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The Offenses Against the Person Act of 1828 opened magistrates' courts to abused working-class wives. Newspapers in turn reported on these proceedings, and in this way the Victorian scrutiny of domestic conduct began. But how did popular fiction treat \"private\" family violence?Bleak Houses: Marital Violence in Victorian Fictiontraces novelists' engagement with the wife-assault debates in the public press between 1828 and the turn of the century.Lisa Surridge examines the early works of Charles Dickens and readsDombey and Sonand Anne Brontë'sThe Tenant of Wildfell Hallin the context of the intense debates on wife assault and manliness in the late 1840s and early 1850s. Surridge explores George Eliot'sJanet's Repentancein light of the parliamentary debates on the 1857 Divorce Act. Marital cruelty trials provide the structure for both Wilkie Collins'sThe Woman in Whiteand Anthony Trollope'sHe Knew He Was Right.Locating the New Woman fiction of Mona Caird and the reassuring detective investigations of Sherlock Holmes in the context of late-Victorian feminism and the great marriage debate in theDaily Telegraph, Surridge illustrates how fin-de-siècle fiction brought male sexual violence and the viability of marriage itself under public scrutiny.Bleak Housesthus demonstrates how Victorian fiction was concerned about the wife-assault debates of the nineteenth century, debates which both constructed and invaded the privacy of the middle-class home.

Explores the significance of postwar German representations of violence in other places and times. Germany's twentieth-century history has made imagining and representing violence in German culture challenging, meaning that it can be difficult to locate and explore critically the significance of violence in and for the postwar German states. This volume approaches that challenge through critical analysis of \"violence elsewhere,\" that is, constructions of violence in distant, imagined, or temporally distinct times and places. Such representations have offered a stage on which to imagine violence. Moreover, German representations of \"violence elsewhere\" are simultaneously images of Germany itself, revealing something about otherwise submerged meanings and functions of violence in German culture. The essays in this volume explore selected, emblematic works from East, West, and, later, unified Germany, which imagine violence in, for example, Latin America, Vietnam, Cambodia, the USA, and the Middle East, as well as in the respective \"other\" German state and in the German past. Drawing on fields including cultural, literary, film, visual, and gender studies, it introduces multidisciplinary theoretical approaches to the topic of violence elsewhere that may be transferable beyond German studies too. As such, the volume allows us to reflect more broadly on relationships between violence, culture, community, and the creation of identities, and to look beyond binary notions of \"here\" and \"elsewhere,\" \"self\" and \"other.\" It thus expands our understanding of what German culture is and could be. Edited by Clare Bielby and Mererid Puw Davies. Contributors: Seán Allan, Martin Brady, Evelien Geerts, Katharina Karcher, J.J. Long, Ernest Schonfield, and Katherine Stone. Chapter 8, \"Problematizing Political Violence in the Federal Republic of Germany: A Hauntological Analysis of the NSU Terror and a Hyper-Exceptionalized \"9/11\" is available as Open Access under the Creative Commons license CC BY-NC-ND. The open access version of this publication was funded by the European Research Council. This book is available as Open Access under the Creative Commons license CC BY-NC-ND.

Violence and the Female Imagination explores whether these imagined women are striking out at an external other or harming themselves through acts of self-destruction and depression. Gilbert examines the degree to which women are imitating men in the outward direction of their anger and hostility and suggests that such \"tough\" women may be mocking men in their \"macho\" exploits of sexuality and violence. She illustrates the ways in which Quebec female authors are \"feminizing\" violence or re-envisioning gender in North American culture.

With her 2020 microfiction collection La marejada de los muertos y otras pandemias, Ana Maria Fuster Lavin details the sociopolitical and economic crises that have taken place during the COVID-19 pandemic in Puerto Rico, giving particular attention to the rising rates of gender-based violence and feminicide. To emphasize the feminicide epidemic, Fuster Lavin employs the perspective of the serial killer in a set of four microstories titled \"La vocacion\" and in \"La piel que habito\" to detail the workings of what Sergio Gonzalez Rodriguez terms the \"femicide machine,\" in which women's bodies are a battleground both for the men who commit these crimes and for the legal system that protects them. While the success of the feminicide machine is uncovered in these stories, we witness the transformation of the gender violence victim into an avenger of the feminicide machine in \"¿Cuanto pesa la sangre?\" and \"Tostadas con mantequilla.\" The victims, who double as criminals, are not only given the narrative space to testify to their abuse, but the stories also allow for an alternative feminized form of justice to prevail. Using feminist theory on gender violence and research on women's violence, this article will examine how Fuster Lavin tackles the invisibility of female victims and ushers in a new era for subversive literary responses to the feminicide and gender violence epidemic in Puerto Rico. [Keywords: Ana Maria Fuster Lavin, feminicide, gender violence, femicide machine, Puerto Rican crime literature, Puerto Rican gender violence crisis]

