Representation Of Domestic Violence Research Articles

Representação social da violência doméstica sobre as mulheres

Enquadramento: a violência doméstica é um problema de saúde pública que compreende um conjunto de abusos físicos, sexuais, psicológicos e sociais. A representação social da violência doméstica, enquanto construção social, é um aspeto pouco estudado e a sua compreensão pode mostrar-se significativa na construção de respostas para estas mulheres. Objetivo: conhecer a representação social da violência doméstica sobre as mulheres. Metodologia: desenho qualitativo, do tipo exploratório e descrito, numa amostra não probabilística da população de Oliveira de Azeméis. Para a recolha de dados foi usado um teste de associação livre de palavras com recurso a um questionário. Para tratamento dos dados recolhidos foi utilizado o software informático IRAMUTEQ. Resultados: quando os participantes refletem acerca da violência doméstica sobre as mulheres associam ao medo, sofrimento e dor. É de salientar a elevada frequência dos termos tristeza, vergonha e filhos. A autoestima e a discussão emergem também como relevantes na representação social da violência doméstica. Conclusão: a exploração da representação social da violência doméstica permitiu obter a interpretação dos participantes, evidenciando os aspetos negativos da mesma enquanto vivência penalizadora para as mulheres.

Bruised, battered, bleeding: the dangers of mobilising abused goddesses for ‘women’s empowerment’

In September 2013, images of bruised, bleeding and battered Hindu goddesses went viral on social media networks. Saraswati (the goddess of knowledge), Lakshmi (the goddess of wealth) and Durga (the goddess of strength and power) appear as victims of domestic abuse in the Abused Goddesses advertising campaign against domestic violence. In this article, I analyse the Abused Goddesses campaign and the conversations it generated. I argue that it reiterates both a form of Hindu nationalistic discourse as well as longstanding patriarchal, orientalist and neocolonialist perspectives about sexual violence in India. I examine the discourse generated by the Abused Goddesses campaign on social and mainstream media in order to trace how these images were circulated, perceived and engaged with by Indian and international audiences. While the campaign went viral on social media, I argue that its virality offers insufficient conditions for substantial social change around gender violence, including consciousness raising. Through analysis of the campaign and the ways in which it has been commented on, I demonstrate how the representation of domestic violence through the calendar art imagery of abused goddesses ultimately reaffirms classist, casteist, racist, sexist and orientalist discourses about Indian women and the violence they face.

The Victimization of Women in the Media: A Discourse on the Victim and Gender Differentiation in Serbia

Abstract Over the past five years violence against women has been growing in Serbia. However, the aim of this paper is not to explore the reasons for the violence itself, but the way it is presented in the media. In this paper, representations of domestic violence are analysed by focusing on the image of women in newspapers, TV shows and film. Therefore, my intention is to examine: 1. How the media manipulate through the construct of gender; 2. The ways in which the media deepen gender differentiation and construct women as a weaker, inferior subject.

The Representation of Domestic Violence in Spanish Cinema

The Representation of Domestic Violence in Spanish Cinema

The Representation of Domestic Violence in Spanish Cinema

The Representation of Domestic Violence in Spanish Cinema

Violence Against Women in Early Modern Perfomance: Invisible Acts (review)

