Final Portfolio
This page is dedicated to the essays I wrote for the Writing & Rhetoric course titled "Discourses of Rape in Contemporary Culture." None of these essays had prompts, we were simply asked to write about the issue of rape.
The first essay "Reviewing a Society's Relationship to Rape" analysis two short stories, and I analyze how a society like ours shapes a rape culture.
The second essay "Ruffling the Heron's Feathers" interrogates the rape case that was mishandled on Hobart & William Smith Colleges, and includes my suggestions on how the conversation about rape should be facilitated on college campuses.
The third essay "Laced with Fear, The Skin of Survivors of Rape" is my proposal on how our society should support survivors of rape into recovering after their trauma.
The first essay "Reviewing a Society's Relationship to Rape" analysis two short stories, and I analyze how a society like ours shapes a rape culture.
The second essay "Ruffling the Heron's Feathers" interrogates the rape case that was mishandled on Hobart & William Smith Colleges, and includes my suggestions on how the conversation about rape should be facilitated on college campuses.
The third essay "Laced with Fear, The Skin of Survivors of Rape" is my proposal on how our society should support survivors of rape into recovering after their trauma.
Reviewing a Society's Relationship to Rape
Rape is one of the most offensive crimes one human can commit against another, and often people forget this detail. Rape occurs between two individuals and because of its atrocious nature, our society purposely ignores addressing this crime publicly. Our society has turned the discourses of rape into something almost taboo. Society has pushed the topic of rape to the private sphere, and even then, it may not be discussed after the fact. In order to allow rape survivors the opportunity to overcome their are their trauma, a society must recognize how it stigmatizes and perpetrates rape culture.
A manner of breaking this silence around the discourses of rape is demonstrated by two distinct writers in two unique methods. In Margaret Atwood’s shorty story “Rape Fantasies,” the protagonist Estelle recounts how a lunch time conversation with her girlfriends prompted her to explore what really constitutes rape. As well as, how she would respond if she was confronted by a rapist. In Ha Jin’s short story “Man to Be,” Nan and a group of young men are contracted by a man to rape a his wife. While each author follows their own avenue in approaching rape, each text succeeds in revealing a forgotten element of rape. Both authors use their prose’s diction, images, and setting to reveal that everyone in a particular society plays a role in shaping the discourse of rape, and if this responsibility is ignored then the result is self destructive.
Atwood’s and Jin’s stories both take place in different eras and under different motives, but the settings prior to the rape scenes reveal that both characters reside in a culture that perpetuates rape. In Atwood’s piece, she relies heavily on the diction that a society uses when addressing rape. Estelle reveals that in magazines rape is framed with bold letters, questionnaires, and headlines like “RAPE TEN THINGS TO DO ABOUT IT” (93). The employment of elements like questionnaires and the words “to do about it” craft an untrue idea about rape. These textual choices inexplicably transmit the idea that rape is like a game, where strategy can be used to avoid being assaulted. The dangerous element of this association with rape and choice is that it perpetuates the idea that victims of rape are at fault for their assault. Estelle expresses frustration that rape is being addressed “in the magazines [in a manner that would make one] think it was just invented…it’s something terrific, like a vaccine for cancer” (93). Here one recognizes that the media is presenting rape as a spectacle that deserves attention because of how incomprehensible it is. With problematic rape media being heavily circulated in Estelle’s society, faulty definitions and ideas of rape are being adopted. The issue is that because the promoted definition of rape is not faulty, while people are recognizing that rape happens rhythmically, they are not educated as to the true nature and consequences of this crime. Without proper knowledge about the nature of and effects of rape, individuals are unable to identify it, thus unable to combat the crime of sexual assault.
