Who Is Allison's Fault In 'Rape Fantasies'?

sexual assault, the authors made a few assumptions about the knowledge of the reader. One

The lesbian desires her mother and to become a male herself, she disowns her vagina and wishes for a penis (Podder & De, 2011). The child hides the incestuous desire by manifesting it in another same sex individual. Without proper resolution of this stage, the child would begin to identify with the parent of the opposite sex and not of the same sex. “The unconscious dynamics of the gender role in male homosexuals was found to be feminine with an aspiration to be masculine at times, while female homosexuals were found to be more masculine” (Podder & De, 2011). Some believe that a child can be distinguished as a homosexual early on in development by the behaviors exhibited by the child. Children, who exhibit deviant behavior of gender roles, for example girly boys or tomboys, are at a higher risk of becoming a homosexual later in life (Podder & De, 2011). Personality development is critical in childhood.

As Alice was going through major hell during the rape and even after the rape, it seemed as it was not taken seriously by others. Alice describes her pain, fears, and many problems that came along the way when it came for fighting for herself and the after effect of the rape. Being a rape victim was not easy, and Alice showed many signals that she needed more than just comfort, but sadly many of them failed to provide that for her.

Allison actually was born a “bastard” (Amazon 78), and her life was further complicated through dealing with her

Laurie Halse Anderson creates a deep and meaningful book with the use of unique structure of the “chapters” and an important theme. Speak is a very relatable and realistic book. Many people around us have secrets that they are too scared to share. Melinda is a teenager that develops in character immensely. She goes from hiding a secret of herself to speaking the truth and finally revealing her secret. Rape is a serious situation and many people have experienced, but we do not even know it as the victims are possibly too afraid to speak up. Readers can relate to this book even if they aren’t the one with the secret. They could be the friend who did not know, or just a high school student who witnessed it all happen. Speak presents an important

Rape is beyond dispute one of the most explicit events that can occur to a person in order to harm them on a physiological, emotional and even physical level. The violation here is subverted into a domination of the “poor rapist”. However the heroine encounters a violation on a physical level, which becomes obvious, when she states:” I was inexperienced at dog-fashion fucking and had probably torn the skin of my cunt a little.” (70) There is physical pain as a result of the violation, but the way the heroine reacts and wipes the pain away by marginalizing (“a little”) the injury makes it less harmful and consuming. At first it seems, that the rape has no quality for her as the source for shame. But on the same page she also describes the way Toni and her interacted right after the rape had taken place: “Tomi glanced at me quizzically once or twice, but I managed to avoid her eyes”. This sentence is easily overlooked because she had taken everything that happened beforehand so lightly, but here there is a moment of judging a moment of trying to avoid shame. He avoids her eyes, because she

The archetypal rape victim flaunts her femininity, clad in skimpy clothing whilst walking through darkened parks. The archetypal rape victim is asking for it. At least, that’s the argument used by Teena Maguire’s neighbors to justify her assailants raping her. In Joyce Carol Oates “Rape: A Love Story”, by aligning Teena with the archetypal rape victim, the author employs the switching between second and third point of view, irony, the progressively dismissive diction, as well as the short syntactic structure to emphasize the raw objectiveness of rape in an attempt to delineate the minimizing of rape, and highlight the injustices committed when rapists evade jail time on the basis of technicalities. Written mostly in third person, with the

A trait that stands out in the book is the symptom of bodily memories. In Melinda’s case, during a frog dissection in her science class, she remembers the opening up and even says, “She doesn’t say a word. She is already dead. A scream starts in my gut – I can feel the cut, smell the dirt, feel the leaves in my hair.” (81). One of the other symptoms that Melinda has is self-harm. The first time that this is shown in the book, Melinda says this, “I open up a paper clip and scratch it across the inside of my left wrist. Pitiful. If a suicide attempt is a cry for help, then what is this? A whimper, a peep?” (87). Melinda also has a hard time talking to her parents about the rape to which she says, “How can I talk to them about that night? How can I start?” (72). Some victims recover from such a traumatic experience, while others don’t and live a lifetime of depression and must undergo intense therapy. In Melinda’s case, she finds redemption by talking to her parents and the guidance counselor, and putting her faith into her teachers, friends, and her art project at school. Because rape can affect anybody anywhere, everyone should be aware of the circumstances, and how to deal with it.

