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Gender Studies

Rape Culture Discourse and Female Impurity: Genesis 34 as a Case Study

Jessica M. Keady graduated from the University of Manchester and is Lecturer in Theology and Religious Studies at the University of Wales, Trinity Saint David. Jessica has worked extensively on ancient texts with special focus on sexuality and gender. Her monograph Vulnerability and Valour: A Gendered Analysis of Everyday Life in the Dead Sea Scrolls Communities has recently been published (Library of Second Temple Studies 91, Bloomsbury T&T Clark, 2017). While teaching at the University of Chester (before jetting off to Helsinki to take up a prestigious postgraduate research fellowship – and then promptly getting her current post!) Jessica was also actively involved in the Sexualities and Anglican Identities Project. You can follow Jessica on @JessicaMKeady.

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Biblical rape texts like Genesis 34, the story of the rape of Dinah, can serve as a lens through which we can examine and critique ancient ideations of gender violence and purity. They also allow us to trace the ways these ideations continue to shape and inform contemporary understandings of rape. This can encourage readers and interpreters to perform an act of “political resistance” to biblical ideologies that sustain contemporary rape and purity cultures (particularly those pertaining to female sexuality and purity), and to assess the possible significance that such ideologies have for readers of the Bible today. As Sandie Gravett explains, recognizing rape in biblical texts “opens up the text beyond the bounds set thousands of years ago and invites translators to be more than passive recipients of ancient words and to do more than simply reinscribe the cultural norms of these past societies onto the modern stage” (2004: 298−9).

 

Defining Rape Culture and Purity Culture

Rape culture is a term used to describe the sociocultural normalization of sexual violence and its links to broader patterns of misogyny and sexism. Such normalization is woven through our global, civil, social, and cultural discourses: hence, rape-supportive hashtags trend on Twitter, rape “jokes” are a regular feature on TV shows and radio programmes, judges hand out lenient sentences to convicted rapists due to the perpetrators’ age, sporting or academic ability, or lack of criminal history, and rape complainants are commonly blamed for their own assaults because of their dress, alcohol intake, and sexual history. It is within this rape culture framework that religious texts, such as Genesis 34 are read, preached, and interpreted.

Moreover, rape cultures also give expression to various discourses around issues of purity, which again shape the contexts in which religious traditions are read. Purity (or modesty) culture is an intrinsic part of rape culture, which blames rape survivors, particularly female survivors, for their own violation. The dominant discourse of purity culture demands that women should remain sexually (and thus spiritually) “pure”, and that sexual activity outside of marriage renders a woman sexually and morally “defiled”—“used goods” with compromised economic and social value.

Additionally, purity culture discourses insist that it is the woman’s responsibility to “preserve” and “guard” her purity, by protecting her bodily boundaries from encroachments. Consequently, it is not uncommon for an applicant seeking political asylum to omit mention of experiences of sexual violence, especially if his or her religious tradition considers extra-marital sex a sin. Whether sex was entered into with consent or not, it is perceived as defiling. Therefore, to acknowledge rape is to acknowledge sinfulness and impurity, bringing shame upon rape survivors and, not infrequently, their families also (Einhorn and Berthold 2011: 41). Another way that rape culture and purity culture may exert impact on people’s experiences of sexual violence is in relation to survivors’ willingness to seek justice through the legal system. In the United Kingdom, an estimated nine out of ten rapes go unreported and only 6% of reported rapes end in a conviction. The reasons for under-reporting and low conviction rates are multiple and complex but the pernicious influences of rape culture play a part (Lees-Massey, Morris, and Tanner 2016).

This raises the question of how purity and rape cultures, particularly the issues of victim blaming and shaming, play a part here. Focusing particularly on female rape survivors, E. J. Graff argues that understanding rape as primarily a sexual violation places the burden on women to protect their bodies’ purity. Subsequently, public perceptions of sexual assault typically focus on the woman and her actions (was she drunk? What was she wearing? Did she flirt with her “attacker”? Was she “asking for it”?). Diversion is also evident in the case of Brock Turner, who, in his statement to Judge Aaron Persky placed the blame for his act of sexual assault on a student “party culture” of excessive drinking. That in turn allowed Turner’s defence lawyers to argue that the complainant was so intoxicated by alcohol that she could not know whether Turner had assaulted her without her consent (Fantz 2016; Grecian 2016). By implication, it was her failure adequately to guard her own sexual boundaries (and thus to preserve her “purity”) that rendered her culpable for her own violation. Gender violence, and the rape culture discourses that sustain it, are thus built upon unequal gendered power relations, which are themselves supported by patriarchy (Kilmartin 2007: 5). These relations create and sustain the rhetoric of rape cultures so ingrained within our world—a world where gender violence is normalized and survivors are routinely blamed for their own assaults, deterring them, frequently, from seeking support and justice.

 

Rape and Silence: The Portrayal of Dinah in Genesis 34

My reading of biblical rape narratives in the light of contemporary rape culture, intentionally juxtaposes ancient and contemporary understandings of sexual violence in order to better understand and respond to such violence. Although there are no biblical Hebrew words for “rape” or “rape culture”—as we understand these terms today—this does not mean that sexual violence is absent from the biblical text. On the contrary, many of the features contemporary commentators identify as central to rape culture—including discourses around female sexuality, male dominance, defilement, and purity—do appear in the Hebrew Bible.

In Genesis 34, Dinah, daughter of Leah and Jacob, is raped by Shechem. After the violent sexual encounter (v. 2), Shechem is so overcome with “love” for Dinah (v. 3) that he asks his father, Hamor the Hivite, to assist him in his plan to marry her (v. 4). When Jacob hears of his daughter’s defilement (tm’) he remains passive (v. 5), while his sons react strongly (they are “indignant and very angry”, v. 7). When Shechem and Hamor negotiate the marriage with Jacob (vv. 8-12), Dinah’s brothers demand that, before there can be any intermarriage between the Jacobite and Shechemite peoples, all Shechemite males must be circumcised (vv. 14-17). And, while the male Shechemites lie in pain after their mass circumcision, Dinah’s brothers attack the city and kill them all, including Shechem and Hamor. They then take back Dinah (who has presumably been kept captive by Shechem following her rape) and abduct the Shechemite women and children (vv. 25-9). When Jacob hears about these actions he condemns his sons (v. 30). In response, they ask if their sister should be treated “like a whore” and it is with this question that the narrative ends (v. 31). Dinah herself, meanwhile, remains silent throughout the entire narrative. We receive no insight into her perspective.

There has been, and continues to be, disagreement as to whether Dinah is raped in this biblical narrative, which is how I interpret and have summarized it above. Scholars have suggested a range of possibilities with regard to relations between Dinah and Shechem, from rape (e.g. Blyth 2010; Klopper 2010; Scholz 2000; Shemesh 2007), statutory rape (Frymer-Kensky 1998), and abduction marriage (Hankore 2013), to seduction (Bechtel 1994; Douglas 1993) and even romantic love (Fox 1983). Others conclude that the text is inconclusive (van Wolde 2002). I am persuaded that the text depicts Dinah’s rape. The strongest evidence in favour of this reading is, in my mind, the biblical Hebrew usage and ordering of the three verbs (lq, škb, and ‘nh) used to describe Shechem’s actions towards Dinah (v. 2). These verbs unequivocally denote gendered violence in other biblical narratives, most significantly in the accounts of the rape of Tamar (2 Samuel 13:14) and the gang rape of the Levite’s concubine (Judges 19:25; cf. 20:5).

 

Dinah’s Defilement in Biblical Scholarship

In Genesis 34:5 we witness Jacob’s (lack of) reaction to his daughter’s sexual violation: “Now Jacob heard that Shechem had defiled (timmē’) his daughter Dinah; but his sons were with his cattle in the field, so Jacob held his peace until they came.” There are only three references to someone being “defiled” in Genesis and each appears in this chapter to describe the impact of Shechem’s sexual violation of Dinah (vv. 5, 13, 27). The Hebrew verb timmē’ is key to understanding the remainder of the narrative and, after its first appearance in v. 5, is used twice more by Dinah’s brothers with reference to vindication of her “defilement” (vv. 13, 27). On each of the three occasions it is used, timmē’ appears in the piel (that is, a Hebrew verb form that often expresses intensity), which translates as “to make impure, make unclean, defile, or desecrate” (Clines 2009: 141). Significantly, in Genesis 34, it is Dinah (and not Shechem) who is labelled as ritually unacceptable after her sexual assault.

For some scholars, however, Dinah’s defilement is less the result of her rape than a consequence of Shechem “taking” her virginity before she is properly given to him in marriage (e.g. Feinstein 2014: 67). Although Dinah’s sexual status is not discussed in Genesis 34, we might presume that she is unmarried, and, therefore, likely to be a virgin. This is also hinted at in the Septuagint translation of this narrative, which describes Dinah as a parthenos (a term that can be translated “virgin”). (For Graff, it is characteristic of rape cultures that women are expected to remain virgins until marriage, because women’s bodies are depicted primarily as vessels for procreation or male pleasure—and women must therefore strive to maintain their sexual purity.) Certainly, in the biblical traditions, a woman’s social “value” is typically measured according to her sexual chastity and purity; an unmarried non-virgin could not expect to garner her father a generous bride price, as her socio-sexual currency would be diminished.

Read within this framework of sexual violence and (dis)honour, Dinah’s rape is transformed from a violent assault on her personal integrity (as rape tends to be understood in modern western contexts) into a means of dishonouring and humiliating her male kin. This is due to the wider honour-shame context and because Shechem is understood to have exposed the Jacobite men’s incapacity to protect “their” women. Shechem’s misappropriation of Dinah’s sexuality (particularly his “theft” of her virginity) can thus be understood as an act that brings shame on her father Jacob, and on her brothers. The emphasis then, is on men and male honour, not on Dinah or the personal, devastating effect on her integrity or dignity.

Male violence continues to be in focus in Genesis 34:25-30. As they had planned, Simeon and Levi kill all the Shechemite males in the city and take the women and children as war spoil. After killing Hamor and Shechem with the sword, the brothers “took Dinah” (v. 26) out of Shechem’s house and went away. The use and echo of the verb lq (“to take”) in verses 2 and 26 is significant, as the reader can trace the aggression inherent within the narrative from these two pivotal moments: Dinah is first “taken” (that is “raped”) by Shechem and later “taken back” by her brothers, as part of their violent revenge. Her silence in this narrative is absolute. What she herself thinks and feels about the events surrounding her “takings” is left unspoken. Had she been given the opportunity to address or to write a letter to Shechem, what would she have said? How would she have described the impact of rape and abduction? But like with so many survivors of sexual violence, Dinah’s voice—her narrative—is silenced. (NB: Some feminist artists have sought to redress this silencing. Hence, Anita Diamant has written a popular novel, which retells some of the stories of Genesis from Dinah’s first-person perspective. Notably, Diamant’s story as told in The Red Tent, does not depict Dinah’s relations with Shechem as violent.)

 

Conclusions

Recognizing rape in biblical narratives opens up the text and its literary figures and allows contemporary readers, teachers, and educators to question and query the social and gendered roles of these ancient societies in relation to our own. In a modern context, the narrative of Dinah in Genesis 34 touches on larger issues surrounding rape, female sexuality, purity, and the status of women. These issues need to be exposed, written about, taught, and understood within a framework that seeks actively to resist victim blaming and shaming, and to take into consideration the rape and purity cultures which pervade so many of our own cultural contexts. Reading Genesis 34 with this in mind demonstrates that biblical texts echo and perpetuate the damaging discourses prevalent within contemporary rape and purity cultures. This biblical narrative testifies to the silencing of a rape survivor, to the exoneration of violence, the dismissal of rape as “just sex”, and to the insistence that survivors are somehow “damaged” or “defiled” by rape.

As readers living in rape and purity cultures, we surely have a responsibility to contest these discourses, both in the biblical text and in our own cultural locations. If scholars, clergy, and educators simply refer to biblical rape narratives, such as Genesis 34, as love stories, filled with passion, romance and seduction, or accept unquestioningly the text’s own insistence that Dinah is “defiled” by her rape, then they risk perpetuating the harmful rhetoric that underpins many rape and purity cultures throughout the world today.

 

Works Cited

Bechtel, Lyn. 1994. “What if Dinah is Not Raped? (Genesis 34).” Journal for the Study of the Old Testament 19 (62): 19–36.

Blyth, Caroline. 2008. “Redeemed by His Love? The Characterization of Shechem in Genesis 34.” Journal for the Study of the Old Testament 33 (1): 3–18.

Blyth, Caroline. 2010. The Narrative of Rape in Genesis 34: Interpreting Dinah’s Silence. Oxford: Oxford University Press.

Clines, David. 2009. Concise Dictionary of Classical Biblical Hebrew. Sheffield: Sheffield Phoenix Press.

Douglas, Mary. 1993. In the Wilderness: The Doctrine of Defilement in the Book of Numbers. Sheffield: Sheffield Academic Press.

Einhorn, Bruce, and S. Megan Berthold. 2011. “Reconstructing Babel: Bridging Cultural Dissonance between Asylum Seekers and Adjudicators.” In Adjudicating Refugee and Asylum Status: The Role of Witness, Expertise, and Testimony, edited by Benjamin N. Lawrence and Galya Ruffer, 27–53. Cambridge: Cambridge University Press.

Feinstein, Eve Levavi. 2014. Sexual Pollution in the Hebrew Bible. Oxford: Oxford University Press.

Fox, Everett. In the Beginning: A New English Rendition of the Book of Genesis. New York: Schocken Books, 1983.

Frymer-Kensky, Tikva. 1998. “Virginity in the Bible.” In Gender and Laws in the Hebrew Bible and the Ancient Near East, edited by Victor Matthews, Tikva Frymer-Kensky, and Bernard M. Levinson, 86–91. Sheffield: Sheffield Academic Press.

Gravett, Sandie. 2004. “Reading “Rape” in the Hebrew Bible: A Consideration of Language.” Journal for the Study of the Old Testament 28: 279–99.

Hankore, Daniel. 2013. The Abduction of Dinah. Eugene, OR: Pickwick Publications.

Kilmartin, Christopher. 2007. Men’s Violence Against Women: Theory, Research and Activism. London: Routledge.

Klopper, Francis. 2010. “Rape and the Case of Dinah: Ethical Responsibilities for Reading Genesis 34.” Old Testament Essay 23 (3): 652–65.

Lees-Massey, Caitlin, Jessica Morris, and Dean Tanner. 2016. “A Complaint of Rape.” 24 Hours in Police Custody. Television Programme. London: Channel 4.

Scholz, Susanne. 2000. Rape Plots: A Feminist Cultural Study of Genesis 34. Studies in Biblical Literature 13. New York: Peter Lang.

Shemesh, Yael. 2007. “Rape is Rape is Rape: The Story of Dinah and Shechem.” Zeitschrift für die alttestamentliche Wissenschaft 119 (1): 2–21.

Wolde, Ellen van. (2002). ‘The Dinah Story: Rape or Worse?’ Old Testament Essays, 15/1: 225-39.

 

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Rape Culture Denial – A Response

[A shorter version of this piece was published subsequently: see, Johanna Stiebert, ‘Denying Rape Culture: A Response to Luke Gittos’. Women’s Studies Journal 32 1/2 (Dec 2018: 63-72). Available online: https://ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServlet?dps_pid=FL38001280]

Introduction

When I search on Amazon Books for publications on rape culture, the first item to pop up is Why Rape Culture is a Dangerous Myth: From Steubenville to Ched Evans by Luke Gittos (SOCIETAS Essays in Political & Cultural Criticism, Exeter: Imprint Academic, 2015). The book cover’s blurb describes Gittos as a solicitor with ‘extensive experience in defending allegations of rape and sexual violence’. He is also the legal editor for Spiked (or Sp!ked), a UK internet magazine with a libertarian outlook[1] and he has chaired a panel discussion debating rape culture: ‘Rape Culture: Menace or Myth?’ held on 18 October 2015, as part of the series ‘Feminism and Its Discontents’, The Battle of Ideas.

The book title makes me uncomfortable. This is not a book about dangerous myths featuring rape, such as the myths that turn violent abduction and forced sex into something glamorous or titillating: the myths of Greek gods abducting and impregnating women, or of Roman men seizing Sabine women, or of Benjaminite men seizing the women of Shiloh. The subtext of all of these myths is that it is something of an honour, or something exciting, to attract the attention of a deity or man who simply cannot restrain his desire, his ‘need’ for sex and reproduction. Artworks of the rape of the Sabine women in particular often dwell voyeuristically on the muscled bodies of the captors and the beautiful curves tantalizingly visible under the dislodged robes of the captive women.  These myths are seductive – they turn rape into romance and sexual allure – which surely is disturbing in that a violent act is beautified, justified.

I guessed from the title of Gittos’ book already that I was unlikely to agree with the core thesis: namely, that rape culture is not real, or, if it exists at all, that it is a considerably exaggerated, sensationalized phenomenon designed to propel a toxic ideology. Gittos’ application of the word ‘myth’ clearly does not pertain to mythology: its usage is idiomatic and pertains to falsehood.

Rape culture – briefly – is the concept that in a given setting – and I include my own cultural context of the contemporary UK – rape and other expressions of sexualized violence occur with some frequency. This can be explained in part due to societal attitudes about gender and sexuality (e.g. sexual objectification, trivializing of rape, downplaying of sexual violence, victim blaming). One expression of and vehicle for such attitudes is popular culture (including images in music videos or advertising).

It was clear to me right away that Gittos and I were not aligned in our views – but why only read literature with which I agree? In my profession, teaching at a University, I make a great deal about how variously a text or topic can be interpreted. I expect my students to read widely and to learn to position themselves and argue their case after reviewing a range of arguments. I encourage debate and listening to different points of view. I tell my students that it matters less whether I agree with them than that they can articulate, argue and justify a coherent case. Sometimes, I have changed my mind on reading a well-argued case I had not considered before. Sometimes, my own point of view has become more sharpened and crystallized through encounter with a different point of view. Plus, Amazon reviews praise Gittos’ book for bringing a ‘cool head and the light of reason… [to] a heated topic’, as well as for being ‘clear and well argued’, ‘calm, level-headed and sympathetic’ and for confronting ‘fashionable orthodoxies’ and ‘the tyranny of political correctness’. Rape and many of the images I see all around me that glamourize and commercialize sexual violence make me feel anything but calm and level-headed – but, why not read a book that takes me right out of the sphere of my colleagues and friends who tend, broadly, to agree with my politics and my values?

I have read Gittos’ book and yes, I disagree with his argument. I do not find his argumentation either consistently rigorous or consistently level-headed – not least because he ‘stacks the deck’ with his (rather inflammatory) refrain that those who affirm rape culture are all panicked, feverish hysterics, manipulated by a fear-mongering surveillance state and sucked in by widely disseminated but completely wrong statistics, while he is reasonable and has access to sober facts. The experiences of others (be it rape victims, or professionals who work with rape victims) constitute ‘endless details’ and are not considered because they are anecdotal and emotive – but the input of lawyers Gittos knows, or of his friend, or his editor (all unnamed and all hearsay), receive mention in support of Gittos’ claims, in the absence of any independent research or any statistics. One important thing I do take away from the experience of reading Gittos’ book is the importance of defining one’s territory. Hence, just as other designations alongside ‘rape culture’ that are descriptive of complex ideas – such as, ‘education’, ‘left-wing’, ‘racism’, ‘pornography’, ‘feminism’ – have meaning on their own and can serve as a short-hand, they each also benefit from and sometimes urgently require delineation and qualification.