Reviewed by: Violence Against Women in Early Modern Perfomance: Invisible Acts Catharine Gray Violence Against Women in Early Modern Perfomance: Invisible Acts. By Kim Solga. Basingstoke, UK: Palgrave Macmillan, 2009; pp. 248. Kim Solga's stimulating study participates in an innovative trend in scholarship on early modern drama to interweave late-modern performance theory with historically specific representations of embodied violence. In this way, she contributes to recent critical discussion of the shattered selves and violated bodies of the Renaissance stage, but does so by calling attention to a representational and scholarly gap. Solga argues that the embodied suffering caused by violence against women is too often missed by modern scholars' analyses of stage violence and is actively suppressed or displaced by early modern representations of that violence. Her goal is to make acts and effects of violence against women visible, while calling attention to the ways in which their invisibility is actively produced and reproduced, socially and performatively, then and now. Her approach is polemical and experimental: combining analyses of historical non-literary documents, canonical plays, and recent performances, she argues for feminist practices of performance and scholarship that would stand witness to and interrogate this telling absence, rather than simply repeat it. The book focuses on rape and domestic violence in four "iconic" plays (canonical plays that continue to be regularly performed) from the late-sixteenth and early seventeenth centuries: Shakespeare's Titus Andronicus, Heywood's A Woman Killed with Kindness, Webster's The Duchess of Malfi, and Middleton and Rowley's The Changeling. Solga's introduction establishes the theoretical grounds and ethical stakes of her analysis of these plays, as she uses performance theory's emphasis on the ephemerality, absences, and alternate ways of knowing embodied in performance to theorize what she calls "the in/visible act" (16). This act is "the performance of violence against women as critical forgetting; it charges its witnesses to come to terms with what we've missed but also with how we've missed—with how we have failed to see the suffering before us, hidden in plain sight" (17). Each main chapter exposes the "latent" potential for this self-consciously critical mode of performing and witnessing in early modern plays, and then analyzes in detail selected modern performances that best "manifest" this potential (3). Solga begins each of her core chapters by revealing how early modern conduct books, legal prescriptions, religious treatises, and architectural discourses script women's public performance of victimization in ways that work to contain female suffering and promote the patriarchal status quo. In fact, her chapters have a neat, tripartite structure: they begin with analysis of the cultural scripts regulating Renaissance representations of violence against women; then proceed to close readings of plays potentially troubling to these regulated depictions; and end with detailed explorations of recent productions that offer ethically engaged forms of feminist spectatorship. Chapter 2, for example, analyzes the way legal discourses construct a socially condoned role for rape victims, one they must adopt when telling their story publicly in order to be taken seriously. According to Solga, Titus Andronicus depicts Lavinia as spectacularly failing to enact this approved social role, indeed failing to "act" in any readily comprehensible way at all. Through this failure, the play reveals the wider, social scripts and theatricalizations shaping public displays of victimhood. Solga argues that the best performances of Shakespeare's play help us to see rape's history as resting on a series of legal and social performances that consistently sanitize and displace women's experience of suffering—a suffering Titus Andronicus refuses to hide. The chapter concludes with an analysis of [End Page 478] modern productions that stress both the elisions and social performances that structure rape's representation, reserving particular praise for Julie Taymor's eclectic and self-reflexive film Titus. In the next two chapters, Solga moves beyond Shakespeare to consider how representations of domestic violence are shaped by the cultural scripts and social performances associated with religious discourse (chapter 3) and engendered by architectural space (chapter 4). Her analysis of The Duchess of Malfi is particularly illuminating for revealing moments when the Duchess resists the sublimation of emotional and bodily pain required...

The representation of domestic violence in popular English-language cinema

This article examines how domestic violence has been depicted in mainstream English-language cinema. I offer readings of Sleeping with the Enemy, Tina: What's Love Got to Do With It, Once Were Warriors, Nil By Mouth and Enough that examine both common and specific representational strategies. My analysis is grounded in theoretical approaches and heuristic tools more commonly found in feminist criticism than in film studies.

Hegemony, Domestic Violence, and Cops: A Critique of Concordance

Past feminist analyses of violence against women have focused largely on the coverage of rape (see Cuklanz; Gordon and Riger; Meyers). Very few researchers have examined media presentations of domestic violence, with Marian Meyers being the notable exception. In her analysis of news coverage of domestic violence Meyers found that most often the crime is portrayed as an “act of love” that the woman “asked for,” while the man is depicted as deviant or sick. Even less attention has been paid to popular culture representations of domestic violence. This study begins to explore that area.