Long before Alison learns the truth about her father’s sexuality she discovers her own. As Fun Home is an autobiography, the reader is given an unadulterated look into the evolution of Alison’s sexuality. The revelation about her homosexuality occurs with much assistance of literature, a fact Bechdel describes thoroughly: My realization at nineteen that I was a lesbian came about in a manner consistent with my bookish upbringing. A revelation not of the flesh, but of the mind.

Rape is an awful worldwide act of aggression that stems from oppression. The “Kite Runner” and “I Know Why The Caged Bird Sings” both used rape as an important motif that helped develop the book remarkably. In both the novels, the main characters are easily targeted for rape because of their low social position, they suffer in silence but they are eventually healed with the influence of a positive adult role model. In the two novels both rape victims were targeted due to being less privileged . For instance, in “The Kite Runner” Hassan was raped by Assef because of his ethnicity being viewed as worthless.

Girls and women are taught that cat calls on the street are normal and to just brush it off. Women have to deal with rape culture every day. Women can’t be out and about at three in the morning in fear of being raped. When I went to Sear’s Driving School, the instructor told every single girl in the class to lock the doors as soon as we get in their car in case anyone tries to attack us or rapes us. Women are told to be mindful of what they’re wearing because if they are raped, someone is going to blame their outfit for being raped. Society has taught women that it’s normal to be seen as sex objects and nothing else. In the summer of 2013, “Blurred Lines” by Robin Thicke was playing in nearly every radio station. I have to admit that it’s a catchy tune and made me want to sing along. It’s when I started singing along that I felt disgusted. The song goes on to say “I know you want it” referring to sex. The song “Blurred Lines” focuses on the so called “blurred lines” that men face when being entitled to having sex with a girl. If rape culture didn’t exist, a song like this wouldn’t be so popular much less have ever been written.

Some might be outraged at the notion that rape is not to be considered a tragedy. It is, of course, a horrific act. One that inflicts so much damage that it can cause PTSD type triggers in survivors. Rape is a before/after moment, people who experience it begin to think of how life was before and now after the event. For instance, with the character Salima, her life before the incident included a loving family with her “good husband” (35) and

In John Patrick Shanley’s play, “Doubt: A Parable”, and Paula Vogel’s play, “How I Learned to Drive”, both have strong themes of sexuality in the forms of sexual predation and pedophilia. Although these two stories are considerably different, the message is the same. “Doubt” is a play that concerns a mystery over whether or not a boy (Donald) has been raped by a priest, and “How I learned to Drive” is a play about a woman (Li’l Bit) who reminisces about the sexual molestation and the emotional manipulation she had to endure at the hands of her uncle. Although these plays both have main theme of sexuality, they each have vastly different settings, desires, and outcomes. In this essay, I will compare and contrast the theme of sexuality in both of these plays.

Patricia Lockwood’s The Rape Joke is a risky composition- not because it discloses information about Lockwood’s personal rape experience, but because it does so from a comedic stance, ridiculing the unfortunate event and the events leading up to and after it. While the creation of the poem was prompted due to the sexual assault she experienced, the content and subject are not centered around the incident or the assaulter but around rape culture and the sociological concept of victim blaming, from both society and oneself. There is no such thing as a rape joke-the joke is the incredulous ways society has guided people to respond to it.

n the Fletcher and Gaithskill article they both deal with denial. In the Fletcher article, she ignores the fact that she is confused at what is actually a rape and what that entails. The example of her and her boyfriend in the story explain this. She does not understand if sex/sexual acts between them are considered to be rape if they are together and because she “loves” him. This is somewhat similar to John’s experience with Patty.