What follows is my summary and response to Gittos’ book, which I consider a toxic tirade thin on either responsible research or analysis.

Rape culture skepticism and denial: the wider context

While I will mostly restrict myself to Gittos’ book, his is not a lone voice. There are other prominent rape culture skeptics or deniers, too – for instance, Wendy McElroy, who has self-published Rape Culture Hysteria: Fixing the Damage Done to Men and Women (2016), as well as Camille Paglia, Christina Marie Hoff Sommers and others. Their voices are not uniform in every respect. Hence, whereas McElroy and Hoff Sommers claim a feminist high ground (they are real feminists), Paglia has declared feminism defunct and dead. Paglia is also altogether less willing to engage with the concept of rape culture, dismissing it – certainly, in the context of North America, though not India – as ‘ridiculous’. Tendencies that unify the rape culture skeptics and deniers referred to here are an emphasis on individualism and libertarianism alongside a (so-called) sex-positive/anti-censorship of pornography perspective and a need to stress that they are not anti-men and that men are victims, too (of both rape and wrongful or unreasonable rape allegations).

Denial of rape culture appears to be part of a distinctive worldview and I acknowledge that I do not share in it. I am not libertarian – although I may agree with some platforms of some libertarians (e.g. concerning opposition to the invasions of Afghanistan and Iraq). I do not deny individual accountability but I probably place greater weight than the rape culture deniers on the contribution of systemic-level influences and injustices. I, too, am opposed to certain forms of censorship and would also, like them, oppose the prohibition of polemical speakers on campuses. I believe universities should be places of free speech and spaces to present as well as resist and protest disparate views. When it comes to pornography, however, I am more circumspect than they, because I factor in what I see as the damage wrought by the sex industry on people’s lives, including on psycho-sexual development. I am also concerned about availability of pornography to children and other vulnerable people. Hence, I approve of some censorship on pornography, while acknowledging that the topic is complex (not only in terms of what constitutes pornography but also in terms of where and how it should be censored, as well as whether this will be effective in terms of managing damage). I have not felt a need to state that I am not anti-men or that men, too, are victims of rape and other forms of violence and abuse – I take this as a given and consider inequality on the grounds of gender contrary to the aims of equality (and hence, of feminism).

Let me briefly digress regarding so-called ‘sex-positive feminism’, a movement advocating that sexual freedom is an essential part of women’s freedom: this movement came into being in the 1980s as a result of a split on the topic of pornography within the feminist movement. Sex-positive feminists advocate against censorship or banning of pornography, while other feminists regard pornography as central to women’s oppression, objectification and exploitation. The debate is a many-layered one and feminist views on the matter cover something of a spectrum. In my view, the word ‘sex-positive’ – rather like ‘pro-life’ in the also divisive and emotive abortion debate – is misleading. It is perfectly possible to be positive about and to enjoy sex without using or promoting or tolerating pornography – just as being pro-choice on the matter of abortion does not equate with being anti-life. The spectrum and polyphony within feminism is sometimes unacknowledged by McElroy, among others: hence, for her there are ‘real feminists’, like herself, Paglia and others (2016: 7) and then there are man-hating ‘PC feminists’ – but no further nuancing. While she might (I don’t know) write me off as ‘fluffy’ or ‘liberal’ I see no space for my feminism in her bipartite depiction.

McElroy argues that ‘rape culture is a wildly successful fiction created by PC feminists’ that ‘engender[s] a climate of fear’ (2016: 2) and is particularly rampant on university campuses (2016: 1). The agenda of these feminists who ‘occupy positions of elitism and power’ (2016: 3) is ‘nothing less than the deconstruction of the institutions, culture and values of Western society’ (2016: 2) through ‘legally [disadvantaging] one class of people (white males) in order to benefit others’ (2016: 7). McElroy accuses these PC feminists of ‘[branding] half the human race – males, and especially white males – as rapists or rape facilitators… [a] slander [that] would be denounced as hate speech if it were directed at any other class of human being, such as blacks, gays or women’ (2016: 20).

McElroy argues that if prison and military populations are taken into account, then male-male rape may be even higher than male-female rape (2016: 12). She accuses PC feminists of ignoring male-male rape and even of ‘display[ing] an explicit enjoyment of male pain, perhaps because they view it as some sort of payback’ (2016: 13). This characterization of (un-real) feminists as sadistically anti-men and the dismissal of all they stand for as ‘PC’ or as ‘ideology that… wages war upon true diversity’ (2016: 7) strikes me as a vicious caricature. After rebuking ‘PC feminists’ for ignoring or relishing in male-male rape, she herself proceeds not to address the topic further. Her reason is that while she regrets this ‘omission’, an exposition of male-male rape would itself demand a book of its own. I agree with McElroy insofar that male-male rape is highly likely to be ‘one of the most underreported and widely dismissed crimes in society’ and also, that to do the topic justice would require careful and particular ‘direction of research and analysis’ (2016: 13). I forcefully reject McElroy’s reasoning why feminists who affirm rape culture steer towards discussions of primarily or solely male-female rape (i.e. because they dismiss, even delight in male shame and pain).[2] I would say, too, that male-female rape is also highly likely to be underreported and in all probability considerably exceeds male-male rape. Of Rape Crisis UK service users in the past year, for instance, 93% were female. Reliable rape statistics are difficult to obtain but such is also the indication of data compiled by the Office for National Statistics (on this, see below).

Even more explicitly so than Gittos, McElroy is a neo-liberal, as well as someone who calls herself a ‘real’ feminist[3]– while attacking above all (un-real?) feminists for perpetuating falsehood and hysteria about rape. Among descriptors applied to McElroy by herself and her supporters are ‘individualist anarchist’, ‘libertarian feminist’, ‘equity feminist’ and ‘sex-positive feminist’. Unsurprisingly, she expresses preference for capitalism as the most productive, fair and sensible economic system and advocates for ‘privatizing higher education to provide the competition that offers freedom, and removing the power of the federal purse in academia’ (2016: 11). (We disagree on far more than just rape culture!)

Luke Gittos on Rape Culture

Gittos’ argument is that the phenomenon of rape culture derives from ‘the hysterical climate that has arisen around rape’ (2015: 3), which is fed by ‘panicked news stories’ (2015: 2). This has led, he argues, to the erroneous belief that sexually aggressive behaviour has become normalized, thereby making actual rape and sexual violence more likely. But this is actually ‘nonsense’ (2015: 9) and either ‘demonstrably false or based on extremely questionable evidence’ (2015: 7). Instead, so Gittos, rape is roundly condemned and taken very seriously (certainly in the contemporary UK), including in court, and is not endemic, or even very common. Rape culture has nothing to do with rape but is designed to facilitate the ‘fervent intervention by the state in our private and intimate lives’ (2015: 9). Because of such intervention more incidents that are not actually rape are called rape, intimacy is increasingly patrolled, and the anxiety this generates fans assertions of rape culture further.

Gittos claims that rape culture proponents ‘rely heavily on personal accounts of those involved in rape cases’ (2015: 12) but he intends ‘boldly’ not to ‘recite endless details about people’s experiences’ but to present ‘the facts’ (2015: 13). (It is unclear why the accounts of persons who have been raped or who work with rape victims or rape perpetrators are not ever a suitable source of facts.) Over and over again, we have a juxtaposition of panicked, hysterical, feverish rape culture proponents, gushing out ‘endless details about people’s experiences’, which is counterpointed with Gittos’ ‘facts’ and ‘objective substance’ (2015: 13, 14).[4] While Gittos eschews what might be called anecdotal evidence about the prevalence of rape or sexual violence, his book is none the less speckled with anecdotes that serve his purposes. There are no stories of the many revelations about rape committed by celebrities (as investigated by Operation Yewtree), or by persons in position of authority (such as football coaches, clergy) or about the numerous and long-ignored, even suppressed, cases of on-street grooming (in Rochdale, Rotherham, Oxford, and elsewhere) – with the implication being that such would be emotive, hysterical, feverish and get in the way of judgment, objectivity and facts. Gittos refers to Operation Yewtree only insofar that it is driven ‘by the public’s reinterpretation of the past in line with the supposedly objective standards that we hold today’ (2015: 56). In other words, he casts doubt over all the allegations of sexual abuse raised by Yewtree. Again, Gittos decides what is ‘objective’ or legitimate evidence and what is not.

But, curiously, some experiences and some stories do pass muster – when they suit Gittos’ agenda. The book opens, for instance, with a press story about a sixteen-year-old referred to as ‘M’, who has pleaded guilty to rape, will have a rape conviction and be registered as a sex offender. Although what is relayed by Gittos is sparse (probably because the media coverage was similarly terse), he is quick to designate this a grave injustice against a child (moreover, a child with mental illness and low IQ) who was probably only experimenting sexually. How Gittos can conclude that this was in all likelihood a case of harmless sexual experimentation – any more than he can decide that Yewtree cases are all distorted reinventions of the past – is unfathomable. But for Gittos what was done to M is an ‘outrageous miscarriage of justice’ against ‘the most vulnerable’ (2015: 2). Given how little is reported it is difficult to decide whether he is right about this or not. In my view, however, it is a grave omission to make no mention at all of the very considerable number of unequivocal rape cases – including, as in his example, of children – cases where sexual experimentation is decidedly not an issue and where the most vulnerable were not always served well by the justice system (e.g. in the Rotherham grooming scandal. There is no attempt here at balance.

Gittos is clear about focusing primarily not on either rape or victims of rape but on ‘rape culture’ (which he places in inverted commas to suggest the spuriousness of what the term represents). Rape culture, he claims, ‘bears little resemblance to the reality of rape’ (2015: 16) – about which he, however, has nothing to say. Gittos is not a rape apologist: he is careful to point out that rape constitutes a ‘hideous criminal offence’ (2015: 15)[5] and he argues that ‘the law has expanded significantly around rape’ (2015: 14; cf. 2015: 19) – in his view too much, so that its ‘regulation of sexual etiquette’ (2015: 14) has come increasingly to interfere in intimate life.

Chapter One of Why Rape Culture is a Dangerous Myth

In the first chapter, Gittos tackles rape statistics. It is widely acknowledged by persons on various parts of the spectrum of the debate on rape prevalence and incidence, that reliable statistics are very difficult to obtain.[6] It is, quite simply, not possible to interview everyone, or to ensure that everyone interviewed reports truthfully. Moreover, the definition of rape and – even more so – of sexual violence is somewhat variable. The Crime Survey for England and Wales and the data of the Office for National Statistics (ONS) states that an estimated 85,000 women and 12,000 men per year are raped or severely sexually assaulted.

The number of 85,000,[7] Gittos agrees, before dispelling its accuracy, is high. He also designates the number a ‘fixation’ for rape culture advocates (2015: 27, 36)[8] and proposes that it is grossly inflated. He does not discuss the counter-suggestion that the figure may indeed legitimately be high – might even be conservative. Hence, Rape Crisis UK, for instance, reports an annual total of 202,666 calls to its helpline and has assisted 67,059 individuals with specialist services in the past year. Gittos focuses instead on the survey questions and points out that ‘someone who is penetrated without consent is not necessarily a “victim” of rape or serious sexual assault, even in law’ because this ‘fails to take into account an alleged perpetrator’s knowledge at the time of the incident’ (2015: 21).[9] But how can persons answering a survey on their experience of non-consensual sexual penetration comment on the perpetrator’s knowledge? Still, Gittos concludes, ‘the figure of 85,000 potentially includes as victims people who shouldn’t be’ (2015: 23). He does not concede that the figure might also fail to include victims of rape who should be included (e.g. those whose consent was compromised or invalid and those who do not acknowledge let alone report rape due to trauma, stigma or shame).

Gittos asserts that the high figure is indicative of over-reporting (i.e. of calling certain sexual acts ‘rape’ when they are actually not) and of an increase of rape allegations, which for him does not constitute an increase of rapes or of proven allegations. Gittos also decides that included in the high figure is all sorts of ‘perfectly ordinary relationship behaviour’ where things might get ‘a bit frisky’ (2015: 23–24).[10] He attributes this tendency to being ‘routinely bulldozed by the narrative that we live in a “rape culture”’ (2015: 25). Gittos is dismissive of the methods and results of the ONS but he does not propose how more reliable statistics as to the prevalence and incidence of rape might be obtained instead and he does not venture an alternative number. He speaks of the need for ‘an objective and impartial judgement on the evidence’ (2015: 31) but he himself does not present let alone analyze evidence.

Gittos shuts down early on the relevance of the experiences of rape victims to discussion on rape culture and makes no mention of any possibility that certain professionals (e.g. health care workers, social services staff, police officers) have valid input to contribute. Instead, he dismisses the former as ‘endless details about people’s experiences’ (2015: 13),[11] mere anecdotal evidence. But Gittos does find it okay to bring in ‘the views expressed by the lawyers I spoke to’ who ‘often bemoaned the number of rape cases coming to court that had not been properly investigated’.[12] He refers to ‘[o]ne prosecuting barrister I spoke to [who] said that rape trials were becoming “psycho-sexual examinations” of two people’s unsupported word’ (2015: 32). Just as it is Gittos who decides who is ‘hysterical’ and who is ‘objective’ he also decides whose anecdotes are relevant and valid! I am quite certain that one could speak to other lawyers who would tell a different story – like Professor of Law Susan S. M. Edwards, author of Sex and Gender in the Legal Process (Blackstone Press, 1996), who indeed features in a panel discussion chaired by Gittos (see above, The Battle of Ideas).

Granted, reliable rape statistics are difficult to obtain, not least because rape is emotionally fraught terrain. By pointing out that rape allegations are not rapes, that absence of consent to penetration is not always constitutive of rape, because it does not take into account the alleged perpetrator’s knowledge or state of mind (!), and by constantly asserting that a frenzied media and an invasive state instill rape hysteria, Gittos dismisses the ONS figure of an estimated 85,000 rapes of women and girls in one year. He neither permits nor considers counter evidence and offers no method for obtaining data and no figure that he deems more reliable. The support he cites is selectively anecdotal.

Chapter Two of Why Rape Culture is a Dangerous Myth

In the second chapter Gittos rails at what he considers intrusions by the law, which seek more and more to regulate intimate relationships. He appears to lament how law addressing domestic violence and violence against women and girls (VAWG) targets ‘what once would have been considered perfectly ordinary intimate behaviour’ (2015: 43). (Ah… the ‘good old days’ … when there was no rape within marriage, when children were told to stop being ‘inappropriate’ when they attempted to describe sexual molestation, when sexual harassment in the workplace was just something you had to put up with…)

Gittos sees great potential for harm in Clare’s Law, which allows any member of the public to apply to the police for information about a person’s previous convictions for violence (2015: 43–44), and finds it disturbing that both stalking and ‘controlling or coercive behaviour’ in an ‘intimate’ relationship are now criminalized (2015: 44–45). In my view, rather ignoring the intent of the law – hence, Clare’s Law is, as Gittos explains, named after ‘Clare Wood, who was tragically murdered at the hands of her ex-partner, George Appleton, in 2009’, with ‘Appleton ha[ving] a history of violence against women’ (2015: 43) – namely, to protect persons from violence, intimidation and harassment by giving them greater access to relevant information – Gittos makes light of what is often an acutely serious, even deadly, crime. He writes, ‘[a]nyone who claims that they have never controlled or coerced their partners, even in a way which has a “serious” effect on them, is likely to be lying. It would be hard to coordinate meal times or balance family budgets if you didn’t have some degree of control over your partner’s behaviour. …Anyone who has been in love is likely to have gone at least some way to behaving in a manner which could be defined as stalking. …But the law as drafted is drawn so widely that many perfectly normal aspects of intimate behaviour could be caught’ (2015: 45–46). Do laws sometimes get abused? Yes. Do people sometimes get wrongly accused, even convicted? Yes. But it seems far likelier that the domestic violence and VAWG laws were refined in response not to pettiness and not in order to facilitate invasions of privacy, as Gittos implies, but in response to actual violence (directly so, in the case of Clare’s Law) and greater pressure to address such. After all, every single week two women are killed in England and Wales by a current or former partner. Gittos may say that ‘[o]f course, domestic violence is a serious problem’ but he undercuts this with his much greater emphasis on the ‘significant state involvement in the most intimate areas of our lives’ (2015: 47). Frankly, if this ‘involvement’ brings some measure of protection and some public acknowledgement of the scourge of domestic violence, I’ll take it. Again, ONS figures on domestic abuse and stalking are staggering but Gittos no doubt has the same disdain for these statistics as for those on sexual violence.

Gittos also sees evidence of ‘the state’s colonisation of intimacy’ (2015: 38) in family life, including parenting. Interestingly, whereas earlier Gittos does not want to engage with the accounts and experiences of rape victims but rather with what he refers to as objective facts and the words of experts – like the lawyers he has talked to (2015: 32) – when it comes to parenting he favours the ‘judgement of parents based on their own experience’ and expresses indignation that this ‘is seen as of secondary worth to the state-approved advice of “experts”’ (2015: 49). He refers to the difficult case of Ashya King, to point out how harmful state intervention and management can be. While there are high-profile and tragic cases were local authorities failed children who went on to die in their homes (such as Baby P), Gittos makes no attempt to look at (less newsworthy but more numerous) instances where state services intervene to help children at risk in their homes and sometimes from their parents.

Also in this chapter Gittos – for all his apparent open-mindedness (e.g. with regard to sexual experimentation and things getting ‘a bit frisky’, or his opposition to censorship) – reveals a starkly socially conservative side. With regard to same-sex marriage, Gittos expresses some upset with ‘the disregard that many of those in favour of gay marriage showed to the possibility that marriage had a particular tradition that was worth defending’ (2015: 51–52). Again, Gittos refers to ‘[his] personal conversations on the topic’ (2015: 52) – anecdotes and personal experiences are fine when he says they are – and calls many of those in favour of equal marriage rights ‘vitriolic and aggressive’ (i.e. the counterparts to ‘panicked’ and ‘hysterical’ rape culture proponents). He casts them as ‘intolerant’ and dismissive of tradition. Most surprising for me is his statement: ‘[t]here was no public referendum and no evidence that the change [to inclusion of same-sex marriage] was supported by the majority of married people. The possibility that married people had any stake in the institution of marriage was simply brushed aside’ (2015: 52). I am baffled quite why married people should decide whether same-sex couples be legally permitted to marry! Why should married people decide and what precisely is their ‘stake in the institution of marriage’ anyway?? (No one, as far as I am aware, has ever suggested that same-sex marriage is to be the convention instead of opposite-sex marriage… what is the threat here?!)

