By Emma L. E. Rees
From South Park to Kathy Acker, from Lars Von Trier to intercourse and town, women’s sexual organs are demonized. within the Vagina: A Literary and Cultural historical past, Emma L.E. Rees investigates the evolution of this demonization: she considers how writers, artists and filmmakers deal with the predicament of he vagina's difficult 'covert visibility' and the way the ‘c-word’ is an obscenity that either legitimates and perpetuates the fractured identities of girls globally.
In our postmodern, porn-obsessed tradition, vaginas seem to be all over, actually or symbolically yet, crucially, they're as silenced as they're objectified. Even universal slang phrases for the vagina could be obvious as an try to divert realization clear of the truth of women’s lived sexual reports: slang deals a handy distraction from whatever taboo. The Vagina: A Literary and Cultural heritage is a vital contribution to the continuing debate in realizing the female id.
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Additional resources for The Vagina: A Literary and Cultural History
You said: “What is really lacking always for us is you don’t give the motivation of why they want to do us harm. What is the motivation? ” Your purchase of this digital edition makes it possible for us to thrive. [Laughs] And people bought that. I mean, that was the biggest lie that has ever been told. They needed a reason. Everybody died on 9/11. Still they wanted to go to war. I don’t think that I’m a good writer; I just know that journalism was a good profession for me. What should they have done after 9/11?
Fa l l . 60 bitch | 31 kind of like dogs—they have a sense of who is good and who is bad. ” This may be comforting logic, but it fails to consider how many of us, men and women, may have internalized messages from the rape culture in which we exist. Rape awareness campaigns still call upon women to protect themselves from attack by limiting their freedom of movement, and some rape victims will chastise themselves for being out at night in a particular spot alone. Lampanelli’s logic, and her comedy, ignores that.
I didn’t feel attacked—I was more pissed off than anything. But I didn’t kick him out of the house. In fact, I went on a date with him again. And thinking back on this I ask myself: How much am I willing to put up with for the sake of a warm body next to me? ” I laughed along with the audience, then immediately felt ashamed—my friend’s assault was upsetting, not funny. I confessed my guilt to Howell afterward. ” she responded. She explained that by telling the joke, she felt she was controlling how people reacted to her experience while simultaneously negotiating her own feelings about the incident.
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