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Medusa Gorgon was a beautiful priestess in Athena Olympian's Temple. She was raped in Athena's Temple, blamed for that rape, and punished for that rape. She was condemned to live the remainder of her life as a monster with snakes rearing from her head. Her glare can turn any man into stone. She is now going to have her trial in New York City to determine if a rape had occurred. If she loses the case she will again be condemned to her isolated island. If she wins, she will regain her youth, beauty and freedom. Maggie Harper, a feminist lawyer with a pugnacious reputation for defending women and their rights, will be representing Medusa. This is the trial of the century where the perverse reputations of the Olympians will be revealed.
This volume uses autoethnography—cultural analysis through personal narrative—to explore the tangled relationships between culture and communication. Using an intersectional approach to the many aspects of identity at play in everyday life, a diverse group of authors reveals the complex nature of lived experiences. They situate interpersonal experiences of gender, race, ethnicity, ability, and orientation within larger systems of power, oppression, and social privilege. An excellent resource for undergraduates, graduate students, educators, and scholars in the fields of intercultural and interpersonal communication, and qualitative methodology.
"A wild and writhing reimagination of the Medusa myth for the modern age. Mesmerising. Compelling." - Tanya Shadrick, editor of Wild Woman Swimming.
A versatile missive written from the intersections of gender, disability, trauma, and survival. “Some girls are not made,” torrin a. greathouse writes, “but spring from the dirt.” Guided by a devastatingly precise hand, Wound from the Mouth of a Wound—selected by Aimee Nezhukumatathil as the winner of the 2020 Ballard Spahr Prize for Poetry—challenges a canon that decides what shades of beauty deserve to live in a poem. greathouse celebrates “buckteeth & ulcer.” She odes the pulp of a bedsore. She argues that the vestigial is not devoid of meaning, and in kinetic and vigorous language, she honors bodies the world too often wants dead. These poems ache, but they do not surrender. They bleed, but they spit the blood in our eyes. Their imagery pulses on the page, fractal and fluid, blooming in a medley of forms: broken essays, haibun born of erasure, a sonnet meant to be read in the mirror. greathouse’s poetry demands more of language and those who wield it. “I’m still learning not to let a stranger speak / me into a funeral.” Concrete and evocative, Wound from the Mouth of a Wound is a testament to persistence, even when the body is not allowed to thrive. greathouse—elegant, vicious, “a one-girl armageddon” draped in crushed velvet—teaches us that fragility is not synonymous with flaw.
This book examines the central role of casuistry - the science of resolving problems of moral choice, known as 'cases of conscience' - in Elizabethan religious, political, and literary culture. In the process, that author develops a theory of casuistical hermeneutics in a synthesis of new historicist and post-structuralist methodologies, a synthesis made intelligible in terms applied within the discourses of ideological and epistemological crisis that late-sixteenth-century casuiatry both addressed and provoked. Casuistry gained unprecedented notoriety in the last two decades of Elizabeth's reign, emerging as an ambiguous practice that continued to be claimed as a heuristic procedure while it also came to function as a locus of moral and epistemological uncertainty. The author shows the equivocal nature of casuistry to be the effect of the inherently dialogic activity of the word 'conscience'. Believed to be a sacred repository of truth as well as a hermeneutic operation, conscience both embodied the culture's received norms and subjected to scrutiny the social and political negotiations that produced and maintained these norms. The author examines the application of casuistry in wide-ranging but interrelated documents: Elizabeth's two speeches to Parliament concerning the fate of Mary, Queen of Scots; representative manuals of casuistry; accounts of the secret movements of the English Catholic mission and Walsingham's intelligence network; the 'Siena Sieve' portrait of Spencer's The Faerie Queene. The author establishes casuistical hermeneutics as a central organizing principle of Spenserian narrative and charts the connection between Spenserian narrative and novelistic discourse (in Bakhtin's sense of the term). These documents yield new insights into the politics of ambiguity and misreading in the Elizabethan period, variously exploiting the casuistical doctrines of equivocation, 'honest dissimulation', and mental reservation, as well as what the author calls the rhetoric of inviolability, which was associated with the voice of conscience and appropriated by monarch and dissidents alike. That rhetoric depended on a politic self-censorship that proved indispensable to the maintenance of the culture's norms, producing narrative structures that represent scandalous - and theoretically unrepresentable - insights. Reading the text of casuistry in the Renaissance illumines the pivotal, complementary processes of reading and writing the texts through which Elizabethan culture defined itself - its texts of power, its hierarchy of values and norms, its taboos, and its tacit or naturalized protocol for determining canonical texts and 'good' readings.