From here, Gittos continues on something of a tirade. Objectivity and facts do not spring to mind first when one reads: ‘[t]he idea that marriages and family life are best understood by the people involved has become seen as risky and in need of control. The idea that people should be able to marry for “traditional” reasons is seen as reactionary and prejudiced. The idea that parents should be able to dictate what is best for their children is dismissed as willfully neglectful or abusive’ (2015: 53). It is unclear to me just who these fulminating anti-traditionalists and judgers of willfully neglectful and abusive parents are… Gittos does not tell us.

Gittos is dismissive of what either an extension of domestic violence law or consent classes could possibly achieve. He considers both sinister incursions on privacy and intimacy. Regarding the latter, Gittos laments that consent classes imply that ‘what was once an organic and deeply human process, the obtaining of agreement from another human being, can be taught to children much like how they learn a musical instrument’ (2015: 57). I have my doubts that in times past the obtaining of consent was either as organic or deep or naturally practised as Gittos implies (where are reliable statistics and objective facts now?) but I can see how the notion of offering consent classes might seem clunky. It is the case, however – though most of my ‘evidence’, admittedly, is anecdotal and obtained directly (I have two young children) – that children are confronted with many sexual and sexualized messages and images (in the form of music videos, YouTube videos, and so forth), which are widely and rapidly accessible, on demand, at any time on a phone or tablet. Gittos ridicules the notion that a song such as Robin Thicke’s Blurred Lines contributes to rape culture (2015: 4) and it is certainly not likely that hearing the song or watching the music video is likely to lead directly to sexual violence. If, however, there is regular and intense exposure to sexually explicit lyrics and, particularly, visual images (such as, sexually explicit music videos, or pornographic films) this is likely to have an effect on a child’s psyche and on psycho-sexual development – particularly if this is not discussed, or put into some sort of context (this being the purpose of the proposed ‘consent classes’).

I am thinking now about a song my nine-year-old enjoys singing, Treat you Better by Shawn Mendes. Many children in my children’s age group could sing all the lyrics to this catchy, soulful song. The song’s video is quite unsettling. It features a moping Mendes thinking about the girl he loves, a fragile, waifish girl, who is together with another man who does not treat her well. The other man is depicted as ‘cool’ (he drives fast and dangerously, he is dominant in his group or gang) and also as violent: he threatens the girl physically, grabbing her by the face, throwing her on to a bed, and she is afraid of him. At the end of the video – in acknowledgment of the disturbing content – a telephone number for the National Domestic Violence hotline flashes up.

Now, relationships like the one in the video, where attraction is mingled with violence, exist. Domestic violence exists – so, why not depict it? The problem arises when children watch such videos without recourse to people and settings where they can be discussed. While Gittos argues against the notion that ‘sexual suggestion is a more common feature of films and music [and that this]… encourages the viewer and the listener to engage in sexual violence’ (2015: 5), I would say that the first part of the statement is difficult to deny. The explosion of continuously available media – primarily through the internet – and accessibility to it through personal devices (computers, tablets, cellphones) has made all kinds of information and content readily available, including a profusion of sexual and sexualized content. The second part of the statement also strikes me as highly likely: after all, it has been amply demonstrated that children who grow up in households where English is spoken, learn to speak English and children who grow up in violent environments are more likely to act violently. So, insistent exposure to sexually explicit and sexually violent images is – it strikes me as a no-brainer – likely to have some effect (likely negative, or at least confusing) on psycho-sexual development. I would agree that it is not as simple as ‘see rape, do rape’[13] but also that discussion with children about matters sexual and relational – in both the home and at school – is a good idea. It is more urgent because more children are seeing more sexual and sexually violent content and are likely to have questions, or concerns.

Consent classes may be a clunky concept – and ideally, there would be no need for them, because children would not be exposed to sexually explicit and sexually violent images and would also have people to hand who talk to them and answer questions – but both the intention of consent classes is and their effect may well be positive. As with domestic violence and VAWG laws, consent classes are not devised to interfere with and invade personal space and privacy but to address pressing concerns.

Gittos concludes the second chapter with first, the assertion that rape is less prevalent than some (unspecified) ‘campaigners, commentators and politicians would have us believe’ (2015: 59–60). I would say he has still not demonstrated this – Gittos only discusses why in his view rape statistics might be unreliable. He does not offer alternative statistics. Also, while he concedes that rape is a hideous crime, he chips away at what constitutes rape, suggesting that even unwanted and non-consensual sex might not actually qualify as rape. Given this chipping away at the definition of rape, no wonder he can decimate rape statistics. But this is a trick of rebranding, rather than of demonstrating that sexual violence is far less prevalent than claimed by the ONS, for instance.

Secondly, Gittos asserts that prosecuting rape nowadays is easier than ever before. I hope this is true and celebrate it. I am certainly relieved that rape in marriage is a crime nowadays[14] and that date rape is taken more seriously in law than it was a generation ago, as well as that rape victims are reportedly treated with more sensitivity, with police officers receiving specialized training.

Thirdly, Gittos locates the ‘dangerous myth’ of rape culture prevalence not in ‘endless academic arguments… [a] buzzword dreamt up in gender studies classes… [or] an insidious tactic by cranky feminists to target and incriminate men’ (2015: 60) (like McElroy) but in the state of our society: namely, a society of people ‘whose members have become fundamentally anxious about relying on their own judgments about intimate life’ (2015: 60). It is unclear in whose interests such a fearful society might be (and things tend to happen because they are in powerful people’s interests). Whereas McElroy blames the ideology of nasty PC feminists, bent on dismantling western civilization and messing with men, Gittos seems to fear ‘the state’ seeking to control its citizens right on into their intimate lives by spreading fear – fear of rape, of sex, of being accused of rape. The agenda, it appears, is rather grand-scale political and of the neo-liberal persuasion, emphasizing the individual over the collective and fanning a fear of widespread and insidious interference.

Gittos’ fear of the state and its meddlesomeness could rather easily be branded in the ways Gittos ridicules rape culture – as panicked, hysterical, or – to use Paglia’s label – neurotic.

Chapter Three of Why Rape Culture is a Dangerous Myth

In the third chapter Gittos pursues further the topic of rape and the law. Gittos writes ‘[m]any more situations can be classed as rape today than could be thirty years ago’ (2015: 63). He does not see this or the greater conviction rate for rape crimes as signs of progress, e.g. of more effective processes in gathering data, of treating rape complainants with more sensitivity and professionalism (so that more rape victims will come forward and take their rapists to court in the first place).[15] Gittos, instead, sees convictions to be equated with ‘victories’ and acquittals with ‘defeats’ and considers this an abandonment of the ‘objective and impartial administration of justice’ (2015: 62–63). For him, the odds are stacked in favour of rape complainants and against rape defendants. He also claims that ‘those who claim that we live in a “rape culture” argue that the justice system ignores rape’ (2015: 63; cf. 2015: 86) – which I (as someone who believes my culture is a rape culture – of which more soon) would resist. I do not believe that the justice system ‘ignores’ rape. I believe there is evidence of improvements in the treatment of rape victims by the NHS and its Sexual Assault Referral Centres, by police and courts and in terms of prosecuting rape. Indications are, however, that rape is still underreported and that when rape trials go to court, a low number transpire in conviction.[16] This low conviction rate is in large part due to the nature of the crime: most often in rape cases there are no independent witnesses or (as with other assaults) CCTV data, which can make it difficult for juries to navigate two different statements concerning a sexual encounter. While there is a lot of independent evidence to support under-reporting and low conviction, Gittos, again, damns this evidence (of the ONS, for example).

Also, because he does not consider the testimony of rape victims or rape complainants relevant, or as compelling as his select ‘facts’, he does not consider why anyone who was not raped would put themselves through the ordeal and hassle of a court case. Yes, there have been wrongful accusations of rape, which have gone to court – and such have gravely affected persons innocent of the charges made against them. Such accusations are deplorable. But there is no evidence to suggest that these are commonplace.[17] Reporting on Jemma Beale, who received a ten-year sentence for a series of false rape allegations, Zoe Williams points out, ‘[f]alse rape claims get a lot of publicity, on the basis of that rarity, and the sentencing reflects this urgent sense that other women must be deterred. In fact, women generally do not need to be deterred, any more than they need case law to discourage them from child trafficking or smuggling rhinoceros horns. It is a well-documented nightmare to bring a charge of rape: to do so falsely is vanishingly rare for that reason, and not because we’re all waiting to see what kind of custodial sentence we can get away with’ (2017).

The chapter includes an absorbing discussion on the complexity of ascertaining ‘reasonable’ consent, describing a memorable and awful case, DPP v Morgan , as well as reaction to it. Briefly, in this hideous case three appellants were convicted of rape after a violent attack. The three had been out drinking with a fellow RAF officer who invited them back to his home to have sex with his wife while he watched. He had assured them that she was consenting and that any resistance was part of kinky sex play. The appellants claimed that they had not intended to commit an offence and had reason to believe that consent was in place. In Gittos’ view, responses to this ‘grim’ and ‘egregious’ case (2015: 65, 67) influenced the Sexual Offences Act 2003, because ‘hard cases make bad law’ (2015: 67). In Gittos’ assessment this Act has undertaken ‘a thorough legislative assault on our private lives’ through ‘intrusive surveillance of almost anybody’, as well as through anti-social behaviour orders (ASBO’s), widespread prosecution of children and young persons for sexual offences and ‘compulsory supervision of the state’ of ‘more areas of family life’ (2015: 64). Here again is more of the shrill tone, sounding alarm about ‘the state’. In his view – though Gittos cites no examples here – many of these cases ‘involve those who desperately [need] the authority and guidance of the people around them, rather than the blunt force of the law’ (2015: 71) – but ‘[these] people around them’ do not or should not constitute representatives of ‘the state’, presumably. No experts are cited – there is only vague reference to ‘many suggesting that the cases show how the law around rape has expanded too far’ (2015: 71).

One case that is raised by Gittos is that of Benjamin Bree, which he characterizes as a ‘drunken, regrettable incident between two young people… the sort of encounter which must happen regularly at campuses up and down the country’ (2015: 72). (This may indeed be the case and the vast majority do not go to court – probably for a whole host of reasons, including, sometimes, that when the hangover is past, a court case seems like too much of a hassle, or too embarrassing, or too likely to end with no conviction.) Gittos says confidently that there is ‘no evidence that Bree intended to commit non-consensual penetration’ (2015: 72) – and that may indeed be so (I know no more about the case than what was reported). Gittos laments that there is more scope ‘today… [for] regulating those cases where defendants arguably should have done more to obtain consent’ (2015: 73). Well… good! Maybe more will do more to obtain consent! Maybe more will wake up to the fact that someone unconscious (e.g. in a drunken stupor) cannot give consent and that it is not okay to have sex with them. Moreover, Bree’s conviction was overturned by the Court of Appeal – though for Gittos this only confirms that ‘the fact that the case was ever brought in the first place shows the impact of the expansion of the remit of rape’ (2015: 73). Other cases could be cited which show that even when there are insistent complaints about a rapist or group of rapists rape complainants are not taken seriously – because they were drunk, scantily clad, unreliable in other circumstances, or whatever – though in these cases their claims were vindicated. Examples include dozens of on-street grooming scandals where young victims were routinely disbelieved and ignored (by both social services and police), or the case of taxi driver John Worboys who ‘may have drugged, raped and assaulted more than 100 women over six years’, though ‘police repeatedly failed to respond to the claims of his victims’, leading Deputy Commissioner John Yates to acknowledge that ‘[w]e [the police force] need… to reinvent our response in the way that we did in relation to homicide after the tragic murder of Stephen Lawrence’.

Gittos chooses not to discuss such cases (and there are very many), focusing instead on cases where a case for ambiguity is easier to make (e.g. Bree, where the call whether this was indeed a case of non-consensual sex, because the woman involved was not conscious to give consent, is difficult to establish), or where the argument that the law got it wrong (which it sometimes does, cf. Gittos 2015: 85) may apply, as in the case of McNally, the transgender teenager accused of deception for not disclosing to his sexual partner that he was born with female genitalia. For Gittos cases like this are ‘because of the panic around rape and rape culture’, which criminalize ‘youthful experimentation’ (2015: 75) but he considers none of the many cases indicating that there is a high number of unequivocal cases of sexual violence (among youth and non-youth) and that these cannot be smoothed over with recourse to ‘experimentation’. It is unhelpful and potentially toxic and cruel to imply that criticism, indignation and concern about sexual violence are due above all to prudish or hysterical disapproval of sex play.

Chapter Four of Why Rape Culture is a Dangerous Myth

Gittos’ fourth chapter opens with the claim, ‘[w]e have considered in some detail the facts about rape’ (2015: 78). I would dispute this claim. Gittos has said that rape is a hideous crime – so far so good. He has rejected bringing in the experiences of rape victims or of professionals who work with rape victims or perpetrators. He has asserted that the definition of rape has broadened to include all kinds of activity he considers fine when really its definition, in his view, ought to be very narrow, excluding even instances of penetration where there is no consent (because the perpetrator’s knowledge and state of mind need to be taken into account). He has rejected rape statistics and offered no alternative methods for data collection and no alternative data. He has asserted over and over again that pretty much all claims about rape prevalence and incidence, as well as all statistics indicating a substantial number of sexual assaults, are down to hysteria, panic and the state’s wish to control people’s private lives. I find this hard to bring into line with ‘the facts about rape’. There is no definition, no data, no description of a preferable methodology for obtaining data, and no engagement with counter arguments.

In this chapter Gittos seeks to discuss what he labels (yet again) ‘the absurd moral panic around rape and rape culture’ (2015: 78), again implying that those who subscribe to rape culture are frigid hysterics. The first page contains more ammunition to support this characterization: rape culture proponents are ‘hysterical, unthinking’, as well as ‘deeply censorious’ encouraging ‘intolerance of any attitude that is seen to offend or even challenge the contemporary consensus around rape’ (2015: 78) (is there such a consensus??).[18]

Until now Gittos has not attended to racialized dimensions in rape discourse, only throwing in a line, with reference to a Ministry of Justice report of 2010, that there is ‘no evidence for racial bias against black [rape] defendants, even in all-white juries’ (2015: 35). Counter-evidence – of which plenty exists – is not referred to, let alone discussed. Now he uses a citation from a racist apologist, dating to 1905, to argue that such apologist rhetoric, maligning black men as sexually uncontrolled, underpins ‘the logic of the contemporary rape culture argument’ (2015: 80). Hmmm. This is further augmented by the opinion of Gittos’ editor at Spiked who sees parallels between KKK tactics to generate rape hysteria and ‘the panic around rape today’ (2015: 81). (It must be true if ‘evidence’ from 1905 and Gittos’ editor say it is – right?) While Gittos goes on to say ‘[o]f course, the racist dynamic that propelled the rape culture argument in the past does not apply in today’s context’ (2015: 82), the use of one (racists) to tarnish another (proponents of rape culture) has already occurred, because, for Gittos, ‘the racist fear-mongers of the past and the feminist fear-mongers of today’ share characteristics (2015: 83). This is a dirty tactic if ever there was one. The shared characteristic is that ‘both portray people as culturally determined’, which Gittos then equates with being ‘constantly susceptible to manipulation by the “culture” they see around them’ (2015: 82). There is no mention of this ‘culture’ also reflecting people and their attitudes. ‘Culture’ is not so much imposed from outside as generated by the people who use it and by their demands.

Gittos goes on to claim that in the past feminists had reason to rail at the treatment of rape victims. Back then (in the 1970s and 1980s) ‘feminists … were able to identify objective political realities’ (2015: 86) – but nowadays, with ‘[a] small army of specially trained police officers to deal with every aspect of rape allegations’ and with ‘prosecutors … desperate to prosecute rape in the most public way possible’ (this is balanced?!) (2015: 85), ‘the absence of those realities… means that those who are convinced we live in a rape culture have to create their own realities’ (2015: 86). Like with ‘alternative facts’ these created realities add up, of course, to lies. Hence, everything all rape culture proponents claim is fabrication ‘[i]n the absence of real social factors making women more vulnerable to rape’ (2015: 86). What an insult to persons who have endured rape, to whole groups of people who are disproportionately vulnerable to rape – such as the homeless, survivors of child sexual abuse, black or minority ethnic persons and the disabled [see Rape Crisis UK statistics]. Distressing statistics and testimony such as those gathered by Rape Crisis UK, however, are dismissed by Gittos as rooted in ‘a deeply personal, subjective conception of what constitutes “culture”’ (2015: 87).

Next, Gittos states that ‘[a]cademic research has consistently failed to demonstrate the link between pornography, computer games, music videos and other cultural phenomena and the prevalence of sexual violence’ (2015: 89–90). Really? More accurately, there is no consistency in research studies (nothing unusual there) but there is actually a great deal of research that demonstrates such links: e.g. ‘The Impact of Violence in the Media – Research from Oxford’, and research by the American Psychological Association among very many more, which can be found with ease in any number of journals from the social sciences – though Gittos, again, fails to consider it and to accuse, instead, rape culture proponents for ‘play[ing] fast and loose with research’ (2015: 90). Ironic…

Having not considered the formidable body of academic research, Gittos proceeds to diss academics by implying that they tend to waste their time anyway: ‘we hardly need academics to tell us that people can still be sexist. …in bars across the world, women run the risk of being touched in bars by sexist men. But equally, I don’t need to be a criminologist to know that these studies say nothing about the existence of a rape culture’ (2015: 91). So… academia has nothing to teach Gittos – he knows it all and if he doesn’t know something, lawyers he knows, a friend, or his editor can provide ‘facts’. Well… such claims would not be adequate for passing an essay in one of my modules at University.

Although the Steubenville and Ched Evans cases are named in the subtitle of his book, Gittos only refers to them now – and briefly. He calls Steubenville ‘a tragedy for all involved’ (2015: 93) but saves particular sympathy for the boys, who were only children. Gittos claims not to be troubled by Evans’s conviction (suggesting that he finds the conviction reasonable – presumably, because he agrees that Evans raped a woman who could not give consent) but he saves the bulk of his outrage for the ‘mob justice’ of rape culture adherents defending ‘their worldview’ (2015: 94). Many of those outraged were not really talking about rape culture but about a man who raped an unconscious woman. Angry responses to Evans returning to Sheffield United often responded to his lack of contrition or apology to the rape victim. But Gittos considers Evans a victim of rape culture harpies who determine that ‘the normal rules of society, by which we tend to allow people the space to live their lives as they choose within the limits of the law, should not apply’ (2015: 96). Gittos deems this ‘abandonment of objectivity, impartiality and judgement’ (2015: 96). But, of course, the way things played out (albeit after the publication of Gittos’ book) following the Criminal Cases Review Commission and Court of Appeal trial saw Evans’s conviction (with which Gittos had no trouble – because it is not in dispute that he had sex with a woman who was very intoxicated and unable to give consent) quashed.