Through the dialogues of Estelle’s companions one can witnesses how faulty presentations of rape create a society that is uneducated and then unable to create social change. The most poignant lines are present when one of Estelle’s friends asks if the women have rape fantasies. After mentioning how the magazine informed her that all women have such fantasies, another friend tries to contribute to the conversation with the response “You mean like some guy jumping you in an alley or something” (94). While the conversation later diverges into a furious Estelle educating them on the difference between a rape and lust scene, this line first shows how the majority of a society is oblivious to the true nature rape. The last few words “or something” connote a type of indifference to the subject. Estelle’s friend is obviously uneducated in what rape is, and thus does not use stronger language to protest against the association between rape and a lustful fantasy. Another is when Darlene states that “I don’t think [women] should go out alone at night…[they] put [themselves] in a position” (94). This line illuminates how pervasive the idea of rape as a consequence of wrong choices (due to the earlier mention of the magazines representation) exists in the society. Because the speaker is a woman, she is further feeding into the ideology that to be a woman is to already attract rape. The society argues that women should take caution and limit their individuality and expression. While Atwood’s setting reveal that the discourse of rape can become part of daily life, Jin’s piece illuminates how rape can be laced into a society’s expectations.
In Jin’s short story, the interactions amongst the characters reveal that rape is not only common amongst this society but also seen as necessary. The setting for this story is a feudal Chinese town, and the main character is the newly engaged Nan. The story begins with Nan and several other young men residing in the city’s militia where they had “…plenty of corn liquor, roasted sunflower seeds, and candies [and] They had been playing the poker game called Beat the Queen” (18). Jin’s scene creates a sense of camaraderie amongst the men. This sets up a false expectation for the reader because soon after, a man enters the office to contract the men to rape his wife.
Unlike Atwood’s world where rape media is circulated, in Jin’s world when the rape is finished so ends the attention given to it. The appalling element is that because Nan was unable to rape Sang, his society scorns him and deems him “no longer a normal man” (29). This line illuminates the point that rape is seen almost as a responsibility; he who rapes has power. Nan was unable to meet his society’s expectations and practice of using rape as a tool for asserting masculinity; he is seen as a failure. Nan even looses his fiancé and cannot marry because while the society has forgotten about the victim, they did not forget about Nan’s dishonor. While in “Rape Fantasies” rape was becoming a well known discourse, in “Man to Be” rape existed as part of maintaining the society’s structure.
Along with the setting of the rape scene, each author confronts the actual rape scene in a unique manner to remind the reader of the humanity of both actors. In Jin’s rape scene he relies heavily on the use of imagery, whereas Atwood relies on her witty dialogue. Regarding Jin’s scene, Nan observes that the woman has “[a] body, which reminded him of a huge frog...her ear was small and delicate…her eyes… full of sparkling tears and staring at him…[and he] intended to kiss [her] pale face” (27-8). The importance of providing such an in depth description of Shuling is that it takes focus away from the rape itself and instead he seeks to focus on the person being assaulted. By dehumanizing Shuling, the reader is presented a juxtaposition of a human described as an animal. The moment invites the reader to rewind and remember that Shuling is not an animal, but a woman. This instance hints at the fact that a rapist can only commit the crime if they see their victim as less than human. Even though the attacker may see the victim as something less, by constructing an image of the woman the reader also understands that rape is something in our reality. It is not merely something in texts that we read, but if we can see it we can believe it.
Echoing Atwood’s attention to language, Jin’s uses key words to remind readers of how rape has been integrated into Nan’s culture. As Shuling’s rape begins her deranged husband proclaims “Do it to her! Teach her a good lesson” (26). This burst contains the fact that in Nan’s society not only does rape represent power, but it is a tool of justice. The justification for Shuling’s rape is that it is an act of educating her to exercise chastity. Atwood also meets this objective, except that she relies on a keen sense of diction to create conversations for the reader.
