By Susan Brownmiller
Susan Brownmiller’s groundbreaking bestseller uncovers the tradition of violence opposed to girls with a devastating exploration of the background of rape—now with a brand new preface by way of the writer exposing the undercurrents of rape nonetheless current today
Rape, as writer Susan Brownmiller proves in her startling and significant e-book, isn't approximately intercourse yet approximately energy, worry, and subjugation. For millions of years, it's been considered as a suitable “spoil of war,” used as a weapon by way of invading armies to overwhelm the need of the conquered. The act of rape opposed to girls has lengthy been cloaked in lies and fake justifications.
It is neglected, tolerated, even inspired through governments and army leaders, misunderstood through police and protection businesses, freely hired by way of domineering husbands and fanatics, downplayed by way of scientific and attorneys extra prone to “blame the victim,” and, maybe such a lot shockingly, approved in supposedly civilized societies around the globe, together with the United States.
Against Our Will is a vintage paintings that has been commonly credited with altering triumphing attitudes approximately violence opposed to ladies by means of awakening the general public to the real and carrying on with tragedy of rape world wide and in the course of the ages.
Selected via the New York occasions booklet Review as an exceptional e-book of the yr and integrated one of the big apple Public Library’s Books of the Century, opposed to Our Will continues to be a vital paintings of sociological and old value.
Read or Download Against Our Will: Men, Women and Rape PDF
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Additional info for Against Our Will: Men, Women and Rape
7 Barbara Learning, Orson Welles: A Biography (New York: Viking, 1985), 332. 8 Marjone Rosen, Popcorn Venus (New York: Avon, 1973), 26. MYTHIC DISCOURSE that idealized figure who, during the war, had haunted the dreams of so many American GIs. 9 Barbara Learning reports that publicity stills for the film showed Welles himself "clipping her trademark" locks. 10 When the film was previewed by Columbia executives, they were horrified by the transformation of Hayworth's image. As Bessy notes: Welles had taken the "ideal woman" .
Other times it is radically diminished (when Elsa and Michael talk in the aquarium). The acting style seems deliberately false: one thinks of Anders's grotesque facial expressions, Hayworth's comatose demeanor, and Welles's phony Irish accent. Through these hyperbolic formal and narrative strategies, Welles creates a sense of mystery and mythos. In particular, this aura adheres to the figure of woman, who is seen as both enigmatic and dangerous. " 10 In The Lady, woman is loathed for her guile and dissembling, for her predatory nature.
Other shots (of her fishnet stockings or sequined costume) are rendered in extreme close-up, segmenting her body and removing it from our full apprehension. Certain shots (like those of her fan dropping) are presented in sluggish slow motion, while others (her bumps and grinds) are accelerated, thus lessening their sen suous spell. This visual static (or "ungrammatical ity") is reminiscent of the "scrambling" process that Riffaterre finds indicative of deriva tive works: Where the text contains words, phrases or sentences also found in a hypogram [intertext] but with their order changed; and where, further, the links in the sequence they form in the hypo gram have been perhaps completely destroyed, or at least by passed or made implicit—that is scrambling.