In the course of Evans’s appeal the complainant’s sexual history was brought before the court, an invasive tactic that has raised alarm among a considerable number of lawyers. Vera Baird refers to this as an acquittal gained by prejudice against the sexual choices of the complainant. She states that ‘[w]e seem to be returning to a mindset and practices we thought were confined to history’, a time where fear of having one’s private life disclosed in a court setting deterred rape victims from reporting assaults (2016). Because the rape claimant in the Evans case had had separate sexual encounters with two men around the time of the rape encounter with Evans and because on those occasions she had had a lot to drink and taken initiative in sex, the case was made that sex with Evans constituted similar or typical behaviour, a pattern. In other words, someone who will get drunk and consent to sex with two men, will also when drunk have sex with Ched Evans…?! The subtext here is, ‘she had it coming’. Had she accused all three men of rape there might have been a case for a pattern. Because she did not, it could very well be the case that the complainant knew full well when she had given consent and when not. The disclosure in court of the claimant’s sex life is likely to have been humiliating. Who was really on trial here? Who is moralistic and censorious here? How does a tactic like this not downplay the seriousness of rape? How does it not target the victim? How does this bear out Gittos’ claim that rape is taken very seriously and that the law is stacked in favour of the complainant? Is this a one off? It seems not: Baird points out that ‘[o]ne in five trials sees an application for sexual history to be heard, even now’ (2016).

Gittos extends his pretty constant litany of claims about rape culture proponents being hysterical and irrational by claiming that ‘[w]hile portraying groups of men [e.g. members of athletic teams and fraternities] as savages in need of reining in, the rape culture argument also portrays women as incapable of negotiating their sex lives for themselves’ (2015: 99). Again, I certainly do not recognize myself in this depiction. The rape complainant in the Evans case was deemed incapable of negotiating her sex life for herself, being depicted in court as someone who habitually gets drunk and will sleep with anyone and not even know the next day who that might have been. In my view there are indications here – and this is not an isolated case – of a wider cultural context where double-standards about sex persist, where the complainant was judged on account of having had consenting sex while drunk with two other men and therefore to have been consenting to sex with Evans (or to have been reasonably considered consenting). Evans’s sexual proclivities, meanwhile – he had another sexual partner at this time, too – were not held to the same standard. Also indicative of a toxic rape culture climate were the many vitriolic things said about the claimant. Where Gittos focuses on what he calls the ‘mob’ who were outraged at Evans rejoining Sheffield United he makes no word of the mob who outed and vilified and slut-shamed the woman who brought the case against him. She was accused of being a gold-digger – then why try to maintain anonymity? – and of crying rape after regretting sex – then why not do the same after sex with the other men? The treatment of the complainant is very difficult to justify – or to account for other than with recourse to a cultural climate in which (for all the improvements in laws pertaining to rape and for all the resistance to rape culture) rape myths – such as that women will falsely report rape to get back at a man or seek attention, or that a woman who gets drunk and acts flirtatiously is fair game – persist.

Whereas Gittos dissected and rejected the ONS statistics, he readily accepts statistics that he finds agreeable. Hence, he cites research by the University of Bolton, according to which ‘more than a quarter of respondents interact socially with others only once a week’ (2015: 102). He does not subject the methodology or results of this research to any degree of scrutiny but uses these findings to argue for the alienation and sense of personal vulnerability wrought by the state’s intimacy-surveillance, which is (he has told us many times now) fuelled by rape culture panic. Deprived of sexual experimentation, which is, Gittos has told us, so bluntly dealt with in draconian and intrusive fashion by the nasty state, young people now resort to sexting in ‘place of old forms of youthful intimate behaviour’ (2015: 103). Again striking a surprisingly conservative tone, Gittos comments further that: ‘[r]ates of cohabitation, in preference to marriage, are rising year on year. The age that people get married is similarly increasing, as is the age that people have children. This aversion to commitment of any kind, an elevation of temporary satisfaction and self-validation over and above traditional commitments, shows that today’s young people are fundamentally sceptical about committing to anything that carries the potential to impact on their self-esteem’ (2015: 105). Whoa… is this what passes as ‘objective’, ‘factual’, ‘calm’, ‘reasoned’, ‘level-headed’? How is cohabitation not a commitment, or – necessarily – a lesser commitment than marriage? Are there not all kinds of reasons why people choose not to marry, or to marry later? Are there not all kinds of reasons why people postpone having children, or choose not to have children at all, that do not stem from commitment-aversion? Isn’t it pretty presumptuous and simplistic to reduce it all to self-esteem, temporary satisfaction and self-validation? And what is this ‘traditional commitment’ and why is it preferable? There is so much that is reductionist, baseless and – frankly – stupid and out-of-touch with this statement…

Chapter Five of Why Rape Culture is a Dangerous Myth

In this final chapter Gittos takes on social and other online media for disseminating allegations. Such ‘online tribunals’ (2015: 107), he points out, provide neither justice, nor the truth. At best they are ‘a very weak form of therapy’ (2015: 108) or ‘hashtag justice’ (2015: 111).

It is not difficult to think of valid examples for this claim. Social and other online media come with the potential to spread an image or story rapidly and widely. This has given rise to new lingo: ‘going viral’ and ‘meme’, for instance. And no, what gets widely disseminated is certainly not always balanced, or factual, or deserving of the attention it receives. When Dr Matt Taylor wore a shirt depicting semi-naked women while reporting on the progress of the Rosetta Mission the furore was – in my view – over the top. (I am more interested in the mission and more unhappy about the under-representation of women in the sciences and the gender pay-gap than I am bothered about a garish shirt.) But this is the way of the internet and its wide reach and most thinking people, increasingly accustomed to such phenomena, know this. Much of what flares up one day is quickly forgotten soon after. Think of ‘Kony 2012’, the short-lived rallying call by Invisible Children: one day tens and hundreds of thousands, including Rihanna, were committing not to rest until Joseph Kony was captured by the end of 2012; soon after, nothing, with Kony still not behind bars. (As of April 2017 Ugandan and US military forces ended their hunt for Kony). Some of what is reported online and explodes into prominence is indeed disproportionate.

For Gittos, however, such tendencies have led to ‘blindly acknowledging the status of [rape] complainants as victims’ (2015: 110).[19] Be it revelations emerging from Operation Yewtree, or allegations against Lord Janner addressed in the Goddard Inquiry, or against Terry Richardson, or Bill Cosby – Gittos presses on with his point that none of these allegations should be stirred up in the media until persons are convicted of criminal action. He makes no room for the possibility that such publicity can also encourage persons who have been sexually assaulted to come forward. With the Janner case Gittos has no time for complainants who want their experiences confirmed by an official tribunal (2015: 111), while the models working with Richardson should have been more clued up (2015: 115).

Gittos goes on to say that ‘for many of those who believe that we live in a rape culture, allegations are automatically assumed to be true’ (2015: 122). This certainly does not represent me. It is important to conduct proper and full investigations. But – in the many on-street grooming rings, in the case of John Worboys, where these investigations have been conducted – there were clear patterns of perpetrators selecting and abusing victims. And, in the allegations against Jimmy Savile and Bill Cosby similar patterns are emerging. Does this prove every allegation made against either? No. But there is just cause in these cases to give credence to the complainants and to suspect the alleged perpetrators. Gittos’ claim, ‘[w]hen you believe in a rape culture you don’t believe in innocence, you merely believe in those rapists who have been caught and those who have “gotten away with it” because of the endemic influence of toxic cultural misogyny’ (2015: 122), is inflammatory and sweeping – rather like the online media wild-fires to which he objects.

The principle of innocent until proven guilty is an important one. In rape cases, as stated earlier, proof can be difficult to obtain, because it can come down to two disparate accounts of one incident. But it is unclear to me why Gittos is so much more loathe to trust the allegation of a rape claimant than the protestation of innocence of an alleged perpetrator. Gittos is outraged that Ben Sullivan, president of the Oxford debating club, was advised to resign or take a leave of absence while a criminal investigation was under way. MPs under investigation for financial scandals are suspended until guilt or otherwise is established; children believed to be at serious risk of harm or neglect in their homes are removed until the situation is fully investigated – in both such instances prior to conviction – and there is surely good cause for this.

Concluding Comments

It is easier to be neoliberal, capitalist, or a sex-positive feminist, or someone who experiments with their sexuality if you have a voice and financial security, plus the confidence and sometimes entitlement that come with these. While it does not protect or ensure against rape (which cuts across social and socio-economic sectors) it is easier, too, to avoid the underbelly of the sex industry, or to hire a lawyer, if you have confidence, a voice, an income. It is no accident that certain rape criminals – such as on-street groomers or sex-traffickers – target vulnerable persons (by far predominantly girls and women in most reported instances) who are deprived in terms of a voice, social status or economic autonomy and power. Their stories, or the stories of those who represent these victims of rape are not in Gittos’ field of vision. He says that rape is a hideous crime and there is no reason to disbelieve that he has empathy for rape victims but he does not tell or allude to their stories or their suffering. Claiming the territory of judgment, objectivity and facts and defining rape culture as not about rape but about an amplification of hysteria, panic and media frenzy, that inflate and distort statistics and deprive regular people of an intimate life and the freedom to experiment sexually, Gittos in effect dismisses the testimony of rape victims. He shifts the focus in a way that makes him the decider of whose verdicts and stories matter – like the assessments of the unnamed lawyers he has spoken to, or the story of M, maligned as a sex offender when he may only have been dabbling in sex play (though Gittos does not have, or does not present a full account of what happened to whom). It is also Gittos who decides who is witch-hunted by the media – Ched Evans, the men of Steubenville – could the same not be said for the woman who brought charges against Evans, or even of Jemma Beale?

Gittos writes, ‘[t]his book is not about rape. …This book is about the contemporary panic around “rape culture” that … often bears little resemblance to the reality of rape’ (2015: 15–16). But I am not convinced that it is possible to talk about rape culture without talking about rape, or the reality of rape. Rape happens in a context. The way rape is understood, characterized, depicted, responded to, addressed in law and the public domain, and so forth, has bearing on the cultural context – and vice versa, cultural context has bearing on rape.[20] Understandably, because rape is a ‘hideous criminal offence’ (Gittos 2015: 15) and because its consequences can be devastating and life-changing discussion about rape can be emotional and distressing. This need not, however, make it ipso facto panicky, feverish and hysterical. By insistently stating or implying that this is the case, the argument is rigged.

Gittos is not calm or level-headed. He makes many sweeping claims and his tactic is to caricature those he is opposing and to label them over and over as hysterical, panicked, feverish, narcissistic, and so forth, while calling his own tactics rational, factual, objective. But these self-designations are not borne out by his methods, such as dismantling rather than also presenting statistics, or discounting some anecdotes and opinions while validating others (of his friend, editor, lawyers he knows).

It is important to probe and question statistics. The difficulty of obtaining statistics on rape is widely acknowledged. Gittos’ endeavour is centred entirely on challenging statistics, such as those of the ONS. Having done so, he concludes that the actual rate of rape is much, much lower than statistics indicate. But he arrives at this conclusion without either addressing arguments suggesting that the ONS statistics are likely to be conservative, or addressing the statistics of organizations working with victims of rape and sex trafficking, or providing his own reliable statistics.

What Gittos describes in his depiction of an interfering state, utilizing inflated and unfounded fear of men and rape to invade people’s private sphere and control them through making them vulnerable through fear, is what is called in social sciences literature ‘deviance amplification’. This is described as follows:

For whatever reason, some issue is taken up by the mass media of communication […] The sensationalized representation of the event makes it appear that there is a new and dangerous problem which must be taken seriously. In practice, the problem, however dangerous or socially threatening, will not be new [or even real], but some dramatic example will have caught the attention of the media. Their distorted and sensationalized coverage creates a moral panic which also leads to increased police action and to more arrests of offenders. The higher arrest rate is seen as a confirmation of the growth of the problem […] The police respond to this evidence of public concern with yet more arrests, and so on. (D. Jary, D. and J. Jary, eds (1995), Collins Dictionary of Sociology (2nd edn), London: HarperCollins.1995: 164).

One classic example of deviance amplification is Satanic Ritual Abuse (see Stiebert 2016:41). Allegations of such abuse flared in Great Britain in about 1990 and created a nationwide scare. In the wake of this, children were removed from their homes, reputations were tarnished – but even a six-year investigation into Satanic Ritual Abuse by a commission chaired by Jean La Fontaine found no evidence at all to substantiate any charges whatsoever. Gittos suggests a similarly empty panic about rape culture but the difference is that a deluge of incidents and of research, which he chooses to dismiss or ignore, indicates otherwise.

As with climate change deniers and Holocaust deniers, Gittos dismisses or ignores extensive research and the thousands of first-hand experience accounts of rape victims and rape support service professionals (e.g. in the NHS, or Rape Crisis UK). Labeling these as hysterical, narcissistic, panicked and so forth, he fails to provide his own statistics and proposes that his version of events – a sinister state seeking to control people’s most private spheres of life by spreading so much fear of rape at every turn that a huge section of the population becomes so terrified as to agree to more state control – is accurate. But how plausible is that really? About as plausible as large-scale production of fake concentration camp facilities and data, or of a gigantic scientists’ conspiracy to spread fear about global warming, purely so they can make SUV drivers miserable. Come on… Who is really hysterical here?

This brings me to rape culture. It is quite true that rape culture is a variable phenomenon – as is ‘feminism’ (which embraces such disparate figures as Andrea Dworkin and Wendy McElroy) and ‘democracy’ (which can refer to the political systems of both ancient Athens and contemporary India). Having a broad meaning does not invalidate the concept, though it may require refining.

It is the case that rape culture can refer to very different societies and it is ill-advised to associate the rape culture of, on the one hand, sexual warfare in places such as IS-controlled territories or Darfur, where women and girls are raped as a strategy of targeted terrorization, humiliation and intimidation, with, on the other hand, the rape culture of the contemporary UK. I am not denying that rape is criminalized in the UK that there aren’t protections (including legal ones) for victims of rape or that there haven’t been advances in terms of the treatment of victims of rape and of rape complainants. Persons living in the UK are less likely to be raped than Yazidi women and girls in IS-controlled territory, or impoverished persons in India or the Democratic Republic of Congo.

The reason I still find ‘rape culture’ a legitimate designation for the contemporary UK is that rape is a high incidence crime and a crime that has very damaging effect on the raped. While, yes, precise numbers of rape incidence are difficult to obtain (and this is not denied even in the preamble of the ONS statistics), independently obtained data and data from organizations at the frontline of rape (e.g. Rape Crisis) is startling, running into the tens of thousands annually. Rape does not exist in a vacuum – any more than rising obesity and eating disorder rates do. Reducing rape to something committed by a few ‘bad people’ or obesity to ‘people who eat too much’ or eating disorders to a few picky eaters ignores larger forces and influences. And there is plenty of research to back this up and to show that there are – in the case of rape – connections between exposure to sexually violent content and enacted sexual violence. Of course this is not as straightforward as listening to a song like Blurred Lines or Treat You Better and then (as a male) wanting to rape or (as a female) expecting to be raped. But cultural expressions (songs, films, fashion advertisements) both influence and are influenced by the people in whose midst they exist and operate.

Gittos’ book is not balanced, not well argued and not persuasive. He does a lot of name calling, accusing rape culture proponents of panic mongering and hysteria, comparing them to racists and calling them cold-hearted narcissists. With all this labeling of panicked hysterics, he then goes on (in rather inflammatory fashion) to fan panic about a fear-spreading surveillance state where young people have no freedoms (particularly none to sexually experiment) and can’t commit, or even communicate with each other any more, where men are rapists until proven innocent and parents have no parental rights. He claims to have given the facts on rape but ignores the testimony of rape victims and rape care professionals, as well as statistics by independent bodies and a wealth of research in the social sciences. He justifies his own claims by rubbishing academia, discussing select cases and weighing in with the words of lawyers he knows and of friends. If this passes as level-headed research, research is doomed.

[1] Opposition to all forms of censorship characterizes the magazine’s stance. Its publications have spoken out against laws targeted at pedophiles (for being counterproductive and inciting mob mentality), as well as against the scientific consensus on global warming, political correctness, restrictions on immigration, humanitarian intervention, and the post-9/11 invasions of Afghanistan and Iraq.

[2] As mentioned earlier, feminism is a poly-vocal movement. It includes feminists who abhor men. Yet the characterization of all feminists (or even of a substantial percentage of feminists) who are not ‘real feminists’ (of the McElroy variety) as man-haters is crass and inaccurate.

[3] Similarly, Hoff Sommers, resident scholar at conservative think-tank, the American Enterprise Institute, claims to be a real-deal feminist, as is captured in the title of her video blog, The Factual Feminist. She contrasts her own ‘equity feminism’ with what she calls ‘victim feminism’, which, again, is characterized as irrationally hostile to men and as incapable of regarding the sexes as ‘equal but different’ [see Hoff Sommers Wikipedia]. Hoff Sommers is one member of The Battle of Ideas panel on the topic of rape culture, chaired by Gittos (see reference above).

[4] This tendency occurs elsewhere in Gittos’ book, too. He decides what constitutes panic and frenzy and what constitutes ‘objectivity and judgment’ (2015: 17–18) or the ‘real roots of rape culture’ (2015: 38, italics mine). Similarly, McElroy refers to rape culture proponents as ‘draconian’ (2016: 1) and Paglia as ‘neurotic’ (2013).

[5] McElroy is also no rape apologist. She is upfront about being a victim of rape and writes: ‘[n]o one who knows my history can doubt how seriously I take rape; no one can doubt that I empathize. The issue once devastated my life’. She is also justly angry about any assumption that deniers of rape culture ‘are indifferent or callous towards victims’ (2016: 11) – like I am angry to be cast as a man-hater who delights in male-male rape (see above).

[6] Statistics for child abuse (sexual and otherwise) and for domestic violence are also difficult to obtain. I discuss elsewhere the disparate statistics pertaining to incest, focusing most closely on father-daughter incest. In the course of this I examine the disturbing potential of Ian Hacking’s argument, as developed in his monograph The Social Construction of What? (Cambridge, MA and London: Harvard University Press, 1999), that incidence of child sexual abuse and incest are grossly exaggerated. There is affinity in terms of incest denial and rape culture denial. See Johanna Stiebert, First-Degree Incest and the Hebrew Bible: Sex in the Family (Library of Hebrew Bible/Old Testament Studies 596), London, New York: T&T Clark, 2016, pp.35–43.

[7] Gittos does not examine male-male rape in any focused way. The conviction of M, with which his book opens, pertains to male-male rape.

[8] I, on the other hand, find it understandable that anyone seeking rape statistics would turn to the ONS, because it is the largest independent producer of official statistics, which are annually updated. Gittos offers no alternative source or data.

[9] Gittos returns to a similar point later, stating ‘“[u]nwanted” is not the same as non-consensual. A person can agree to have sex even if they don’t want it for all sorts of reasons. Even if sex in a particular situation were non-consensual, whether you were raped would depend in part on the state of mind of the person you are accusing’ (2015: 54). It is not unimportant to be concise or to define one’s terms but this kind of language dissection can get very slippery and has the potential virtually to define rape out of existence. It has the ring of ‘alternative facts’. Survey responders can report on their experience and assessment of a sexual act – not on another’s knowledge or state of mind!

