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Representations of consensual sadomasochism range from the dark, seedy undergrounds of crime thrillers to the fetishized pornographic images of sitcoms and erotica. In this pathbreaking book, ethnographer Staci Newmahr delves into the social space of a public, pansexual SM community to understand sadomasochism from the inside out. Based on four years of in-depth and immersive participant observation, she juxtaposes her experiences in the field with the life stories of community members, providing a richly detailed portrait of SM as a social space in which experiences of \"violence\" intersect with experiences of the erotic. She shows that SM is a recreational and deeply gendered risk-taking endeavor, through which participants negotiate boundaries between chaos and order. Playing on the Edge challenges our assumptions about sadomasochism, sexuality, eroticism, and emotional experience, exploring what we mean by intimacy, and how, exactly, we achieve it.

Steady yourself to rethink desire, and then watch Louise Orwin smash it all to pieces. Oh Yes Oh No invites you on a surreal joyride through femme sexuality and violence. Made with the candid input of survivors of sexual trauma, this is a show about having sexual fantasies that don't align with your politics. Join Louise as she interrogates identity, consent and power play. How can you reclaim your voice and your body when they have been stripped from you? And how do you navigate a landscape of hyper-sexuality and increasing sex positivity when asking for what you want can be the hardest thing?

This Might Not Be Your Kink delves into the socially taboo and often secret lives of those practicing BDSM and specifically addresses why a publically feminist female chooses to be a submissive within the kink lifestyle. The contradictory roles these women play in their public verses private lives speaks not only to the assumption that feminism is ironclad and certain, but allows variances in interpretation and room for deviation. Set in Los Angeles, this documentary film explores more realistic representations of these females and the thought processes associated with role switching, relinquishing their social and political dominance, and becoming a submissive outside the public eye.

\"David Henry Hwang is a true original. A native of Los Angeles, born to immigrant parents, he has one foot on each side of a cultural divide. He knows America - its vernacular, its social landscape, its theatrical traditions. He knows the same about China. In his plays, he manages to mix both of these conflicting cultures until he arrives at a style that is wholly his own. Mr. Hwang's works have the verve of well-made American comedies and yet, with little warning, they can bubble over into the mystical rituals of Oriental stagecraft. By at once bringing West and East into conflict and unity, this playwright has found the perfect means to dramatize both the pain and humor of the immigrant experience.\" -Frank Rich,New York Times Throughout his career, David Henry Hwang has explored the complexities of forging Eastern and Western cultures in a contemporary America. Over the past twenty years, his extraordinary body of work has been marked by a deep desire to reaffirm the common humanity in all of us. This volume collects a generous selection of Mr. Hwang's plays, includingFOB,The Dance and the Railroad,Family Devotions,The Sound of a Voice,The House of Sleeping Beauties,The Voyage,Bondage, andTrying to Find Chinatown. FOBis an OBIE Award-winning play that explores the contrasting experiences, attitudes, and conflicts of established Asian Americans and fresh-off-the-boat (FOB) Asian immigrants. One of David Henry Hwang's earliest plays,FOBhas been called \"a theatrically provocative combination of realism and fantasy... A sensitive, insightful, and multilevel play\" (Christian Science Monitor). InThe Dance and the Railroad, two Chinese workers on the Transcontinental Railroad struggle through poverty and hunger to reconnect with the traditions of their homeland. \"An evocative portrait of the immigrant experience,\"The Dance and the Railroadis set in 1867 during a strike in an Asian labor camp (New York Post). Family Devotionstakes a different look at the clash between East and West through the perspective of a Chinese American family living in a Los Angeles suburb. TheChicago TribunecallsFamily Devotions\"a funny and compassionate piece of writing.\" The Sound of a Voiceis the original story of a lone samurai warrior and his encounter with a rumored witch in the woods. Inspired by Japanese folk stories and Noh theatre, this play of desperation and desire is about \"timeless human emotion, a subject made all the more powerful by dialogue that rings with the power and rhythm of poetry\" (Asian Avenue Magazine). InThe House of Sleeping Beauties, an elderly man visits a unique brothel filled with sleeping virgins, where customers are only permitted to sleep in a shared bed. Based on Hwang's exploration of how the novelist Yasunari Kawabata was affected by his own stories, this play is \"an earnest, considered experiment furthering an exceptional young writer's process of growth\" (New York Times). Hwang's libretto forThe Voyagewas written in collaboration with composer Phillip Glass for the Metropolitan Opera's 500th year celebration of Columbus Day. Instead of focusing on Christopher Columbus, however, the three act opera is a more general exploration of time, space, and possibility. An encounter in an S&M parlor between a man and woman in full bodysuits sets the scene for Bondage, where their role play becomes \"an exploration of race, love and politics in the weirdest possible contortions\" (Northwest Asian Weekly). Trying to Find Chinatown, an exploration of racial identity and appearance, revolves around the interaction between an Asian street musician and a Caucasian man who claims Asian American heritage.

