Feminism, Literature and Rape Narratives: Violence and by Sorcha Gunne, Zoe Brigley Thompson
By Sorcha Gunne, Zoe Brigley Thompson
The essays during this quantity talk about narrative options hired via foreign writers whilst facing rape and sexual violence, even if in fiction, poetry, memoir, or drama. In constructing those new feminist readings of rape narratives, the members objective to include arguments approximately trauma and resistance that allows you to determine new dimensions of therapeutic. This booklet makes an essential contribution to the fields of literary experiences and feminism, due to the fact that whereas different volumes have interested in retroactive portrayals of rape in literature, so far none has concentrated solely at the subversive paintings that's being performed to retheorize sexual violence.
Split into 4 sections, the amount considers sexual violence from a few various angles. 'Subverting the Story' considers how the characters of the sufferer and rapist may be subverted in narratives of sexual violence. In 'Metaphors for Resistance,' the essays discover how writers process the topic of rape obliquely utilizing metaphors to symbolize their ache and discomfort. the talk of no longer talking approximately sexual violence is the point of interest of 'The Protest of Silence,' whereas 'The query of the Visual' considers the issues of constructing sexual violence seen within the poetic snapshot, in movie and on degree. those 4 sections hide a magnificent diversity of global writing inclusive of curriculum staples like Toni Morrison, Sarah Kane, Sandra Cisneros, Yvonne Vera, and Sharon Olds.
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Extra info for Feminism, Literature and Rape Narratives: Violence and Violation (Routledge Research in Postcolonial Literatures)
Her sister’s hand tore into her. The pain, when it shot through her, was incisive as a blade. (Perez 2000: 284) Rape by Proxy in Contemporary Caribbean Women’s Fiction 29 In ‘her determination to defy fear’ (Perez 2000: 285), Iliana sends her brother away by claiming that ‘[n]othing happened. . I’m fi ne’ (Perez 2000: 286) but is subjected to another attack when ‘her sister leap[s] from behind the closet door to knock her back onto her bed’ (Perez 2000: 289). Significantly, the description of the re-enacted rape undermines the reader’s inclination to read Marina’s attack as a sign of ‘temporary insanity’ on the part of a mentally ill character.
The fi rst rape was between me and ‘it’. The second rape is in front of a lot of people. All listening. And you’re stood there. And you’re trying to explain to these people all the pain and suffering and degradation and violation and how can they possibly comprehend? Because they won’t have experienced it. Could I be convincing enough by telling the truth, that they would believe me [ . . ]? (anonymous rape survivor qtd in Kelly, Lovett and Reagan 2005: 73) This quotation dealing with the nature of truth and fiction is taken from the 2005 British Home Office report on ‘A Gap or a Chasm?
39–40). The act of rape is imagined here as revenge on the other man and is simultaneously a gesture to Mexico’s colonial history and the Spanish conquest, during which colonialists sometimes raped indigenous women or took them as their wives as an act of triumph. In thinking about rape, colonialism and the construction of a community or national identity, it is useful to note that in patriarchal society racial purity and sexual purity are not mutually exclusive. As the female body is the locus for reproduction, it becomes a site of immense concern to the male patriarch.