[10] So, if one survey respondent considers sexual penetration to have taken place without their consent, but Gittos, or another participant in the same act considers the activity enjoyable or normal then it is not rape? Again, who gets to decide?

[11] Pace McElroy, who writes in her book on rape culture: ‘in a book about rape, having first-hand knowledge seems significant. It gives me perspective that most women happily lack’ (2016: 6).

[12] Later, too, Gittos affirms a point he is making (about how the past is reinvented in the present) with reference to a discussion ‘with a friend of mine’ (2015: 57; cf. also the reference to ‘[m]y editor at Spiked’, 2015: 81). So, the input of lawyers he knows and of his friends and editor has validity but the experiences of those who have been raped, or of those who work on the ground with victims of sexual violence has not. Rape is played down and Gittos’ claim that rape culture is the outgrowth of subverted feminism, hysterical media reporting and, above all, an intrusive state is insistently asserted.

[13] Gittos does try to imply that this is what rape culture proponents do think: ‘[rape culture] suggests that the people around us are incapable of hearing certain lyrics without being encouraged to rape. It suggests that banal and childish misogyny is capable of affecting people’s view of women to such an extent that they become more likely to commit horrific crimes’ (2015: 79). Of course things are more complicated. Then again, if children are persistently surrounded with ‘childish misogyny’ why would they not find it confusing or affecting?

[14] Even Gittos seems to agree, referring to ‘the archaic marital exemption’ (2015: 85).

[15] Later Gittos does state that in the 1970s and 1980s ‘there were real forces to battle against which prevented the effective prosecution of rape’ (2015: 85) – by implication, as opposed to the ‘nonsense’ that passes for rape now. Here and elsewhere, however, he is referring to what he deems the regrettable and improper extension of law for prosecuting sexual offences (including behaviour Gittos designates not an offence but, instead, ‘experimentation’).

[16] The ONS survey reports that an estimated 19% of offences that should be recorded as crimes are not and that the ‘greatest level of under-recording [is] seen for sexual offences and violence against the person offences’ (an estimated 26% of sexual offences are not being recorded as crimes) [https://www.ons.gov.uk]. According to Rape Crisis only 15% of those who experience sexual violence report to the police and only 5.7% of reported rape cases end in a conviction [www.rapecrisis.org.uk]. Gittos, of course, roundly condemns such statistics. For an alternative legal perspective to Gittos’ and for how implicit bias and discrimination operate within the legal system, see S. M. Edwards, Sex and Gender in the Legal Process (Blackstone Press, 1996)

[17] False accusations of rape do make good news. Also, unhelpfully, lies about having been raped and accusing someone who did not rape of rape are often conflated with rape that is ‘no-crimed’ (e.g. where there may be a suspicion that unwanted sex has taken place but due to drink or drug-induced incapacity there is no credible evidence for the suspicion) or with false allegations due to mental health or drugs and with rape retractions (which need not by any means indicate that rape did not take place) [e.g. see ‘False allegations’, www.rapecrisisscotland.org.uk]. In a seventeen month period in 2011 and 2012 there were 35 prosecutions for false rape accusations, over against 5651 prosecutions for rape (that is 0.62%) (see Zoe Williams 2017). A number of these false allegations, moreover, can be accounted for by mental illness. Even of hate-figure Jemma Beale, depicted in the media as a ‘lesbian fantasist’ [ see Victoria Ward, 24 August 2017, The Telegraph, www.telegraph.co.uk] and as ‘attention-seeking’ and costing taxpayers £900,000 pounds [https://www.thesun.co.uk, by Amanda Devlin, 24 August 2017], it might legitimately be said (without apologizing for her actions) that ‘no one turns their life into a construct of bogus victimhood for fun’ [see Zoe Williams, ‘Jemma Beale…’ 2017].

[18] This kind of rhetoric continues. Hence, rape culture proponents are prone to ‘violent and unthinking responses to individual cases’ (2015: 91) and exhibit the ‘navel-gazing narcissism inherent in the rape culture argument, which leads to a complete loss of moral perspective’ (2015: 93). And again: ‘the argument that we live in a rape culture is often used to justify petty authoritarianism, which – in turn – is symptomatic of the argument’s narcissistic and self-centred heart’ (2015: 99). This kind of talk can pass for level-headed and calm? Really?!

[19] Gittos refers to persons acquitted of rape as innocent (2015: 131) when, technically, they may not be.

[20] On 6 March 2014 RAINN (Rape Abuse and Incest National Network) released a lengthy report, which, among other recommendations identifies overemphasis on the concept of rape culture as an obstruction in both the prevention of rape and in accounting for causes of rape. The crux of its recommendation is that rape is caused not so much by cultural/systemic factors as by the conscious decisions of members of a small percentage of the community. These rapists are individuals who disregard the dominant cultural message that rape is wrong. According to RAINN, blaming rape culture rather than individuals mitigates personal responsibility. McElroy takes a similar stance. She is open about having been raped and domestically assaulted and asserts, ‘I was not attacked by men but by an individual man, and I hold those individuals responsible. … I know the rape culture is a lie that harms women and victims of violence as well as men’ (2016: 5–7). I am cutting corners here – but, in brief, to me this kind of argument about wrongs being down to ‘a few bad apples’ is rather like the ‘guns don’t kill people, people kill people’ argument. On one level it may be so – but it misses the bigger point. Quite simply, gun crime is more prevalent in places where more people have more access to guns and also, where gun culture glamourizes and glorifies guns. The US and its statistics on gun fatalities bear this out. Emphasis on the systemic, rather than the ‘bad individuals’ argument can also make sense of other social ills, such as the much greater incarceration rate of blacks than whites in the US. The alternative conclusion, veering from systemic to individual onus, is that blacks are more likely to be bad people. A viewing of Ava DuVernay’s Netflix documentary 13th (2016) will set the record straight on this.

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Counter-Narratives: Rizpah and the “Comfort Women” Statue

Samantha Joo is an independent scholar who has previously taught at Seoul Women’s University (Korea), as well as Coe College and Washington University (USA). [Edit: Joo’s monograph, Translating Cain: Emotions of Invisibility Through the Gaze of Raskolnikov and Bigger was published by Lexington Books/Fortress Academic in 2020.]

The post draws on the biblical story of Rizpah, which can be found in 2 Samuel (chs 3 and 21). Rizpah was a concubine of King Saul. After his death she is ‘taken’ by Abner, probably in a bid by Abner to challenge Saul’s son and likely successor, Ishbosheth. This would account for the quarrel that erupts between Abner and Ishbosheth. Abner defects to David who becomes king of Israel after Saul. In order to appease the Gibeonites, David then agrees to execute seven of Saul’s sons. Five of these are the sons of Saul’s daughter Merab; the two remaining sons are Rizpah’s. When the corpses are left exposed, Rizpah spends five months protecting them from scavengers until David relents and they are properly buried.

In this post Rizpah’s story – of sexual exploitation and perseverance in extreme adversity – is read as a counter-narrative that serves to illuminate the contemporary political situation arising from the Japanese government’s objection to commemorative bronze statues of the ‘comfort women’ in Korea.

‘Comfort woman’ is a translation of Japanese ianfu, a euphemism for ‘prostitute’. The designation refers to the many thousands of women and girls forced into sexual slavery by the Imperial Japanese Army. Most of these enslaved women and girls came from the territories occupied by Japan before and during World War II, including Korea, China and the Philippines. The post explores the insidious efforts of governments who, with their master narratives, seek to suppress stories of and by the women whose bodies bear witness to rape and oppression.

Joo has just completed her second book, Translating Emotions of Invisibility: Cain Through the Gaze of Raskolnikov and Bigger, which is under review for publication with Routledge. Alongside raising two mischievous dogs, a Pom and a ratty-looking mutt, she is currently developing a nonprofit organization, called ‘Platform’ – check it out! https://www.facebook.com/platformforwomen/ – which mentors women who intend to work for the socially marginalized in Asian-American and Pacific Islander communities.

You can find out more about Joo and her publications here: https://independent.academia.edu/SamanthaJoo

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As the new government under President Moon Jae-in comes into power in Korea, the Prime Minister of Japan, Abe Shinzo, has pressured him to remove the bronze statues of “comfort women” in Korea. He has called upon him to honor the December 2015 agreement whereby the Korean government promised to remove the bronze statue (presently in Seoul and now in Busan) in return for an apology and monetary compensation. Since Prime Minister Abe personally gave an “apology” and Japan had paid a mere 1 billion yen ($8.9 million USD) to the survivors through a foundation, the Reconciliation and Healing Foundation, Korea now has to keep its end of the agreement. With the rising threat of North Korea under Kim Jong-un, President Moon is feeling the intimidation. The question is, should he yield for political expediency?

Surprisingly, the answer lies in the ancient, biblical story of Rizpah (2 Sam 21:1-14) in which the concubine of Saul challenges King David’s dictates, forcing him to restore justice. When King David slaughtered seven Saulide descendants with the collusion of the Gibeonites, Rizpah dared to expose his wrongdoing. She persisted in her protest which embodied a counter-narrative that questioned and ultimately subverted the king’s royal court story. Similarly, the Korean people must resist until Prime Minister Abe publicly acknowledges Imperial Japan’s systematic sexual enslavement of girls and women during WWII. They need to continue to challenge the master narrative that intends to obliterate the story of the “comfort women.” (1)

“Comfort Women”
Imperial Japan systematically setup “comfort women” stations for their soldiers during WWII. Since men have sexual needs, some including the former mayor of Osaka, Toru Hashimoto, have argued that the government had the right and authority to force 200,000 women to “service” them, i.e. to violently terrorize and rape girls and women of all ages in Asia, many of whom were Koreans. He maintained that these “comfort women” stations were “necessary at the time [of WWII] to maintain discipline in the army.” While the former Mayor Hasimoto provides a horrific justification for sexual slavery (2), he nevertheless acknowledged the government’s institutionalization of the stations. Even with the mounting evidence of Imperial Japan’s systematic effort, Prime Minister Abe however does not believe that it had any part in the sexual slavery. He has repeatedly rejected all attempts in acknowledging Japan’s direct involvement in setting up the “comfort women” stations. Only recently, on account of the political need to unify against the rising North Korean threat, he had decided to personally apologize for the involvement of some of the “Japanese military authorities at that time.”(3) It was essentially diplomatic talk to absolve the government by blaming a few bad seeds in the Japanese military.

A Chinese girl from one of the Japanese Army’s ‘comfort battalions’ sits on a stretcher, awaiting interrogation at a camp in Rangoon.

To exacerbate the situation, the US has tried to encourage the former and present Korean governments to move past the issue and think about its future political and economic relationship with Japan. The “comfort women” bronze statue was considered a “thorny issue” which has “proven diplomatic headache for the United States.”(4) But it is not just a “thorny issue”; the pressure to remove the statue is an insidious effort to silence the embodied stories of the oppressed. Aside from the attempt to coerce the Korean government, Prime Minister Abe and other like-minded constituents have campaigned to monopolize all of history with their master narrative. Not only have they whitewashed Japan’s textbooks, they have tried to influence and sometimes intimidate people into changing the textbooks in Korea and the US! In addition, they tried to encourage the removal of bronze statues in Hong Kong, Australia, and the US. This is an all-out international campaign to wipe out the counter-narratives of the “comfort women.”

Biblical Story of Rizpah
A similar event is embedded in the ancient, biblical story of Rizpah; King David tried to cover up his collusion with the Gibeonites to annihilate the Saulide descendants. According to the royal court historian, the land of Israel was struck with a three-year famine. On account of the famine, the faithful king prays to God to ascertain the reason for the famine. Since he had the responsibility to ensure its fertility as the ruler of the land, he needed to remedy the national crisis (though it did take him three years). Based on the narrative, God attributed the reason for the famine to Saul’s zealous attempt to decimate the Gibeonites, the resident aliens whom Joshua protected with a covenant (Josh 9:15). Therefore he asks the Gibeonites for their price; and they are the ones who demand the death of seven Saulides as bloodguilt. The pious King David had to concede to their demand for blood. Though he promised Saul he would never kill his descendants (1 Sam 24:21-22), David needed to think of the welfare of the land. Consequently, he delivers them over to the Gibeonites who impales and leaves their corpses in plain view. This was the historian’s masternarrative. David’s hands were tied; he had to sacrifice them to restore fertility in the land. Yet underlying the master narrative was an attempt to silence David’s opposition. The Gibeonites impaled the bodies in Gibeon which is a central cultic location. Against the Deuteronomic Code (Deut 21:22) in which the hanging corpse should not be kept overnight but buried on the same time, the Gibeonites keep the bodies in full view of the pilgrims who came to sacrifice at Gibeon. The message was clear. This will happen to anyone who dared to kill a Gibeonite. But more importantly, this will happen to anyone who posed a threat to King David. If David only wanted to appease God for Saul’s annihilation of the Gibeonites, he would and should have demanded that bodies be buried. But instead, he left the bodies to instill fear in anyone who would dare to challenge or oppose him. The northern tribes have been warned.

‘Rizpah’, George Becker

While it was the duty of the men of Gibeah, Saul’s clan, to protect these men from death and their desecration, they were too terrified to do anything. After all, the king had previously squelched Sheba’s rebellion (2 Sam 20:1-22) and wantonly killed seven innocent men. Despite the message of terror, the concubine widow of Saul confronted the king; Rizpah dared to transgress against David. With her silent but powerful presence like the bronze statue of the “comfort women,” she defied the king and shielded the bodies from the natural elements. In a confusing passage, Rizpah takes a sackcloth and either appears to wear or spread out the sackcloth (2 Sam 21:10). The specific wording of the passage is critical. If she wears the sackcloth, she would be mourning the death of her sons and nephews. If she spreads out the sackcloth over the rock, she was essentially protesting the injustice in the prophetic tradition. I argue for the latter translation. She visibly lays the sackcloth over “the rock” (ha-tzur), a large rocky platform from where she weathered the blistering sun and strong winds during the day and cold desert temperature during the night. On top of the boulder where everyone can see her, she shields the bodies from the birds and wild animals for up to six months.

As people went on a pilgrimage to the cultic center, they would have started to ask questions. They would have wondered as to why and who. Why were there dead bodies? Who were they? Why were they not buried during a time of peace? Why and who is the woman guarding the bodies? Whereas before, the pilgrims would have walked away in fear, now they would have been ashamed. Had Rizpah not protested the deaths of her sons and nephews, pilgrims would have just slinked away in fear. They would have wanted to avoid the wrath of King David so that they would not end up like these corpses. However, with Rizpah’s presence, they would have been ashamed for failing to help her, a widow, against the unjust ruler who allowed or perhaps even colluded with the Gibeonites to kill and desecrate her sons and nephews. Their murmuring started to spread so that her deed was reported to David in Jerusalem. Her silent presence in Gibeon with the bodies was on the verge of dismantling the legitimacy of his kingship. He rushed to bury not only the seven innocent men but also the bones of Saul and Jonathan in the tomb of their father/grandfather Kish. He wanted to squelch the murmurs. Precisely at that moment, the autumn rain came, ending the famine. It is as if God responded with divine approval when justice was restored in the land with the proper burial of the Saulide family. Therefore David did not restore fertility with their blood; rather Rizpah, the concubine-widow, with her persistent daring presence, forced him to restore justice to the land, whereupon the land enjoyed the much-needed rainfall.

Rizpah Among the “Comfort Women”
The bronze statue of a young girl represents the “comfort women” who were systematically forced into prostitution by a sovereign nation during a time of war. Therefore, the young girl embodies the story of the embattled women who were forcibly raped and sacrificed for Imperial Japan. Likewise, Rizpah is the silent presence that embodied the story of the senseless death of innocent men who were slaughtered for King David’s ambition. The bronze statue and Rizpah therefore are the countermonuments that embody stories which interrogate and destabilize unjust leaders. At a critical juncture in negotiations over the bronze statues in Korea, what should be done? Well, the story of the daring and persistent Rizpah has the answer.

Koreans and therefore the Korean government should resist the tyranny of the master narrative; they need to persist until Prime Minister Abe acknowledges the counter-narratives of the “comfort women.” Why? Just as Rizpah was able to force King David to restore justice and therefore fertility in the land, Japan would be able to transform its standing in the international community.

Instead of its oppressive history, people would remember the country for its efforts to mend for the injustice committed against the women in Korea and all over Asia. It is not just about the Saulide descendants or the “comfort women.” In forcing King David to acknowledge if not direct collusion with the Gibeonites to eradicate the Saulides, Rizpah makes him and perhaps all his royal descendants accountable to the people. No leader should kill at will. And the Prime Minister of Japan, Abe Shinzo, could become the exemplary voice in Japan and the international community. By including stories of the “comfort women” about the Imperial Japan’s systematic enslavement of women during WWII in its history textbooks, they will be sending a clear message. No government and its military should ever violate a child or a woman.

Comfort Women, rally in front of the Japanese Embassy in Seoul, August 2011

This is not be a political but a moral dilemma. The present president of Korea, Moon Jae-in, should not demurely respond:

The comfort-women agreement that we made with Japan during the last administration is not accepted by the people of Korea, particularly by the victims.
They are against this agreement. The core to resolving the issue is for Japan to take legal responsibility for its actions and to make an official [government]
apology (5).

It is not just an issue about these victims, or about the people of Korea who may or may not support him politically, but about confronting the injustice perpetuated by a government. Even as I write this short essay, the militant Islamic State, ISIS, is systematically raping girls and women from the Yazidi religious minority. It is outright flagrant violation of human rights that has been masqueraded as some “theology of rape.” (6) If any of us allow a government to deny the injustice of the past or the present by manipulating and perpetuating its master narrative, then we are complicit. We are like the men of Gibeah, who passively watch a king kill seven innocent people. Rather we, like Rizpah, should dare and persist in fighting the master narrative that tries to silence the cries of women who with their bodies incarnate the counternarratives.

(1) The label, “military comfort women,” was been euphemistically coined by post-war Japanese government. I have decided to use the label because of its common usage and more importantly, its demonstration of the Japanese government’s continuous need to deceive the public.

(2) This is the description that Osaka Mayor, Toru Hashimoto, explained for the establishment of “comfort women” stations. See Hiroko Tabuchi, “Women Forced into WWII Brothels Served Necessary Role,” The New York Times, May 13, 2013 (http://www.nytimes.com/2013/05/14/world/asia/mayor-in-japan-says-comfort-women-played-a-necessary-role.html).

(3)  Sam Kim and Maiko Takahashi, “Abe Offers Apology, Compensation to South Korean ‘Comfort Women,’” Bloomberg, Dec 28, 2015 (“https://www.bloomberg.com/news/articles/2015-12-28/abe-offers-apology-compensation-to-south-korean-comfort-women-).

(4) “‘Comfort Women’: Thorny Issue That Has Long Divided Japan, South Korea,” The Straits Times, December 28, 2015 (http://www.straitstimes.com/asia/east-asia/comfort-womenthorny-issue-that-has-long-divided-japan-south-korea).