Estelle’s experience with rape is embodied in the conversations she has with the potential rapists she envisions. One of the most powerful dialogues Estelle has is where she envisions herself sick in bed and a rapist, who is also sick, comes in through her window. Noticing that he is also sick and seeking a tissue, Estelle sympathetically says “Ids’ ride here” (100). She continues the conversation by offering him medicine and inviting him to watch television with her. The reader notices the effect of this interaction when Estelle states that she believes that rapists (specifically men) “…aren’t all sex maniacs, the rest of the time they must lead a normal life” (100). Whereas Nan’s observations created an image for the reader, Atwood’s lines also attempt to showcase the humanity of the two individuals (the potential rapist and victim). This inclusion reinforces the argument that rape is not unnatural event that takes place between a deranged man and provocative woman (as is portrayed in media ) rather, it occurs between two actors in the same society. Both individuals exist in the same space and will have relationships that may intersect. Thus, when one individual is raped it is not an isolated event, rather it effects every individual associated with both actors. From social, to legal, and even media response, the crime of rape may start out at one point but then diverge into affecting many. Thus, it is unjust to then omit the discourse of rape in a society because whether one prefers to admit it or not, this occurred in the same social space and must be addressed by the society.
Each text addresses the idea that recognizing rape within the larger society is crucial to actually reducing the rate of rape. In Jin’s piece, a very powerful event occurs after he recognizes the humanity of his victim. When Nan looks deeply into his victim he “rushed to the door…Cold sweat…dripping from his face…[and he] dropped to his knees and began to vomit” (28). Nan recoiled from raping the woman because he understood that just as how casual and easy it would have been to degrade her, the same could happen to his fiancé, or any women he cared for. As Jin states “[Nan] started to fantasize, thinking of [his fiancé] and other pretty girls in the village” (28). This connection startled Nan because he recognized that raping her would not only damage her, but invite other rapes to occur. Nan’s reaction reveals the sickening truth that in some society’s where rape occurs so frequently, it occurs because people condone it. In Nan’s story, the rape was used as a means of dealing justice, and all too often other societies use rape as a means of maintain power. When Nan understood that he would be reinforcing this cycle of power through rape, he realized that any women he cared for had a fair chance of being assaulted. By fully understanding the destructive potential of his actions, while he was unable to prevent Shuling’s rape, he was able to assuage some of her suffering. While not a holistic solution, it marked a start. Atwood also contributes to this claim with point she repeats in her text.
Atwood uses powerful lines to emphasis her point that rape cannot occur if the rapist truly saw his victim as his sentient equal. The phrase which sparks this observation is “Like, how could a fellow do that to a person he’s just had a long conversation with, once you let them know you’re human, you have a life too” (104). This line arrives after Estelle delivers her substantial narrative explaining her rape fantasies. The power of these words is hidden in their meaning. Here it is revealed that Estelle is addressing how the discourse of rape omits acknowledging the human aspect of the crime. When rape is discussed, if people do not silence the conversation, then emphasis is put on the crime instead of the people involved. Individuals subconsciously equate this lack of focus on the victim with the idea that they are not worth addressing.
Atwood relies on Estelle highlighting the interpersonal relationship between rapist and victim to hinder the former from executing the crime. The very last line in the story resonates with the reader as Atwood eloquently says “I mean, I know [rape] happens but I just don’t understand it, that’s the part I really don’t understand” (104). Here Atwood blatantly states that she cannot understand how rape continues to occur, and more importantly how people find justification for this crime. One notable element also is that the tone of the sentence, being full of contractions and being convoluted, is rushed. One can infer that Awtood may even be speaking to a potential rapist, and her long story is a means of having the victimizer see her human value. She too is intelligent, articulate, and full of emotion. This line serves the purpose of forcing the reader to also acknowledge the crime of rape, and more importantly understand who uses this discourse and why they do so.
In both texts, each author addressed the issue of rape using their own stylistic preference, but they both aimed at the same goal. Atwood and Jin both sought to revolt against the silence that the discourse of rape carries in order to really explore it. In Jin’s short story, he demonstrates that rape can exist as a silent social norm. In Atwood’s text, she explores the misconceptions that exist about rape to not only explore her own ideas about rape, but to also reveal just how much she lacks knowledge about its’ continued existence. Both texts’ beauty exists in that they express each writer’s linguistic strength, but also in that through different venues they lead to the same conclusion. Only when one is knowledgeable and understands a society’s relationship to a discourse, both inside and outside it, can they hope of taming the power of that discourse for social change.
