. Another encounter enhances the cross-disciplinary and transnational dynamics in this book: the one between the scholar and the playwright, who exchange views to pursue a theme demanding due attention at an emergence that needs being explored to be understood and combated, and finally turned into a priority action. Through the analysis of a repertoire of contemporary plays and performance practices from English-speaking countries, the contributors explore in detail the asymmetrical relations that exist between men and women, the crimes involved, and the ways in which the protagonists’ minds work differently. The unconventional format adopted for the five central sections that follow two papers centered on Marina Carr’s theatre in comparison with two noteworthy British playwrights’, and that forerun the final stringent remarks about woman’s (like man’s) fundamental right to speak and need for words, offers not just single chapters, however provocative, on an aspect of the theme, but a tripartite session boasting a critical inquiry into the text, the playwright’s response to criticism, and a sample of the author’s creative expression. What emerges is a prismatic, complex, and visceral vision of the plays offered to the public for further elaboration and critique. Beside Carr, those involved are Raquel Almazan, Van Badham, Carolyn Gage and Erin Shields – all of them champions of today’s feminist commitment to denounce, through their art, violence against women.
This book questions how feminist beliefs are enacted within an artistic context. It critically examines the intersection of violence, gender, performance and power through contemporary interventionist performances. The volume explores a host of key themes like feminism and folk epic, community theatre, performance as radical cultural intervention, volatile bodies and celebratory protests. Through analysing performances of theatre stalwarts like Usha Ganguly, Maya Krishna Rao, Sanjoy Ganguly, Shilpi Marwaha and Teejan Bai, the volume discusses the complexities and contradictions of a feminist reading of contemporary performances. A major intervention in the field of feminism and performance, this book will be useful for scholars and researchers of gender studies, performance studies, theatre studies, women’s studies, cultural studies, sociology of gender and literature.
Behind the Iron Curtain, the politics of sexuality and gender were, in many ways, more progressive than the West. While Polish citizens undoubtedly suffered under the oppressive totalitarianism of socialism, abortion was legal, clear laws protected victims of rape, and it was relatively easy to legally change one's gender. In Gender, Pleasure, and Violence, Agnieszka Kościańska reveals that sexologists—experts such as physicians, therapists, and educators—not only treated patients but also held sex education classes at school, published regular columns in the press, and authored highly popular sex manuals that sold millions of copies. Yet strict gender roles within the home meant that true equality was never fully within reach. Drawing on interviews, participant observation, and archival work, Kościańska shares how professions like sexologists defined the notions of sexual pleasure and sexual violence under these sweeping cultural changes. By tracing the study of sexual human behavior as it was developed and professionalized in Poland since the 1960s, Gender, Pleasure, and Violence explores how the collapse of socialism brought both restrictions in gender rights and new opportunities.
With intellectual reference points that include Foucault and Freud, Wittig, Kristeva and Irigaray, this is one of the most talked-about scholarly works of the past fifty years and is perhaps the essential work of contemporary feminist thought.
How do understandings of the relationships between gender, violence, security and the international inform policy and practice in which these notions are central? What are the practical implications of basing policy on problematic discourses? In this highly original poststructural feminist critique, the author maps the discursive terrains of institutions, both NGOs and the UN, which formulate and implement resolutions and guides of practice that affect gender issues in the context of international policy practices. The author investigates UN Security Council Resolution 1325, passed in 2000 to address gender issues in conflict areas, in order to examine the discursive construction of security policy that takes gender seriously. In doing so, she argues that language is not merely descriptive of social/political reality but rather constitutive of it. Moving from concept to discourse, and in turn to practice, the author analyses the ways in which the resolution's discursive construction had an enormous influence over the practicalities of its implementation, and how the resulting tensions and inconsistencies in its construction contributed to its failures. The book argues for a re-conceptualisation of gendered violence in conjunction with security, in order to avoid partial and highly problematic understandings of their practical relationship. Drawing together theoretical work on discourses of gender violence and international security, sexualised violence in war, gender and peace processes, and the domestic-international dichotomy with her own rigorous empirical investigation, the author develops a compelling discourse-theoretical analysis that promises to have far-reaching impact in both academic and policy environments.