(5) Lally Weymouth, “South Korea’s New President: ‘Trump and I Have a Common Goal,” The Washington Post, June 20, 2017 (https://www.washingtonpost.com/outlook/south-koreaspresident-
trump-and-i-have-a-common-goal-in-dismantling-north-koreas-nuclear-program/2017/06/20/cd422e08-55bc-11e7-a204-ad706461fa4f_story.html?utm_term=.b0efc086cf45).

(6) Rukmini Callimachi, “ISIS Enshrines a Theology of Rape,” The New York Times, August 13, 2015 (https://www.nytimes.com/2015/08/14/world/middleeast/isis-enshrines-a-theology-ofrape.
html).

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Handmaids and Jezebels: Anaesthetising the Language of Sexual Violence

I recently spoke to a friend about the Hulu adaption of Margaret Atwood’s The Handmaid’s Tale. As we continued to discuss what we agreed was a remarkable reimagining of Gilead, my friend mentioned how uncomfortable the ‘sex scenes’ made them feel, to which I responded, “… is that because they’re rape scenes?”

My friend was taken aback by this, and provided an empathetic “Yes! Because they are RAPE scenes!” in what sounded like a moment of revelation. This prompted me to consider the impact of the euphemistic nature of language used to describe sexual violence in Gilead. Such use of language contributes to the normalisation of sexual violence, which lies at the heart of rape culture.

It should be noted that my friend is not alone in their description of the sexual violence in The Handmaid’s Tale; Commanders are regularly described as having sex with handmaids during “the ceremony”, as opposed to raping them.

Commentaries on the episode “Jezebels” which describe June’s visit to a “brothel” filled with “prostitutes” are particularly intriguing in this regard. We are made explicitly aware by Moira that the only “choice” these women have is between Jezebels and death. Can such a scenario really be described as prostitution? Unless we are to recognise enforced consent as consent, a “rape den” seems a more appropriate term than a sex club.

What is more, conversations about Handmaids, or the women held captive at Jezebel‘s rarely recognise these experiences as a form of human trafficking. This was brought more sharply into focus in the episode “A Woman’s Place” where it is revealed that the Handmaids  will act as a commodity in a trade deal with Mexico.

In the episode “The Bridge”, where Janine is relocated from one household to another after enforced surrogacy, we are presented with a graphic reminder that “the ceremony” is not just rape; it is gang rape. Daniel rapes Janine whilst his wife forcibly restrains her by holding her arms and squeezing Janine’s shoulders with her thighs.

When Janine subsequently attempts suicide, we are forced to confront the deeply problematic relationship between Janine and the visibly distressed Aunt Lydia. The intended familial bond and incitement of trust between Aunts and Handmaids is made explicit in the attribution of familial status to the Aunts. Janine’s attempted suicide sees the climax of tenderness, which has been built between these characters over preceding episodes. In reality, however, this relationship is more comparable to that between a child and a trusted family member who beats, blinds and grooms them. After all, the role of Aunt requires the rape facilitation of who we can understand to be their symbolic nieces.  As such, The Red Centres, where the Aunts attempt to indoctrinate Handmaids, could appropriately be discussed in terms of grooming.

Euphemisms which normalise rape and misname the experiences of women (“the ceremony”, indoctrination, prostitution) are rife, not only within the narrative world of Gilead, but in contemporary discourse about The Handmaid‘s Tale, and in society more broadly. For example, contextualising the use of Handmaids as an extreme necessity in a time of crisis feeds into the ‘greater good’ narrative where justification for rape in terms of upholding (often patriarchal) societal norms is understandable, if not acceptable. Such reasoning is endemic in discussions of rape.

We see this explicitly (and contemporaneously) in terms of ‘corrective’ rape and with rape as punishment. This is outworked implicitly when, for example, women’s clothing, or perceived wanton behavior is provided as contextual information in the case of rape. In these instances, rape is discussed as an inevitably for those who transgress the expectations of femininity by behaving in a certain way, or indeed, by those who uphold the ideals of femininity by being beautiful. It is a no-win situation.

The practice of using euphemistic language when dealing with instances of rape or sexual violence, which blur the lines between sex and rape, propel the “myth that rape is just a particular shade of sex, rather than a violent crime”. The minimizing impact of euphemistic language when talking about rape can also be found in testimonials from rape survivors.

This conflation of experiences and merging of language can have devastating impact, to the extent where people become unable to identify rape as they struggle to separate these assaults from a “normal” sexual encounter. As a pertinent example, the now acquitted Ched Evans, as part of his defence, said he did not speak to the woman he was accused of raping “before, during or after” the alleged rape. This was not recognised as rape, despite a clear admission that Evans made no attempt to gain consent. This provides chilling and infuriating context to the apparent interchangeability in public consciousness between sex and rape.

Another relevant example is “stealthing”, a form of sexual assault where a man non-consensually takes a condom off when penetrating someone. Notably, this was recently reported as a “sex trend” before a public outcry across various media outlets demanded it be recognised as a form of rape. The term itself, when considered in line with how this form of assault is often spoken about in a shockingly casual way, demonstrates how euphemistic language can contribute to the normalisation of sexual assault.

The manipulation of language to normalise sexual assault is a key tool the leaders of Gilead, who call themselves “Sons of Jacob” after the biblical patriarch, use to make their radical power structures and the rapes they are founded on more palatable. For example, when Fred Waterford renames the rape of Handmaids as “the ceremony” for what he describes as “branding purposes”, his companion remarks that this sounds “nice and godly, the wives will eat that shit up”.

In the words of June, which act as a motif throughout the original novel, ‘context is all’ – and in the context of rape culture, being critical of how we choose to articulate instances of sexual violence and/or rape is essential in attempts to de-normalise rape, and fight back against the ‘cultural numbness’ society has developed in the face of sexual violence.

Anaesthetising the language with which we talk about rape and sexual violence is counterproductive to combatting rape culture and amounts to a gross misnaming of the experiences of rape survivors.

Emma Nagouse is an incoming WRoCAH funded PhD student in the Sheffield Institute for Interdisciplinary Biblical Studies (SIIBS) researching the phenomenon of rape culture in the Bible and contemporary society. Emma’s research focusses around how biblical and contemporary intersectional gender presentation facilitates rape and disbelief culture through reaffirming oppressive stereotypes and informing perceptions of rape gradations. Emma is Assistant Editor of the University of Sheffield History Matters blog and co-organiser of the Sheffield Feminist Archive (SFA).

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Lost in the “Post”: Rape Culture and Postfeminism in Admen and Eve

A slightly longer version of this post originally appeared as an article in a special issue of the Bible and Critical Theory journal (2014). The issue invited six biblical scholars to write a response to Katie B. Edwards’s 2012 book, Admen and Eve: The Bible in Contemporary Advertising, reflecting on a particular theme or issue raised in the book. I chose to focus on Edwards’s engagement with postfeminism, considering the ways that popular postfeminist discourses evoked in contemporary advertising reinforce and sustain myths and misperceptions about sexual violence which lie at the heart of rape cultures. I also discuss how these same myths and misperceptions may be given implicit voice within the narrative of Genesis 2–3—the creation and “fall” of Adam and Eve.

***

In her book, Admen and Eve: The Bible in Contemporary Advertising, Katie Edwards explores the biblical tradition of Genesis 2–3, a text she suggests is “arguably the most influential cultural document for gender relations in Western society” (2012: 9). In particular, she focuses on the ways that the character of Eve is portrayed, both in the narrative of Genesis 2–3 and in contemporary postfeminist advertising, as a dangerously alluring seductress—a femme fatale—whose sexuality is a source of both her power and her danger. Edwards argues that such studies of biblical themes in advertising can offer “surprising sites” for the exposure and critique of dominant ideations of sexuality and gender that are given voice both in contemporary culture and in the biblical text itself (viii).

In this blog post, I respond to one of these “sites,” where we encounter the unsettling relationship between certain postfeminist advertising images, rape myths, and rape culture. Using Martha Burt’s definition, rape myths are “prejudicial, stereotyped, or false beliefs about rape, rape victims, and rapists” (1980: 217). Common rape myths include the equation of rape with normative sexual behaviour, holding victims culpable for their assaults (“s/he was asking for it”), regarding rape victims as “damaged goods,” and exonerating aggressive male sexual behaviour on the premise that they “just can’t help themselves.” Taking my lead from Edwards’ exploration of this issue, I first review some of the commonly-noted problematics of popular postfeminism, before considering how postfeminist advertising images of women (including Eve images) relate to the pervasive myths and misperceptions about gender violence that sustain contemporary rape cultures. I also suggest that some elements of these myths and misperceptions can be discerned, at least implicitly, within the text of Genesis 2–3, particularly through its articulation of female sexuality and gender power dynamics.

The term “postfeminism” is notoriously difficult to define. Like “feminism,” it is often used as an umbrella term for many diverse ideologies that convey a marked paradigm shift from the second wave feminism of the 1960s and 1970s (Walters 2014: 108). Adopted within the arenas of consumer culture, popular media, academic discourse, and neo-liberal political rhetoric, “postfeminism” has come to encode a huge range of meanings, from an incorporation, revision, or depoliticization of feminism to a complete reaction against or withdrawal from it (Gill and Scharff 2011; Modleski 1991). Even within popular culture and the media, it can represent different responses to feminism, many of which are ambivalent at best, condemnatory at worst. And, very often, the “post” prefix conveys the sense that feminism as we once knew it is now a thing of the past, erased or even terminated from contemporary cultural consciousness as an outmoded and redundant movement, either because it did not work or, conversely, because it has already achieved its liberating goals (Jones 1991: 298).

Within her discussions of Eve imagery in contemporary advertising, Edwards draws particularly on one category of postfeminism offered by Sarah Projansky (2001)—(hetero)sex positive postfeminism. This is a “to-be-looked-at” postfeminism, where there is a celebration of women’s return to being objects that offer pleasure to the heterosexual male gaze (80–81). Accusing former second wave feminisms of being anti-sex, (Hetero)sex positive postfeminism sells a new, rebranded “do-me feminism” that is not sexually puritanical or dogmatic, but rather advocates women’s agency in a way that is man-friendly, sophisticated, and “attractive.” Women can now embrace their sexuality as part of being feminist, rather than shunning it, choosing to play with the heterosexual male gaze rather than feeling objectified by it. Popular culture’s iconographic image of the angry, uptight feminist is thus presented as the unattractive antithesis to the cool, edgy, and media-savvy postfeminist miss, who tweets about the politics of blowjobs and proudly declares her ironic predilections for pole dancing and vintage porn.

Moreover, within (Hetero)sex positive postfeminism, women can stop feeling guilty about wanting to look attractive to men and enjoy, instead, the postfeminist freedom to participate in the commercially-based “beauty culture” that is promoted in advertising and popular culture. As femininity and sexuality become marketed as essential ingredients for women’s social, sexual and financial success, women are encouraged to engage in a form of guilt-free “commodity feminism,” where they can purchase certain commercial products and lifestyles that are advertised to them as means of maximizing their feminine and sexual potential (Projansky 2001: 80). As Edwards demonstrates throughout Admen and Eve, postfeminist images of women in advertising (including images of Eve) often portray women who have bought these products and embraced these lifestyles and who now enjoy sexual and social autonomy, financial success, and the ability to dominate and subdue those men who once attempted to subdue them.

Within this postfeminist framework of gender dynamics, women’s sex appeal really is “the new sexy” in both cultural and capitalist terms, no longer a sexist construct imposed on women by men but a self-identifying choice women can make to assert their social and sexual power. In other words, feminism gets a radical makeover within popular culture, its past “look” disparaged and its cool new postfeminist incarnation praised as a vastly improved source of power for women. Or, as Projansky puts it, “feminism becomes a style, easily acquired and unproblematically worn” (2001: 80).

And yet, such a reimaging of feminism in its new postfeminist form is problematic for a number of reasons, not least of all its dubious rhetoric about women’s newly-gained access to social power and its rebranding of women’s sexual objectification as a source of their empowerment. Within these postfeminist discourses that claim equality, choice, and (hetero)sex-positive realities for women, there is, as Angela McRobbie notes, a “double entanglement” of feminism and anti-feminism, one that both celebrates and commodifies certain tropes of second wave feminist discourse (choice, equality, sexual and social emancipation) while repudiating the anti-sex elements of this discourse (2009: 13). The result, according to McRobbie, is a “faux-feminism,” which claims to be a fresh, cooler, and edgier form of feminism, rebranded within new discourses dominated by the language of consumer culture, personal choice, and “aggressive individualism” (5).

The drawback to this new postfeminist vision of female empowerment is that women are thus encouraged, with a wink to postfeminist irony, to represent themselves in exactly the same ways that men had previously chosen to represent them: as sexualized, objectified bodies that appeal to the (hetero)sexual male gaze. Only now, this is not a cause for feminist concern or protest, but is rather something to be celebrated; feminism’s self-imposed sexual sanctions can at last be discarded and women can freely express, enjoy, and exploit their own sexuality. In essence, then, women become complicit in their own sexual objectification and exploitation, which is marketed to them as a source of liberation by postfeminist advertising and the media, based on the rationale that “because women objectify themselves where previously they were objectified, then women are freed from centuries of male control” (Edwards 2012: 10).

And thus, as Edwards notes, no matter how sexually alluring and powerfully autonomous Eve is presented to us within postfeminist advertising images, at the end of the day she too is ultimately diminished to a sexual object, rendered a commodity to be used, abused, consumed, swapped, broken and discarded. She may hold our gaze from the pages of a glossy magazine or television ad, but she remains the pinned-down object of that gaze, powerless to withdraw from it. Advertising images of women, like the Eve ads discussed by Edwards, thus perpetuate the insidious control of women by dominant socio-cultural power structures, which carve out for women a particular social and sexual role, all the while reinforcing the ideology that women have no alternative access to power except through their sexuality. In other words, women’s capacity to negotiate and succeed in a number of social contexts (professional, sexual, relational, financial) is marketed as dependent on their adeptness at making themselves as attractive and irresistible (usually to men) as they possibly can; ergo, in popular postfeminism, it is still male-dominated media and popular culture that can prescribe so many areas of women’s lives—their appearance, their behaviour, and ultimately, their social “worth” (Edwards 2012: 67).

Moreover, I would suggest that this consumer-driven propensity to determine and define women’s sexuality can also foster certain ideologies that serve to sustain rape myths and rape cultures. In the first place, as noted by Edwards, postfeminist marketing of women’s sexuality as a source of their sexual emancipation undermines the hard reality faced by many women that their sexuality is more likely to be a locus of vulnerability and abuse than their greatest weapon (Edwards 2012: 39, 43). Yet, feminist attempts to expose the ubiquity and pervasiveness of gender violence within contemporary culture are often dismissed as the overly sensitive ramblings of feminism’s self-victimization mentality. The post-victimization rhetoric of postfeminists such as Katie Roiphe, Camille Paglia, and Christina Hoff Sommers rebut the notion of women’s powerlessness in the face of potential male violence, advocating instead for women’s individual agency and their ability to “control” their own objectification.

Nevertheless, the reality of women’s experiences of gender violence tells quite a different story. While many women may indeed feel adequately empowered to offer themselves up to the male gaze—and hold that gaze unflinchingly—there are many more women who simply do not have access to that sense of empowerment. Women may be granted the dubious postfeminist privilege of being cultural objects of desire; this, however, does not guarantee them adequate recourse to autonomy or justice within the sexual arena, especially when they are confronted with the threat or actuality of sexual aggression or coercion. Post-victimization tropes may sound terribly compelling and empowering when one is already located within a position of empowerment, be it social, sexual, political or economic; they have a less convincing ring, however, when such empowerment is simply beyond one’s reach.

Moreover, another jarring note within popular postfeminist discourse about the empowering potential of women’s sexuality is that this discourse stands in uneasy tension with the still-prevalent sexual double standards that remain ubiquitous within many contemporary cultures. Postfeminist media and popular culture outlets may insist to women that their (male-defined) sexuality is a potent and trouble-free source of power, but it does not stop these same outlets “slut shaming” women for attempting to access or utilize this power (Edwards 2012: 45). Or, put another way, women may be encouraged to attract the male gaze through maximizing their sexual appeal, but they should still expect to be treated negatively for doing so, branded as sluts and whores according to the paradoxical sexual standards that expect women to retain a passive and submissive role within the sexual ambit. It is one thing for a beautiful woman to look sexy and enticing on an advertising billboard or in the pages of a glossy glamour mag; it’s quite another for her to attempt enacting this look within her everyday engagements with others, particularly men. Consequently, this culturally abundant act of slut shaming plays a considerable role in perpetuating the myth of victim blaming that is so common within rape cultures. For, according to the logic of this victim blaming ideology, if women commodify themselves as sexual objects, they should not be surprised if men treat them as objects.

This premise of victim blaming also taps into another concomitant rape myth—that men “can’t help themselves” when their sexual ardour is ignited. Forcible sexual behaviour is thus understood as the inevitable effect of a man’s “natural” inability to control his lust once it has been aroused by a sexually provocative woman. If women display their sexual allure, thereby inciting male ardour, then refuse to grant men access to their sexuality, we cannot blame these men for resorting to violence and coercion, but we can certainly hold the women responsible for behaving like “sluts” or “prick-teases” in the first place. Men’s agency and accountability for perpetuating acts of sexual violence are thus diminished, the culpability instead laid squarely at the feet of those women imprudent enough to whip up the passions of the hapless and hopelessly smitten male.

These elements of victim blaming are also granted expression (implicitly and explicitly) within postfeminist advertising. Edwards offers examples from two Eve-related ads for a Lolita Lempicka perfume, The First Fragrance, both of which, she suggests, convey nuanced images of women who may have been the recipient of sexual and/or physical violence (2012: 73–76). With their torn clothing and somewhat despairing posture (as well as the suggestion of a bruise on the face of one of the models), there are hints that these women may have been involved in some form of coercive sexual encounter. As Edwards notes, these ads implicitly convey the disturbing message that a certain product (in this case perfume) can make a woman so desirable that she will be the likely recipient of aggressive sexual attention (74). This, bizarrely, becomes the “selling point” of the product—the source of its desirability for the female consumer. Women, it is assumed, want to unleash their inner femme fatale, driving men wild with desire; they want to be so desirable that no man could resist ripping their clothes off and forcibly penetrating them. We cannot therefore help but blame the woman for her ensuing rape, just as we surely cannot hold the man accountable for his actions, given the insurmountable temptation that this woman has laid before him.

Moreover, I would suggest that this myth of victim blaming may likewise be glimpsed within the sexual undercurrents and gender assumptions that flow through the Genesis 2–3 narrative. Eve’s fruity temptation of Adam is, as Edwards notes, replete with sexual nuances that indisputably draw the reader’s attention to the dangers of irresistible female sexuality (2012: 28–34). The first woman’s strong textual identification with the forbidden fruit (food, particularly fruit, being a common trope for sexuality within other biblical traditions), as well as her nakedness, suggest to the reader that her sexual allure may have played a major part in Adam’s reckless decision to transgress the divine prohibition of Gen. 2:16–17. Eve thus becomes an icon for the perils of sexual temptation that all women can pose to men; most importantly, the text implies that women’s sexual allure can make men behave in the most irresponsible ways—they are therefore as culpable as the men (if not more so) for whatever happens as a result.