A manner of breaking this silence around the discourses of rape is demonstrated by two distinct writers in two unique methods. In Margaret Atwood’s shorty story “Rape Fantasies,” the protagonist Estelle recounts how a lunch time conversation with her girlfriends prompted her to explore what really constitutes rape. As well as, how she would respond if she was confronted by a rapist. In Ha Jin’s short story “Man to Be,” Nan and a group of young men are contracted by a man to rape a his wife. While each author follows their own avenue in approaching rape, each text succeeds in revealing a forgotten element of rape. Both authors use their prose’s diction, images, and setting to reveal that everyone in a particular society plays a role in shaping the discourse of rape, and if this responsibility is ignored then the result is self destructive.
Atwood’s and Jin’s stories both take place in different eras and under different motives, but the settings prior to the rape scenes reveal that both characters reside in a culture that perpetuates rape. In Atwood’s piece, she relies heavily on the diction that a society uses when addressing rape. Estelle reveals that in magazines rape is framed with bold letters, questionnaires, and headlines like “RAPE TEN THINGS TO DO ABOUT IT” (93). The employment of elements like questionnaires and the words “to do about it” craft an untrue idea about rape. These textual choices inexplicably transmit the idea that rape is like a game, where strategy can be used to avoid being assaulted. The dangerous element of this association with rape and choice is that it perpetuates the idea that victims of rape are at fault for their assault. Estelle expresses frustration that rape is being addressed “in the magazines [in a manner that would make one] think it was just invented…it’s something terrific, like a vaccine for cancer” (93). Here one recognizes that the media is presenting rape as a spectacle that deserves attention because of how incomprehensible it is. With problematic rape media being heavily circulated in Estelle’s society, faulty definitions and ideas of rape are being adopted. The issue is that because the promoted definition of rape is not faulty, while people are recognizing that rape happens rhythmically, they are not educated as to the true nature and consequences of this crime. Without proper knowledge about the nature of and effects of rape, individuals are unable to identify it, thus unable to combat the crime of sexual assault.
Through the dialogues of Estelle’s companions one can witnesses how faulty presentations of rape create a society that is uneducated and then unable to create social change. The most poignant lines are present when one of Estelle’s friends asks if the women have rape fantasies. After mentioning how the magazine informed her that all women have such fantasies, another friend tries to contribute to the conversation with the response “You mean like some guy jumping you in an alley or something” (94). While the conversation later diverges into a furious Estelle educating them on the difference between a rape and lust scene, this line first shows how the majority of a society is oblivious to the true nature rape. The last few words “or something” connote a type of indifference to the subject. Estelle’s friend is obviously uneducated in what rape is, and thus does not use stronger language to protest against the association between rape and a lustful fantasy. Another is when Darlene states that “I don’t think [women] should go out alone at night…[they] put [themselves] in a position” (94). This line illuminates how pervasive the idea of rape as a consequence of wrong choices (due to the earlier mention of the magazines representation) exists in the society. Because the speaker is a woman, she is further feeding into the ideology that to be a woman is to already attract rape. The society argues that women should take caution and limit their individuality and expression. While Atwood’s setting reveal that the discourse of rape can become part of daily life, Jin’s piece illuminates how rape can be laced into a society’s expectations.
In Jin’s short story, the interactions amongst the characters reveal that rape is not only common amongst this society but also seen as necessary. The setting for this story is a feudal Chinese town, and the main character is the newly engaged Nan. The story begins with Nan and several other young men residing in the city’s militia where they had “…plenty of corn liquor, roasted sunflower seeds, and candies [and] They had been playing the poker game called Beat the Queen” (18). Jin’s scene creates a sense of camaraderie amongst the men. This sets up a false expectation for the reader because soon after, a man enters the office to contract the men to rape his wife.