This article analyses discussions of three levels of violence (intrapersonal, interpersonal online, mass) observed in a three-month analysis of two online forums for Incels (short for Involuntary Celibates). It will be argued that, on the surface, Incel-related violence is a reaction to a broad array of anxieties and uncertainties experienced within contemporary society. However, deeper analysis reveals that such violence is related to attempts to (re)claim Incels' threatened masculinity and to defend male dominance. The article will show how Incels perceive women and feminists as an abject Other (Kristeva, 1982) through the discursive construction of the monstrous-feminine (Creed, 1993), thereby justifying violence against them. The article concludes by suggesting 'extraordinary' forms of Incel-related violence are not extraordinary at all when considered within the historical construction of the monstrous-feminine and wider, normalised patterns of violence against women within a patriarchal society.

Individuals sometimes derive sexual pleasure from submission to cruel discipline. While that predilection was noted as early as the sixteenth century, masochism was not codified as a concept until 1890. According to John K. Noyes, its invention reflected a crisis in the liberal understanding of subjectivity and sexuality which continues to inform discussions of masochism today. In essence, it remains a political concept. Viennese physician Richard von Krafft-Ebing coined the term masochism, based on the work of Leopold von Sacher-Masoch. Noyes analyzes the social and political problems that inspired the concept, suggesting, for example, that the triumphant expansion of European colonialism was in part animated by an ambivalence in masculine sexuality. Noyes documents the evolution of the concept of masochism with scenes in literature from John Cleland's Fanny Hill through Sacher-Masoch's Venus in Furs and Pauline Reage's Story of 0 . Analysis of Freud's vastly influential rereading of masochism precedes an exploration of the work of his successors, including Wilhem Reich, Theodor Reik, Helene Deutsch, and Karen Horney. Noyes suggests that the thematics of feminine masochism emerged only gradually from an exclusively male concept.

Is it time to take a break from feminism? In this pathbreaking book, Janet Halley reassesses the place of feminism in the law and politics of sexuality. She argues that sexuality involves deeply contested and clashing realities and interests, and that feminism helps us understand only some of them. To see crucial dimensions of sexuality that feminism does not reveal--the interests of gays and lesbians to be sure, but also those of men, and of constituencies and values beyond the realm of sex and gender--we might need to take a break from feminism. Halley also invites feminism to abandon its uncritical relationship to its own power. Feminists are, in many areas of social and political life, partners in governance. To govern responsibly, even on behalf of women, Halley urges, feminists should try taking a break from their own presuppositions. Halley offers a genealogy of various feminisms and of gay, queer, and trans theories as they split from each other in the United States during the 1980s and 1990s. All these incommensurate theories, she argues, enrich thinking on the left not despite their break from each other but because of it. She concludes by examining legal cases to show how taking a break from feminism can change your very perceptions of what's at stake in a decision and liberate you to decide it anew.

Noyes documents the evolution of the concept of masochism with scenes in literature from John Cleland's Fanny Hill through Sacher-Masoch's Venus in Furs and Pauline Reage's Story of 0.

This ambitious and wide-ranging study of late-nineteenth- and twentieth-century culture and thought transverses texts of evolutionary biology, psychiatry, psychoanalysis, political propaganda, fiction, historiography of Nazism, and scholarship on comparative genocide to analyze the notion that mass violence is sexually motivated.

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