This is victim blaming in its purest form. While Adam is also punished by God for eating the forbidden fruit, the reader is left with a sense that the fault lies more squarely with Eve, given her more active role in the transgressive drama (Edwards 2012: 24–27). And so, within the narrative of Gen. 3:1-6, there are discernible whispers of the rape myth concerning women’s sexual power to entice “innocent” men to behave irresponsibly. Also discernible is the concomitant myth of men’s lesser culpability for their sexually-driven transgressions and their seemingly inherent inability to resist a sexually alluring woman.

Thus, abiding by the rhetoric already given voice within Genesis 3, the advertising strategies for Lolita Lempicka’s The First Fragrance tap into the discourses of victim blaming (she wore the perfume, so she can’t complain if it made her so desirable she was raped) and male exoneration (he was driven to distraction by her perfume—she’s more to blame than he is). Additionally, these ads exploit another rape myth, also mandated by Genesis 3, which downplays the seriousness of sexual violence, equating rape with normative and socially acceptable heterosexual behaviour.

Intrinsic to this myth is the belief that female vulnerability to male sexual aggression is an innate part of heterosexual relationships, rather than being symbolic of an imbalance of gender power (Lees 2002: 210–13; Herman 1984: 20–38). Within the First Fragrance ads, the iconography of sexual violence is located within a context of beauty, opulence, and luxury products, lending it a certain glamorous appeal, if not respectability. Meanwhile, the ads’ commodification of women’s bodies, along with the concomitant claims about the natural aggressiveness of masculine sexuality, promotes the branding of sexual violence as a socially mandated form of behaviour. As a result, the inherent physical and psychic brutality of rape is eclipsed, re-imagined as little more than consensual, socially acceptable sex. As Rebecca Campbell and Camille Johnson note, when the boundaries demarcating sexual coercion and consent are indistinct, “violence becomes sexy, and sexiness is not criminal” (1997: 257).

While this propensity to equate sexualized violence with normative sexuality is not expressed explicitly within Genesis 3, the basis for this rape myth can nonetheless be glimpsed therein, connected with the text’s assertion that the man’s willingness to “listen to” (or “obey”) the voice of the woman is somehow worthy of divine censure (Gen. 3:17). As the result of her act of disobedience, Eve is to be “ruled over” by her husband; her sexualized potential to make men do as she desires will be contained through her divinely-ordained subjugation (Gen. 3:16).

To the woman [God] said, “I will make your pains in childbearing very severe; with painful labor you will give birth to children. Your desire will be for your husband, and he will rule over you.” To the man he said, “Because you listened to your wife and ate fruit from the tree about which I commanded you, ‘You must not eat from it,’ cursed is the ground because of you; through painful toil you will eat food from it all the days of your life. (Gen. 3:16-17)

This text may therefore offer the reader a divine mandate both to curtail women’s agency—including their sexual agency—and to affirm men’s prerogative (if not imperative) to ignore women’s expression of their will, including their sexual will. In other words, the biblical text offers men free reign to impose their sexual determination upon women, regardless of the women’s own sexual needs or desires. Adam’s central failing (according to God) was that he “listened to” Eve; how much better men would fare, it implies, if they stopped listening to women’s voices altogether. And thus, sexual violence can likewise be re-imagined as a divinely ordained part of the natural, or ontological, order of gender relations—a necessity even—that ensures masculine sexual aggression and feminine sexual resistance remain normative elements of traditional sexual conduct, encoded within both sexes since the time of creation. A woman can say “no” all she wants, but men are under no obligation to “listen to her voice” —after all, doesn’t Genesis 3 suggest that’s how men got into trouble in the first place?

Thus, postfeminist advertising strategies that use Eve iconography may claim to champion the liberating and powerful potential of women’s sexuality. In reality, however, and as Edwards notes throughout Admen and Eve, such iconography may only serve to reinscribe the misogynistic myths and misperceptions about gender roles and gender violence that are already established within both contemporary patriarchal cultures and the ancient traditions of Genesis 2–3.

Moreover, these misperceptions about gender and gender violence are not merely restricted to the imagery found in contemporary Eve advertising; as sociologist Anthony Cortese notes, imagery of sexual violence has become alarmingly commonplace in other high-end postfeminist advertising, offering up rape as the new iconography of “chic” (1999: 73). Dolce and Gabbanna, Calvin Klein, Pirelli, Lanvin, Belvedere Vodka, Sisley, Jimmy Choo, American Apparel, Vogue Hommes International, and Italian Vogue (to name but a few) have all utilized imagery of gendered violence to sell luxury items or brands.

Recently, the controversial work of Indian fashion photographer Raj Shetye has come under media scrutiny for following this trend in high fashion photography; his latest work, “The Wrong Turn,” consists of a series of images depicting a female model, wearing high-end fashion, being sexually abused on a bus by a group of men who are likewise stylishly dressed. These images caused a furore in the Indian media, given their seeming “glamourizing” of the fatal gang rape in 2012 of a student on a bus in New Delhi. While Shetye denied that the shoot was intended to re-enact that particular rape and insisted that he was not trying to glamourize sexual violence, his use of attractive models, highly stylized photographic techniques, and designer fashions to depict scenes of unequivocal sexual abuse do, in my mind, obscure the horrific violence of rape within a glossy and alluring context, making it appear in some sense sexy or even desirable.[1] As journalist J.R. Thorpe insists, “That’s the horrific part of this shoot: it trivializes rape, homogenizes it, even fetishizes it. Taking a series of brutal sexual assaults and making them a display of a model’s assets—transforming a situation where a group of men raped and murdered a woman into a performance for the male gaze—is grotesque.”

Media and advertising strategies such as Shetye’s therefore do nothing less than nonchalantly promote the rape myths of blaming the victim for being too sexually alluring and equating gender violence with cool and consensual sex. They connect sexual coercion and assault to sexualized images of women, blurring boundaries between violation and desire, thus inviting viewers to embrace the idea that “women secretly want to be raped, and that women invite rape by their behaviour and attire” (Cortese 1999: 74). Their images of attractive, fashionable men perpetrating acts of sexual violation only serve to mute or nullify the violence and misogyny inherent in their actions, asking the viewer to gaze at these men with appreciation (or even lust) rather than disapproval or censure (Thorpe 2014).

Moreover, by using rape imagery to advertise luxury items (such as perfume and high designer fashions) in often glamorous locations, these ads equate gender violence with beauty, opulence, and pleasure, thereby erasing its realities of pain, violation, and shame. As Cortese notes, “Advertising not only makes this sexual genre of violent abuse tolerable but also unmistakably glorifies it. Sexual violence has become romantic and chic instead of being seen as grievously contemptible” (1999: 85). The result, he warns, is that “the eradication of domestic and sexual violence is not made any easier” (1999: 85).

And therein lies the rub—the real and undeniable impact that postfeminist advertising and media can have on the everyday social and sexual reality for so many women. As Edwards demonstrates in Admen and Eve, woven through numerous advertising images is a constant entanglement of male entitlement and female disempowerment. both of which nourish the underlying ideologies of rape culture. Within these images, men still dictate the ideals of women’s sexuality; under the rubric of postfeminist rhetoric, women are told that they “own” these ideals, yet when they claim them they are rendered vulnerable to blame, shame, and recrimination. The sexual power and autonomy promised to women in postfeminist advertising and popular culture is thus exposed as little more than smoke and mirrors, merely a reinscription of age-old patriarchal codes of conduct, which eschew women’s sexual agency and blame women for their own sexual victimization.

Indeed, as I suggested above, the discourses on sexuality and sexual violence discernible within postfeminist advertising hearken back to the ancient text of Genesis 2–3, where Eve’s sexuality is objectified, stigmatized, and, ultimately, regulated via divine fiat. In Admen and Eve, Edwards reminds us of the enduring power of this biblical text to shape cultural attitudes towards gender and sexuality. I have argued that it also encodes certain myths about gendered sexuality that are themselves intrinsic to contemporary rape cultures. Postfeminist advertising does nothing to challenge these myths—rather, at times, it appears to reiterate and reaffirm them. Eve may be presented to us as the postfeminist darling of female empowerment, but look a little closer and you might just see the bruises beneath her makeup, the scratches on her thighs, the fear and shame in her eyes.

 

Reference list

Burt, Martha R. 1980. “Cultural Myths and Support for Rape.” Journal of Personal and Social Psychology 38: 217–30.

Campbell, Rebecca and Camille R. Johnson. 1997. “Police Officers’ Perceptions of Rape: Is there a Consistency between State Law and Individual Beliefs?” Journal of Interpersonal Violence 12: 255–74.

Edwards, Katie B. 2012. Admen and Eve: The Bible in Contemporary Advertising. The Bible in the Modern World, 48. Sheffield: Sheffield Phoenix Press.

Gill, Rosalind and Christina Scharff. 2011. “Introduction.” In New Femininities: Postfeminism, Neoliberalism and Subjectivity, edited by Rosalind Gill and Christina Scharff, 1–17. Basingstoke: Palgrave Macmillan.

Jones, Amelia. 1991. “‘She Was Bad News’: Male Paranoia and the Contemporary New Woman.” Camera Obscura 25-26: 297–320.

Lees, Sue 2002. Carnal Knowledge: Rape on Trial. London: Women’s Press.

McRobbie, Angela. 2004. “Post-Feminism and Popular Culture.” Feminist Media Studies 4: 255–64.

­­­ McRobbie, Angela. 2009. The Aftermath of Feminism: Gender, Culture and Social Change. London: Sage Publications.

Modleski, Tania. 1991. Feminism without Women: Culture and Criticism in a “Postfeminist” Age. New York: Routledge.

Projansky, Sarah. 2001. Watching Rape: Film and Television in Postfeminist Culture. New York: New York University Press.

Walters, Suzanna Danuta. 2014. “Postfeminism and Popular Culture: A Case Study of the Backlash.” In Film and Gender: Critical Concepts in Media and Cultural Studies. Vol. 4, Re-visioning Feminism(s), edited by Sue Thornham and Niall Richardson, 107–35. Abingdon: Routledge.

[1] For further discussion of Shetye’s photoshoot and the media response to it, see Wickramasinghe 2014; Thorpe 2014.

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Susanna and the Elders, Restored by Artist Kathleen Gilje

Kathleen Gilje  is a US art restorer and artist best known for her technique of appropriating famous paintings in ways that juxtapose historical provenance with contemporary ideas, concepts or perspectives.

In this short clip she discusses a painting by Artemisia Gentileschi, called Susanna and the Elders, which is inspired by the story told in the book of Susanna. This book is in the Apocrypha (also called ‘the deuterocanonical books’, because it is part of the book of Daniel and in the canon of both Roman Catholic and Eastern Orthodox churches). The book of Susanna tells of a virtuous woman who is threatened with sexual assault by two elders. The story proved a popular inspiration for Baroque and Renaissance artists. Accomplished Italian Baroque painter Artemisia Gentileschi (1593-c.1656) was the first woman to become a member of the Accademia di Arte del Disegno in Florence. Her paintings often depict strong or suffering women, frequently drawing on mythology and the Bible. It is also known that Gentileschi was raped by her art teacher, that she attempted to fight him off with a knife, and that she participated in the prosecution of her rapist.

Gilje places Gentileschi’s painting of 1610 alongside her own painting, which is inspired by an underpainting on the canvas, which has been made visible through X-ray technology. The X-ray, supplemented by Gilje’s lead paint, shows Susanna screaming and wielding a knife. Gilje brings together the painting, the underpainting and Gentileschi’s biography with stunning effect.

 

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The Handmaid’s Tale as a Legitimate Reading of Genesis?

The new Hulu show “A Handmaid’s Tale,” based on the 1985 Margaret Atwood novel of the same title, depicts a dystopian society in which women are taken from their families and enslaved as handmaids to address an infertility problem in the United States. While some may see the new society as premised on a “deliberate manipulation, not open-minded interpretation” of Genesis, as a scholar of the Hebrew Bible, I consider it a surprisingly accurate interpretation of the patriarchal narratives in the book of Genesis. In these stories, barrenness is a common motif (see, Gen 16-20; 25; 29-30), and handmaids (Hebrew, also translated as “slave-girl”) are used as birth surrogates.

The world depicted in “The Handmaid’s Tale” is, to put it mildly, disturbing. Women are captured, indoctrinated, tortured, and enslaved to perform the job of surrogates. They are chosen as handmaids because they have previously given birth to live children, which has become very rare in the past years. They are also degraded for having participated in what is deemed immoral sexual behavior in their past lives–adultery, having children out of wedlock, lesbianism, and being rape victims.

“The Handmaid’s Tale” focuses primarily on the character of Offred, played by Elisabeth Moss. We are privy to her inner thoughts and attitude towards her new reality. She makes clear that she regards herself as a prisoner and does not perform the role of handmaid voluntarily. She articulates this explicitly to a Mexican delegation of diplomats in episode 6.

The press around this new production of “The Handmaid’s Tale” has focused on the problematic social and sexual values presented in the society of Gilead, especially in Trump’s America. The handmaids have become symbols of the suppression of female reproductive autonomy; recent protests have included women dressed as the handmaids described in the story. Many wonder if our contemporary world is headed in the direction of Atwood’s. Perhaps this, in part, accounts for the popularity of the show.

‘Handmaid’s Tale’, Daniel X. O’Neil

Audiences have been rightly troubled by this, still fictional, dystopian vision. Even the wives of the elite are denied legal rights; all women are forbidden from reading and writing, are forced to take on exclusively domestic roles, and are clearly subordinate. Women are controlled sexually; sex is a means of procreation, not pleasure. Elite wives must accept the handmaids into their households and participate in the monthly insemination ritual (see below). The handmaid is not to have any sexual partners of her own choosing and is even separated from any existing sexual partners. Also, in a particularly gruesome scene, Offred’s friend, Ofglen played by Alexis Bledel, a known lesbian, wakes up in a hospital room, where both she and the audience realize that she has undergone female genital mutilation, in order to remove the possibility of her attaining and seeking out sexual pleasure. Even the handmaids’ names are signs of their subordination. Each woman is renamed Of-the head of the household. Therefore, Offred, is “of Fred Waterford.”

Here’s the thing – this dystopian vision is not that far off from the world of Genesis! In fact, aspects of “The Handmaid’s Tale” are deliberately based on Genesis — Genesis gives legitimacy to the rituals and rule in Gilead. In Genesis, the handmaids are property of the mistress, sometimes given as wedding gifts by their fathers (e.g. Gen 29:24, 29); the mistress has the power to turn them over to her husband as a “cure” for her barrenness. The biblical text establishes a situation in which the sexual exploitation of the handmaids’ fertility is permitted, even encouraged and celebrated, as a strategy for nation building.

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On Sex and Other Possibilities

In a seminal 1980 philosophy paper, ‘Throwing Like a Girl’, Iris Marion Young cites Erwin Straus’ description of differences in styles of throwing between five year old girls and boys. While a girl makes no use of lateral space and remains relatively immobile apart from her arms, a boy will stretch his body sideways and backwards, twist, turn and bend his trunk, move his foot backwards, and throw the ball with force. The result, of course, is that the girl’s ball is released without force, speed, or accurate aim; the boy’s ‘leaves the hand with considerable acceleration; it moves toward its goal in a long, flat curve’ (Straus, 1966, 160).

This difference, argues Straus, has a biological rather than a social or acquired explanation, though he is at some loss to explain what the biological explanation is. Since the difference is found in very young children, it can’t be explained by the existence of female breasts – and anyway, it ‘seems certain’ that the Amazons, who cut off their breasts, ‘threw a ball just like our Mary’s, Betty’s and Susan’s’ (Straus, 1966, 158). Nor can it be explained by weaker muscle power, since a girl could compensate for this precisely by reaching forward and back. Instead, Straus argues, it is probably explicable by appeal to a ‘feminine attitude’ to the world and space. The difference for Straus, then, is biological, and yet this is in a rather vague way, since it is not in any way anatomical: it is simply part of a natural and eternal feminine essence.

Young is not in favour of Straus’ explanation, but she does agree with him about differences in throwing styles. In fact, Young extends the ways in which males and females differ with respect to whether or not they make full use of the body’s spatial and lateral possibilities. Women tend to be less open in their gait and stride; we are more likely to sit with our legs together and to fold our arms. Men are more likely to stand with their feet apart and to swing their arms. Women are also less likely to see ourselves as capable of lifting or carrying heavy things, and when we engage in sport: ‘a space surrounds us in imagination that we are not able to move beyond; the space available to our movement is a conflicted space […] We frequently respond to the motion of a ball coming toward us as though it were coming at us, and our immediate bodily impulse is to flee, duck, or otherwise protect ourselves from its flight’ (Young, 1980, 33- 34).Women often engage with sports timidly, hesitantly, perhaps apologetically. We lack confidence in our capacity to do certain things, and we fear getting hurt; rather than being a medium for the enactment of our aims, we often see our bodies instead as a fragile encumbrance (Young, 1980, 34). And our lack of confidence is, of course, often self-fulfilling.

The reason for this difference, Young posits, lies in the fact that bodily attitudes – everyone’s bodily attitudes – reflect their sense of the possibilities afforded us by the world. Understanding this claim takes us back to Maurice Merleau-Ponty’s claim that subjective experience starts from the perspective of our bodies. So, a door is perceived instantly as a door, and not as a compilation of wood and metal, because I perceive it in an embodied fashion: I see it as something it’s possible to walk through, close, reopen, slam. Or, again, the reason I perceive a cup as a cup, despite only being able to see one side of it at any time, lies in the fact that in seeing it I have already interpreted and experienced it as an object it is possible to pick up, hold, drink from (Merleau-Ponty, 1962). Our perception and experience of the cup is unitary; we do not sense the cup and the possibilities it gives us as separate things, but as a whole, because our bodies are the lens through which we see it (Merleau-Ponty, 1962, 150; Husserl, 2001, 42). So, our bodies are the starting point for our perception of the world, and, conversely, the possibilities opened up by the world depend on the mode and limits of the body’s possibilities (Merleau-Ponty, 1962, 137, 148). A sense that we cannot swing our arms or move beyond a confined space is not just about how we view our bodies, but about how we perceive the world and how we are able to live in it and relate to it.

Possibilities are pretty important to humans. The sense that we have possibilities is necessary for our ability to pursue them, and to our engagement, immersion in, and sense of belonging to the world. Possibilities give rise to more possibilities, and so when we inhabit a world of possibilities there is a dynamic interplay of habitual expectation and fulfilment, of confident anticipation (Ratcliffe, 2015, 47). A common source – and indeed form – of suffering is a loss of agency and sense of the possibilities we have available to us. Thus the experience of depression, for instance, is very frequently described in terms of a loss of a sense of possibilities, and so, by extension, a loss of agency or ability to act (Ratcliffe, 2013). For example, as one person says of their experience of depression: ‘It became impossible to reach anything. Like, how do I get up and walk to that chair if the essential thing we mean by chair, something that lets us sit down and rest or upholds us as we read a book […] has lost the quality of being able to do that?’ (Anon, quoted Hornstein, 2009, 213; see Ratcliffe, 2013).