Unlike Atwood’s world where rape media is circulated, in Jin’s world when the rape is finished so ends the attention given to it. The appalling element is that because Nan was unable to rape Sang, his society scorns him and deems him “no longer a normal man” (29). This line illuminates the point that rape is seen almost as a responsibility; he who rapes has power. Nan was unable to meet his society’s expectations and practice of using rape as a tool for asserting masculinity; he is seen as a failure. Nan even looses his fiancé and cannot marry because while the society has forgotten about the victim, they did not forget about Nan’s dishonor. While in “Rape Fantasies” rape was becoming a well known discourse, in “Man to Be” rape existed as part of maintaining the society’s structure.
Along with the setting of the rape scene, each author confronts the actual rape scene in a unique manner to remind the reader of the humanity of both actors. In Jin’s rape scene he relies heavily on the use of imagery, whereas Atwood relies on her witty dialogue. Regarding Jin’s scene, Nan observes that the woman has “[a] body, which reminded him of a huge frog...her ear was small and delicate…her eyes… full of sparkling tears and staring at him…[and he] intended to kiss [her] pale face” (27-8). The importance of providing such an in depth description of Shuling is that it takes focus away from the rape itself and instead he seeks to focus on the person being assaulted. By dehumanizing Shuling, the reader is presented a juxtaposition of a human described as an animal. The moment invites the reader to rewind and remember that Shuling is not an animal, but a woman. This instance hints at the fact that a rapist can only commit the crime if they see their victim as less than human. Even though the attacker may see the victim as something less, by constructing an image of the woman the reader also understands that rape is something in our reality. It is not merely something in texts that we read, but if we can see it we can believe it.
Echoing Atwood’s attention to language, Jin’s uses key words to remind readers of how rape has been integrated into Nan’s culture. As Shuling’s rape begins her deranged husband proclaims “Do it to her! Teach her a good lesson” (26). This burst contains the fact that in Nan’s society not only does rape represent power, but it is a tool of justice. The justification for Shuling’s rape is that it is an act of educating her to exercise chastity. Atwood also meets this objective, except that she relies on a keen sense of diction to create conversations for the reader.
Estelle’s experience with rape is embodied in the conversations she has with the potential rapists she envisions. One of the most powerful dialogues Estelle has is where she envisions herself sick in bed and a rapist, who is also sick, comes in through her window. Noticing that he is also sick and seeking a tissue, Estelle sympathetically says “Ids’ ride here” (100). She continues the conversation by offering him medicine and inviting him to watch television with her. The reader notices the effect of this interaction when Estelle states that she believes that rapists (specifically men) “…aren’t all sex maniacs, the rest of the time they must lead a normal life” (100). Whereas Nan’s observations created an image for the reader, Atwood’s lines also attempt to showcase the humanity of the two individuals (the potential rapist and victim). This inclusion reinforces the argument that rape is not unnatural event that takes place between a deranged man and provocative woman (as is portrayed in media ) rather, it occurs between two actors in the same society. Both individuals exist in the same space and will have relationships that may intersect. Thus, when one individual is raped it is not an isolated event, rather it effects every individual associated with both actors. From social, to legal, and even media response, the crime of rape may start out at one point but then diverge into affecting many. Thus, it is unjust to then omit the discourse of rape in a society because whether one prefers to admit it or not, this occurred in the same social space and must be addressed by the society.