Indigenous Women and Violence offers an intimate view of how settler colonialism and other structural forms of power and inequality created accumulated violences in the lives of Indigenous women. This volume uncovers how these Indigenous women resist violence in Mexico, Central America, and the United States, centering on the topics of femicide, immigration, human rights violations, the criminal justice system, and Indigenous justice. Taking on the issues of our times, Indigenous Women and Violence calls for the deepening of collaborative ethnographies through community engagement and performing research as an embodied experience. This book brings together settler colonialism, feminist ethnography, collaborative and activist ethnography, emotional communities, and standpoint research to look at the links between structural, extreme, and everyday violences across time and space. Indigenous Women and Violence is built on engaging case studies that highlight the individual and collective struggles that Indigenous women face from the racial and gendered oppression that structures their lives. Gendered violence has always been a part of the genocidal and assimilationist projects of settler colonialism, and it remains so today. These structures—and the forms of violence inherent to them—are driving criminalization and victimization of Indigenous men and women, leading to escalating levels of assassination, incarceration, or transnational displacement of Indigenous people, and especially Indigenous women. This volume brings together the potent ethnographic research of eight scholars who have dedicated their careers to illuminating the ways in which Indigenous women have challenged communities, states, legal systems, and social movements to promote gender justice. The chapters in this book are engaged, feminist, collaborative, and activism focused, conveying powerful messages about the resilience and resistance of Indigenous women in the face of violence and systemic oppression. Contributors: R. Aída Hernández-Castillo, Morna Macleod, Mariana Mora, María Teresa Sierra, Shannon Speed, Lynn Stephen, Margo Tamez, Irma Alicia Velásquez Nimatuj
The editors, Rosemary Gartner and Bill McCarthy, have assembled a diverse cast of criminologists, historians, legal scholars, psychologists, and sociologists from a number of countries to discuss key concepts and debates central to the field. The Handbook includes examinations of the historical and contemporary patterns of women's and men's involvement in crime; as well as biological, psychological, and social science perspectives on gender, sex, and criminal activity. Several essays discuss the ways in which sex and gender influence legal and popular reactions to crime. An important theme throughout The Handbook is the intersection of sex and gender with ethnicity, class, age, peer groups, and community as influences on crime and justice. Individual chapters investigate both conventional topics - such as domestic abuse and sexual violence - and topics that have only recently drawn the attention of scholars - such as human trafficking, honor killing, gender violence during war, state rape, and genocide.
Combining queer theory with theories of affect, psychoanalysis, and Foucauldian genealogy, Romanticism, Gender, and Violence: Blake to George Sodini theorizes performative melancholia, a condition where, regardless of sexual orientation, overinvestment in gender norms causes subjects who are unable to embody those norms to experience socially expected (‘normal’) gender as something unattainable or lost. This perceived loss causes an ambivalence within the subject that can lead to self-inflicted violence (masochism, suicide) or violence toward others (sadism, murder). Reading a range of Romantic poetry and novels between 1790-1820, but ultimately moving beyond the period to show its contemporary cultural relevance through readings of Eliot’s The Mill on the Floss, Virginia Woolf’s Mrs. Dalloway, Andrew Holleran’s Dancer from the Dance, and George Sodini’s 2009 murder-suicide case, this study argues that we need to move beyond focusing on bullying, teens, and LGBT students and look at our cultural investment in gender normativity itself. Doing so allows us to recognize that the relationship between non-normative gender performance and violence is not simply a gay problem; it is a human problem that can affect people of any sex, sexuality, age, race, or ethnicity and one that we can trace back to the Romantic period. Bringing late 18th-century novels into conversation with both canonical and lesser-known Romantic poetry, allows us to see that, as people whose performance of gender occasionally exceeds the normal, we too often internalize these norms and punish ourselves or others for our inability to adhere to them. Contrasting paired chapters by male and female authors and including sections on failed romantic coupling, melancholic femininities, melancholic masculinities, failed gender performance and madness, and ending with a section titled After Romanticism, this study works on multiple levels to complicate previous understandings of gender and violence in Romanticism while also offering a model for contemporary issues relating to gender and violence among people who ‘fail’ to perform gender according to social norms.