All human experience of possibility is malleable, being shaped by the social and cultural contexts in which we are embedded, and reflected in our bodily behaviour. While not about depression, Young’s paper draws attention to the fact that women’s bodies often behave differently to men’s, precisely because of the diminishment of our possibilities – because women are ‘physically inhibited, confined, positioned, and objectified’ by patriarchal culture. Girls are less likely to be encouraged to develop particular bodily skills, and more likely to be told not to get dirty, or hurt, or ruin their clothes. Girls are taught, even today, the subtle habits of feminine comportment: to walk, sit, and stand in a feminine way – whatever that may be in Young’s and our respective cultures. Young’s reflections are valuable precisely because they draw attention not to the horrific and extreme things we already know about (for example, one-off instances of rape or other sexual violence), but to micro, systemic, everyday things that start early in our lives, and to the way these relate specifically to the loss of possibilities open to us and so the narrowing of our worlds. As Young herself invites us to do, this way of understanding these experiences can be extended to other aspects of women’s embodied subjectivity, not only in relation to sports and everyday comportment, but also in relation to other aspects of women’s experience, including sex and sexuality.

How are women’s experiences of sex and sexuality today shaped by the diminished sense of possibility Young highlights? Or, what light does Young’s account of women’s experience, which foregrounds possibility and its loss, shed on women’s experiences of sex and sexuality now? Here are a few thoughts, drawn from my own experience. Many of these are, I think, experiences common to the vast majority of women like me, who are in many ways the lucky ones: women who live in a modern, outwardly egalitarian society who are surrounded by liberal, feminist friends and colleagues. In writing of these experiences, I seek to disrupt the hegemonic narrative that we already live in an egalitarian society, or that sexual violence does not, in fact, affect the experience of most women day-to-day, or that it does not do so at a significant level.

A major enjoyment in my life is walking. I enjoy walking with friends, but also, and in some ways particularly, on my own. If I’m stressed it often takes me out of myself and helps me to see that things matter less than I think; if I’m thinking about my research it often helps me to be creative and reorder my ideas. Yet my experience of walking has at times been marred, not only by assaults during walks (though this has happened, and in unlikely times and places), but also by advice from well-meaning people from an early age to be careful: to watch out because it’s likely that if I walk alone then I will be raped. Most recently, this happened about six months ago as I walked in some woods near my home in Yorkshire. Meeting a family from a nearby city who had come for a picnic for the day, we spent five minutes passing the time of day by talking about the beautiful weather and countryside. But the walk as a whole was tarnished for me by the man’s concern that I was walking alone, and question about whether I wasn’t worried about being attacked.

 

 

The effect of this kind of well-intentioned question was to alter my mood, my background sense of how I found myself in the world and the particular quality of experience of being immersed in it. Unlike an emotion, a mood like this is not an intentional state that is directed towards a particular object (for example, a sense of fear about the possibility of being raped). Rather, it is an immersion in the world as a threatening and fearful place, a place in which we do not belong and that is not of our own making (see Ratcliffe, 2015). The world of the person whose mood is one of fear is simply not the same world as the world of the person whose mood is characterised by a sense of one’s possibilities. Threat is not only a contingent prospect about a particular event but, rather, the shape that all experience of the world has, one that makes the beautiful weather seem discordant, and the woods not peaceful and joyful but strange and threatening. And this is a sense that is, to different extents, instilled in girls from an early age, and of which (even if we consciously choose to reject it, as I had done) we are forcibly reminded at various points throughout our lives.

Over the last six months I’ve done quite a lot of (mostly heterosexual) dating: a relatively new experience to me since, prior to that, I have mostly been in monogamous relationships. For the most part, the experience of dating has been an exciting one, carrying with it a sense of possibility and confident anticipation: meeting new and interesting people, being less sexually constrained, becoming more confident. Being single and not celibate has not only been fun, but has also allowed me to consider whether and in what ways monogamous relationships are (inherently or contingently) patriarchal or heteronormative, to re-assess earlier relationships, and to consider a wider range of possible futures than I’d previously allowed myself. Yet, on the contemporary dating scene, too – at least as far as it relates to people between their late-twenties and late-forties – there are curiosities that point to a diminished sense of possibilities of the world for women in particular. So, for example, as it turns out, it’s still overwhelmingly the norm for men to make the first move on a date. This is in spite of the fact that both the man and the woman may be ardent feminists: it seems there is still an invisible barrier that prevents women from taking this step. I, for one, am guilty of this. And there is evidence to suggest this is not unwarranted: when one attractive female friend did make the first move on a date, she was spurned (by a well-educated, liberal, feminist etc. man) on account of being too forward.

That women’s bodily sexual behaviour is still normalised as demure in this context may seem remarkable but relatively benign: it is, after all (one might think), merely an aesthetic preference; there is nothing intrinsically violent or genuinely misogynistic about it. But on reflection this is naïve: the way in which cultural norms shape women’s (and men’s) behaviours reflects a more general (if often invisible) policing of women’s bodies, by both men and women, of which rape and sexual violence are one part. And these things, too, are salient in a dating context. Women are encouraged always to tell a friend where and with whom they are going on a date, and whether they take the date home (taking the date home, rather than going back to the date’s house, is recommended in most dating advice guides as the safer option).

In the UK, ‘rape’ is defined as something that can only be done by a man; the way the term is defined (or, in other countries, primarily understood) suggests that men are potential perpetrators, and women potential victims. The ‘consent’ that the woman gives to the man is the primary legitimator of sex, and yet, against a backdrop of patriarchal norms (for example, how we define ‘rape’, whom we expect to make the first move), this is a concept that already puts a woman on the back foot and undermines her subjectivity and agency: it suggests that her role in sex is to ‘allow’ it; indicates feminine passivity, and implicitly undermines and de-normalises women’s enthusiasm for sex and sexual pleasure. Conversely, men’s sexual desire is constructed as proactive, potentially predatory, perpetually up for it: ‘being sexual like a girl’ differs from ‘throwing like a girl’, in that not only women but also men suffer from our embodied performances of gendered sexuality.

I’ve been raped twice in my life. Writing this now, I find myself wondering what the reader’s response to this will be and, once again, whether this number is higher than the average; if so, whether this is because of something about me, either intrinsically, or else because of my behaviour. ‘Being someone who has been raped’ has taken me a very long time to accept. Perhaps this is because it jars with my strong sense of agency, and, however much I thought I felt solidarity rather than pity with people who had been raped, ultimately I had a sense that this extreme and violent loss of agency is not something that would ever happen to me. The effects of the first time I was raped – over a decade ago – were significant in terms of my relationships and career: I was frequently too preoccupied by the memory of the experience to work; I was unable to tell the people closest to me, and could no longer relate as fully to them. When I did try to explain, I was no good at it, not least because I could not bring myself to use the word ‘rape’ – and they would not understand my inarticulate attempt to characterise my experience. In addition to this, over a significant period of time, I would generally feel fine, but then a particular sentence of a song, or conversation I overheard between people, would make me unable to breath, and would make being in a particular place suddenly unbearable. I would sleep badly, have nightmares, and wake panicked.

I experienced tremendous anger, oddly at the seriousness with which our culture takes rape and sees it as traumatic, as I felt this could be normalising and self-fulfilling. I felt that, were it not for the seriousness with which rape is spoken of, I might be able to shake off some of the negative after-effects more quickly. Retrospectively, I think this was part of a wider attempt to re-establish the agency I’d lost by establishing a more optimistic, albeit naïve, evaluation of my experience and set of choices about how to respond to it. Collectively, men and women interpret experiences through a patriarchal lens, which includes normalising or trivialising sexual violence. There is an additional incentive to do this if one wishes to deny, as I did for psychological reasons, that something really bad has happened to one. Of course, the problem with wishful thinking, as here, is that while it may be helpful for a while, it is often untrue, and unhelpful in the longer term (see Bortolotti, 2014 for a discussion of related kinds of helpfulness in the context of psychiatric delusions).

Rape is something that happens, that happens to a large number of women, and that happens to women whom perhaps we don’t expect it to happen to. Furthermore, the overarching threat of rape often affects the experience of women, and of women’s sex lives, at least some of the time and to some extent, whether they have been raped or not. The ways in which cautionary advice altered the experience of walking pre-existed my experience of rape, though the sense of threat was significantly heightened for a period following them. Merely the threat of rape diminishes possibilities, since the ‘I can’ is set to the limits of the ‘I cannot’ (or must not, or ought not, or else…). It’s also sometimes observed that the overarching threat of rape that exists between male and female relationships can result in gratitude to non-predatory male friends, and non-rapey male lovers. It can therefore result in an unequal playing field for romantic and sexual relationships, and for friendships with men.

The sense of gratitude is of course inappropriate: non-rape should be presupposed. Women are more likely than men to err on the side of caution, both with respect to the number of sexual partners they have, and to how well they know and trust someone before they will sleep with them. Explanations for this are sometimes posited in terms of women’s lower sexual appetite (we have less testosterone), or life preferences (apparently, we seek a life-long mate and children – whether or not we think we do), or adventurousness (we are intrinsically more sensible people). Yet it is surely not ridiculous to think that here, too, women’s experience is characterised by a sense of diminished possibility, and shaped by an overarching threat of rape. Our decisions are more cautious, because we have fewer possibilities open to us, because in this most intimate part of our lives there is also a pervasive sense of threat.

Negotiating the realities of rape and rape culture is complex. It’s sometimes well-meaning people (protective relatives or perfectly nice people one meet on walks) who instil the sense of threat that mars women’s experience of the world in general and of sexual possibilities in particular. And, given the occurrence and severe effects of rape, they may even be correct to make us cautious or feel threatened – and yet diminishing a person’s sense of possibility or increasing their sense of fear is, in and of itself, a harm to that person’s good. Or again, regarding trauma as the appropriate response to rape, and recognising the seriousness of rape, can seem to normalise such a traumatic response, and arguably diminish the wellbeing of a woman who has been raped further.

It may, at times, be at odds with a woman’s claim, post-rape, that the situation is not as bad as feminist discourse prescribes, or that making a big deal of it is itself unhelpful – and to overrule or ignore her claim can even seem paternalistic or authoritarian. The solution to this complexity is not to deny that we live in a rape culture, or to assert a simplistic, libertarian form of women’s agency post-rape, as some writers have recently done (e.g. Gittos, 2015). Instead, we need to understand and critique rape culture. This means understanding and critiquing the ways in which rape culture affects our relations and interactions systemically, including at the level of the more everyday, less visible diminishment of women’s possibilities, and the ways in which women, and men, internalise, embody and perform problematic dynamics in our everyday lives.

Anastasia (Tasia) Scrutton is an Associate Professor in Philosophy and Religion at the University of Leeds, UK. Her current research is on religious and spiritual interpretations of depression, particularly in relation to how different interpretations shape the meaning and interpretation of the experience, and the experience itself. Prior to this, she looked at the idea of divine passibility – the idea that the God of classical theism could have emotions – through the lens of some recent work on the relationship between emotions, intelligence, the will and the body. Other interests include social philosophy, philosophy of mind, and indigenous and new religions. Recent publications include ‘Why not believe in an evil God? Pragmatic encroachment and some implications for philosophy of religion’ (Religious Studies); ‘Two Christian Theologies of Depression’ (Philosophy, Psychiatry and Psychology); ‘”Is depression a sin or a disease?” A critique of moralizing and medicalizing models of mental illness’ (Journal of Religion and Disability) andMental Illness’ (Routledge Handbook for Epistemic Injustice).

Author Acknowledgements

Being able to share these experiences would be impossible without the support of a number of good friends, and my writing of it also benefited from their expertise in philosophy, theology and other disciplines. Thanks go particularly to Adriaan van Klinken, Gerald Lang, Rachel Muers, Jack Woods, Heather Logue, Stefan Skrimshire, Paolo Santorio and Matthew Ratcliffe.

 

References

Bortolotti, Lisa. 2015. The epistemic innocence of motivated delusions. Consciousness and Cognition 33, 490 – 499

Gittos, Luke. 2015. Why Rape Culture is a Dangerous Myth: From Steubenville to Ched Evans. Exeter: Societas

Hornstein, G. A. 2009. Agnes’s Jacket: A Psychologist’s Search for the Meanings of Madness. New York: Rodale.

Husserl, Edmund. 2001. Analyses Concerning Active and Passive Synthesis: Lectures on Transcendental Logic. Trans. Steinbock, A.J. Dordrecht: Kluwer

Merleau-Ponty, Maurice. 1962. The Phenomenology of Perception. Trans. Colin Smith. New York: Humanities Press

Ratcliffe, Matthew. 2015. Experiences of Depression: A Study in Phenomenology. Oxford: Oxford University Press

Ratcliffe, M, 2013. Depression and the Phenomenology of Free Will. In Oxford Handbook of Philosophy and Psychiatry. Ed. Fulford, K. W. M., Davies, M., Graham, G., Sadler, J., Stanghellini, G. & Thornton, T. Oxford: Oxford University Press. 574-591

Straus, Erwin W. 1966. The Upright Posture. Phenomenological Psychology. New York: Basic Books

Young, Iris Marion. 1980. Throwing like a girl: A phenomenology of feminine body comportment motility and spatiality. Human Studies 3, 137 – 156

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Sex, Rape and Social History – The Case of the Bible

One does not have to look far to find indications of the normalization of sexual violence (a phenomenon known as rape culture) in news articles, pop culture or, indeed, the Bible.

Recent press coverage of Adam Johnson, the ‘Rape Clause’, and responses to rape storylines in Broadchurch and Emmerdale are but a handful of instances demonstrating the complex attitudes bound up in public understandings of rape. Can the Bible – given its considerable influence on Western culture – contribute to the discussion? And if so, how? The new Shiloh Project, which I co-direct with Katie Edwards and Caroline Blyth, seeks to answer that very question.

The Bible is of limited value for reconstructing specific events of the past. For the social historian, however, the Bible holds more promise. When it comes to social values, attitudes and laws concerning sex, the Bible has undeniably had tremendous influence.

For example, one biblical commentator claims that the biblical incest laws ‘have had greater effect on Western law than any comparable body of biblical laws’. 1 The kinship and marriage laws (known as consanguinity and affinity laws), which were used in Christian Europe over centuries, were directly derived from biblical incest laws. 2 They were also used rather fluidly. In the twelfth century, Eleanor of Aquitaine’s marriage to Louis VII of France was annulled (following the birth of two daughters and no sons) on the grounds of a blood relationship in the fourth degree. Next, however, Eleanor married Henry (who would become Henry II of England): her cousin in the third degree!

The rape laws and narratives of the Bible also hold out promise for explorations of attitudes to rape throughout history. Male-male rape is threatened twice (Genesis 19 and Judges 19) and in both cases the rapists are invited to violate women instead – with the implication that rape of a woman is less abhorrent and less ‘wrong’ than the rape of a man.

In Judges 19, one of the most horrendous narratives of the entire Bible, a nameless woman, the wife of a Levite, is cast out to a group of thugs and gang-raped all night. Her body is dismembered and its parts sent to the tribes of Israel. This leads to a war, which leads to the exclusion of a tribe, which leads to more rape: because seizing a group of women for wives is deemed preferable to the extinction of a tribe.

The Bible is not for the squeamish. There are many more examples of biblical rape texts. King David ‘takes’ Bathsheba, the woman he sees bathing – and (in spite of the romanticised retellings in film versions) the likeliest scenario is that she was not asked for her consent and raped. 3 King David’s son Amnon rapes Tamar, who is his half-sister. Jacob’s daughter Dinah (whose tale is another often portrayed in pop culture as one of romance) is raped by a local prince.

Often the rape of women in the Bible is depicted in cavalier ways. Abraham offers his wife Sarah to the king of Egypt and to Abimelech of Gerar . Sarah hands Hagar to Abraham as a surrogate child-bearer and Jacob’s wives Leah and Rachel do the same with their maidservants, Bilhah and Zilpah. No words identify such actions as trafficking or rape.

The Biblical legal texts prescribe that if an engaged woman is raped in an urban area, she and the rapist shall both be killed – because she should have screamed for help and (tellingly) because the rights of another man (i.e. the man to whom she was engaged) have been violated.

If the rape occurred in the countryside, however, only the man is executed – because the woman may have screamed and not been heard. By implication raped women are ‘damaged goods’ and potentially co-responsible for their violation. A phenomenon known as ‘victim-blaming’ is something we regularly see played out in contemporary media accounts of rape.

In cases where a raped woman was not engaged, a fine must be paid to her father and the rapist must marry the raped woman, with no possibility of divorce. It is clear that notions of female autonomy and consent are barely present in the Bible and that rape is often a matter of male ownership and competition. This is something we have recently seen in news coverage regarding Article 308 in Jordan which would have allowed rapists to avoid jail by marrying their victims.

Religions play a significant part in both confronting and perpetuating the myths and misperceptions that lie at the heart of rape cultures. As such, it is essential that we begin to consider how religion can both participate in and contest rape culture discourses and practices.

The Shiloh Project, a joint initiative between the universities of Sheffield, Leeds and Auckland, is a new research centre which seeks to explore rape in the Bible and also its reception, resonance and afterlives in contemporary settings. The Shiloh Project is named after the women of Shiloh who are seized for rape marriage as a ‘solution’ to prevent the extermination of the tribe of Benjamin. This is a particularly poignant story in the light of the abduction of the girls of Chibok by Boko Haram.

This article was originally published on History Matters. Read the original article.

Johanna Stiebert is Associate Professor of Hebrew Bible at the University of Leeds. Her main research interests in the Hebrew Bible focus on self-conscious emotion terminology, ideological-critical readings of prophetic literature, African-centred interpretation, sexuality, and family dynamics. Johanna is co-director of The Shiloh Project. Her latest book is First-Degree Incest and the Hebrew Bible: Sex in the Family (Bloomsbury T&T Clark: London, 2016).

Header image: The Levite of Ephraim and His Dead Wife. Jean-Jacques Henner circa 1898 [via Wikicommons].

Notes:

  1. Calum M. Carmichael, Law, Legend and Incest in the Bible: Leviticus 18–20 (Ithaca/London: Cornell University Press, 1997), p.1.
  2. For a full treatment of incest in the Bible, see Johanna Stiebert, First-Degree Incest and the Hebrew Bible: Sex in the Family, Library of Hebrew Bible/Old Testament Studies 596 (London/New York: T&T Clark, 2016).
  3. Biblical scholar David J. A. Clines puts it well when he states, ‘the sex is essentially an expression of royal power, and it is much more like rape than love’ (in his Interested Parties: The Ideology of Writers and Readers of the Hebrew Bible, JSOTSup 205; Gender, Culture, Theory 1 (Sheffield: Sheffield Academic Press, 1995), p.226.
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