'Nothing is as it seems in this sleek and cunning thriller' Evening Standard The first novel in the Oslo Crime Files, a tense and dark quartet of thrillers for fans of Camilla Lackberg and Jo Nesbo. A woman vanishes from a forest near Oslo. Days later her body is found, seemingly mauled and maimed by a bear. When another woman is reported missing and then found dead with the same scratches and bites, police find the link between them is local doctor Axel Glenne. Forensics reveal the women were murdered and a net of suspicion tightens around Axel, who is convinced his twin brother Brede is responsible. But no one has seen him for years and if Axel is to prove his innocence, he needs to find Brede. And fast. But there isn't a single photograph of the brothers together and neither Axel's wife nor his children has ever met a man called Brede ... 'Delivered with maximum psychological intensity' Barry Forshaw, Independent
This book provides an in-depth examination of current, high-profile debates about the use of sexual history evidence in rape trials and its impact on jurors. In doing so, it presents findings of the first mock jury dataset in England and Wales to explore how jurors interpret, discuss, and rely upon such evidence within their deliberations. Drawing on both qualitative and quantitative insights from the 18 mock jury panels, the book highlights the complex, nuanced and intersectional impact of sexual history evidence within the deliberative ideal. Indeed, findings exemplified routine and ongoing prejudicial framings of sexual history amongst jurors, and frequent endorsement of rape myths that served to mistakenly infer relevance and undermine the perceived credibility of the complainant. The findings discussed within this book are therefore key to addressing the current knowledge gap around the impact of sexual history evidence and are embedded within broader discussions about evidential legitimacy in rape trials. The book draws on good practice observed in other jurisdictions to makes numerous recommendations for change. Aiming to inform academic, policy, and legislative discussions in this area, Sexual History Evidence in Rape Trials will be of great interest to students and scholars of Criminal Law and Criminology, as well as policy makers and legal practitioners. The Open Access version of this book, available at www.taylor francis.com, has been made available under a Creative Commons Attribution- Non Commercial- No Derivatives 4.0 license.
Unbecoming Female Monsters: Witches, Vampires, and Virgins is a multi-cultural and interdisciplinary work that traces the construct of female monsters as an embodiment of socio-cultural fears of female sexuality and reproductive powers. This book examines the female sexual maturation cycle and the various archetypes of female monsters associated with each stage of sexual development as seen in literature, art, film, television, and popular culture. Recommended for scholars of Latin American studies, literature, cultural studies, women and gender studies, popular culture, and film studies.
The story of the greatly misunderstood Goddess, including why she likes snakes. My name is Medusa explores the "scary" dark side, the potency of nature and the importance of dreams. Arna Baartz gorgeously illustrates this tale by Glenys Livingstone, teaching children (big and small) that our power often lies in what we have been taught to fear and revile.
An updated edition of the Sunday Times Bestseller Britain's best-known classicist Mary Beard, is also a committed and vocal feminist. With wry wit, she revisits the gender agenda and shows how history has treated powerful women. Her examples range from the classical world to the modern day, from Medusa and Athena to Theresa May and Hillary Clinton. Beard explores the cultural underpinnings of misogyny, considering the public voice of women, our cultural assumptions about women's relationship with power, and how powerful women resist being packaged into a male template. A year on since the advent of #metoo, Beard looks at how the discussions have moved on during this time, and how that intersects with issues of rape and consent, and the stories men tell themselves to support their actions. In trademark Beardian style, using examples ancient and modern, Beard argues, 'it's time for change - and now!' From the author of international bestseller SPQR: A History of Ancient Rome.