Each text addresses the idea that recognizing rape within the larger society is crucial to actually reducing the rate of rape. In Jin’s piece, a very powerful event occurs after he recognizes the humanity of his victim. When Nan looks deeply into his victim he “rushed to the door…Cold sweat…dripping from his face…[and he] dropped to his knees and began to vomit” (28). Nan recoiled from raping the woman because he understood that just as how casual and easy it would have been to degrade her, the same could happen to his fiancé, or any women he cared for. As Jin states “[Nan] started to fantasize, thinking of [his fiancé] and other pretty girls in the village” (28). This connection startled Nan because he recognized that raping her would not only damage her, but invite other rapes to occur. Nan’s reaction reveals the sickening truth that in some society’s where rape occurs so frequently, it occurs because people condone it. In Nan’s story, the rape was used as a means of dealing justice, and all too often other societies use rape as a means of maintain power. When Nan understood that he would be reinforcing this cycle of power through rape, he realized that any women he cared for had a fair chance of being assaulted. By fully understanding the destructive potential of his actions, while he was unable to prevent Shuling’s rape, he was able to assuage some of her suffering. While not a holistic solution, it marked a start. Atwood also contributes to this claim with point she repeats in her text.
Atwood uses powerful lines to emphasis her point that rape cannot occur if the rapist truly saw his victim as his sentient equal. The phrase which sparks this observation is “Like, how could a fellow do that to a person he’s just had a long conversation with, once you let them know you’re human, you have a life too” (104). This line arrives after Estelle delivers her substantial narrative explaining her rape fantasies. The power of these words is hidden in their meaning. Here it is revealed that Estelle is addressing how the discourse of rape omits acknowledging the human aspect of the crime. When rape is discussed, if people do not silence the conversation, then emphasis is put on the crime instead of the people involved. Individuals subconsciously equate this lack of focus on the victim with the idea that they are not worth addressing.
Atwood relies on Estelle highlighting the interpersonal relationship between rapist and victim to hinder the former from executing the crime. The very last line in the story resonates with the reader as Atwood eloquently says “I mean, I know [rape] happens but I just don’t understand it, that’s the part I really don’t understand” (104). Here Atwood blatantly states that she cannot understand how rape continues to occur, and more importantly how people find justification for this crime. One notable element also is that the tone of the sentence, being full of contractions and being convoluted, is rushed. One can infer that Awtood may even be speaking to a potential rapist, and her long story is a means of having the victimizer see her human value. She too is intelligent, articulate, and full of emotion. This line serves the purpose of forcing the reader to also acknowledge the crime of rape, and more importantly understand who uses this discourse and why they do so.
In both texts, each author addressed the issue of rape using their own stylistic preference, but they both aimed at the same goal. Atwood and Jin both sought to revolt against the silence that the discourse of rape carries in order to really explore it. In Jin’s short story, he demonstrates that rape can exist as a silent social norm. In Atwood’s text, she explores the misconceptions that exist about rape to not only explore her own ideas about rape, but to also reveal just how much she lacks knowledge about its’ continued existence. Both texts’ beauty exists in that they express each writer’s linguistic strength, but also in that through different venues they lead to the same conclusion. Only when one is knowledgeable and understands a society’s relationship to a discourse, both inside and outside it, can they hope of taming the power of that discourse for social change.
Ruffling the Heron’s Feathers
In the summer of 2014 Hobart and William Smith Colleges (HWS) received polarizing and national criticism for its poor handling of the alleged rape case of Anna. This national coverage acted as a catalyst for change because the colleges soon responded by establishing a Title IX office and hiring a Title IX coordinator. Although the dialogue around rape has begun on this campus, I argue that the conversation is unproductive. Instead of addressing the issue of rape with the critical approach it deserves, the campus uses empty rhetoric and ineffective methods in presenting the issue of rape to the community.
This critique of the Colleges’ addressing of the issue of rape is geared at highlighting points where refinement is necessary. The Colleges have made learning about Title IX and its responsibilities a part of the orientation experience, as well as making students attend mandatory bystander training meetings in their first semester. Credit will be given to the colleges for attempting to explore an issue that is often avoided. Thus, the criticism of the Colleges’ procedures is in the actual language used in these spaces where the issue about rape is open for discussion. In both auditory and written realms, I found that the language used in addressing rape is detrimental and rhetoric presenting rape as a sort of spectacle-a consequence of not playing the game right-has become predominant.