By modernizing Gothic tropes within a narrative exploring the trauma of intimate partner violence, the latest film adaptation of The Invisible Man from Leigh Whannel draws attention to the invisibility of the psychological and societal horrors of abuse. With a blend of psychological and physical horror, this feminist reinterpretation of H.G. Wells’ classic novel navigates intersecting genres of horror to facilitate its emotional impact. In a close reading of the cinematic techniques and plot through a Gothic lens, Whannell’s version of ‘The Invisible Man’ reveals its successful reflection of the dangers of technology-enabled control’s capacity to reinforce societal compliance in gender-based violence.

This article presents a response to the harsh criticism expressed against E. L. James’s Fifty Shades. Accusations have been made from many sides that it encourages gender-based violence within a romantic relationship, unjustly stereotyping the female character Anastasia (Ana) as a battered, submissive, weak woman and a “sex slave.” However, as this thorough analysis will argue, Anastasia does not fit the profile of a victim of gender-based violence. Rather, she embodies the traits of an empowered woman. From this viewpoint, it is unfair to consider Fifty Shades as promoting violence against women.

The term ‘femicide’ entered public discourse only in the late 1970s, when feminist critic Diana Russell used the term to bring attention to male violence and discrimination against women. This article intends to re-examine therepresentation of femicide through Louisa May Alcott’s short story “A Whisper in the Dark” (1865) in light of studies on femicide and female violence. Drawing from Russell’s definition of femicide, its theoretical approach and multipleredefinitions, the article proceeds by exploring Alcott’s depiction of femicide in the text. After a preliminary discussion, I critically examine Alcott’s short storyin light of studies on femicide by placing the text within American female Gothic fiction. Afterwards, I will demonstrate how femicide in the tale is based upon aninterplay of three main tropes: wrongful confinement, the threshold and madness, all of which are themes that Alcott develops with astonishing topicality and which underscores the importance of the tale as an example of female abuseand domestic violence, a phenomenon that has improved considerably all over the world in recent years. I conclude by showing how Alcott illustrates the politics of female control and offers an example of femicide long before the term was ever used.

There are many opportunities that indicate that a topic should be addressed. Of course, the importance of gender has already been a topic of valuable analysis and has even been studied on a personal level; However, the call was now felt to tell real facts, not taken from jurisprudence, since it was absent for the specific case that will be narrated. The events have a bit of the whole family in which I grew up, which is why understanding is asked, because in the first section an existing story will be told, which I know because I heard it from its protagonist. For this reason, after locating a reality and its current classification in criminal law, we will deal with tools such as science and technology, which contribute to dissemination, pedagogy and even sanction, when applicable, in pursuit of women's rights.

Growing Asian American abolition feminisms is a practice not only of politics, organizing, and struggle, but of imagination, and speculative fiction and poetry can work to inspire and sustain such imaginations. Speculative and experimental works also challenge conventions of literary realism in Asian American literature, opening generic and imaginative possibilities for Asian American feminist politics. Responding to the threats of police violence and of racialized violence against Asian North American women, Franny Choi’s queer feminist cyborg poetics open space beyond the violences of the human, and Kai Cheng Thom’s Fierce Femmes and Notorious Liars: A Trans Girl’s Confabulous Memoir bends space and time to join trans women’s community together in ease and safety. Vandana Singh’s utopias of the third kind locate utopic thinking in the struggles of oppressed and racialized people to build and sustain community through slowness and connection. Together, these speculations consider Asian American feminist futurities and what ways of being-otherwise we can share in the present and future, shaped by connection, community, and care, rather than urgency, scarcity, and fear. Analyzing how these works respond to violence and crisis, this article describes abolitionist possibilities for Asian American feminisms that respond to anti-Asian and state violence by seeking other genres of human life and rejecting linear notions of progress. Instead, these texts cultivate connection and community in the present as a project of shaping Asian American utopic visions, rethinking utopia not as a vision of future perfection, but an ethic of embracing and negotiating change, difference, and multiplicity.

The article looks at the series of three female YA authors: Sarah Maas' Throne of Leigh Bardugo's Six of Crows and Christina Henry's The Chronicles of Alice. All three authors disturbingly use rape and sex trafficking as backstories to significant female characters in the series. This trope is un-necessary and damaging.