When the issue of rape is first introduced to the student body at orientation it is an ineffective experience because the language avoids educating students as to the horrendous nature of rape. On the second day of HWS’s orientation all first years are mandated to attend one of several performances by the Mosaic theatre company. The theater ensemble performs a play that defines consent and presents situations where consent cannot be offered, and then discusses the aftermath of such a violation. Here is where the first flaw occurs. Not once in is the word rape used, instead the phrases sexual misconduct and sexual assault are used to mask the former word. The problem with this decision is that because this is the first encounter many students have with this topic they will infer that the word rape as forbidden. By using the word sexual misconduct one is giving power to the word rape by allowing it to remain taboo and lessening the effect of the crime. The students are taught to use words that are “padded”, words that are empty. Rape is a one syllable word that connotes very dark incidents, whereas the other choses to be “safe.” Sexual misconduct does not create those same feelings of fear, disgust, or shock as the word it is attempting to hide. Without taking this risk, there is way of engaging students and instilling within them a desire to combat the word that is saturated with darkness. This decision also does not address the multiple dimensions of rape; it is more than just physical violation. Not only is the discussion around rape softened, but it is also limited in scope. Instead of creating a conversation about rape then, the effect is that students are taught how to avoid creating a conversation that is charged with emotion and that lacks critical engagement.
Choosing to use these safe words instead of the word rape also presents the issue of rape as something that is dealt with outside of society. In our society rape connotes a very horrific event. The phrases sexual assault does not possess such a longstanding history and because of this it doesn’t summon the same emotions or images as the former; it also sounds artificial. Other examples of these distant phrases include sexual assault, sexual harassment, sexual misconduct, or sexual exploitation. The issue with having these varying words is that it creates a separation in the wholeness of the crime of rape. Rape is an all-consuming crime that deals with more than just sexual encounters; it is about power; it tortures both the mind and body. Having to choose category also creates a hierarchy and among rape survivors. Survivors will notice that some labels sound more severe than others, and thus many may assume that each category will get different priority and methods of treatment. All cases are different and must be dealt with care and respect but if one doesn’t feel like the crime is as severe (as some of these words aren’t charged) then they may not even seek aid. By choosing to address rape without explicitly calling it rape, students are inexplicably taught that the school prefers to hide the complex reality that is rape, and the word continues to possess its’ power of creating silence and stigma.
When facilitating a discussion about rape, surgical attention must be placed in the framing of questions because if done poorly they present rape because of wrong decisions. One question that still disturbs me went along the lines of “What could she have done instead of decision X?” We were prompted to discuss methods of reducing the chance of rape. This discussion was centered on learning methods of coping rather than combating the justifications of rape. Some of these methods included indirect recommendations to females to walk home in groups, avoid staying out too late, or not revealing too much skin, or even keep a friend updated sporadically. My displeasure with this approach is because coping involves a kind of passivity; one will simply deal with the issue when it is present. The unfortunate truth is that we live in a rape culture, so while these measures are a marginally helpful they do not alter the larger factors that perpetuate this toxic culture. Once again, a crucial supplement to the discussion is the explicit conversation of why rape is fundamentally wrong. If a productive conversation were to be created in these spaces, then instead of asking questions like “What do we do to avoid rape?” the intellectual and analytical (facilitative questions) would ask “Why does rape happen?”. I believe that the greatest flaw in the college’s addressing of this issue is that in the few settings where students encounter this issue they do not learn about the full horrors of rape, or how to combat it.
First year students must attend bystander meetings where they are encouraged to be active bystanders and intervene if they assume that someone may be or has been raped. My criticism of these meetings arrives in how the issue of rape is presented in these meetings. All attendants are informed about a truly graphic rape case about a young woman who was raped and then found dead. Some of the details include that the assailant was the victim’s ex-boyfriend and he had bludgeoned her in order to leave her unconscious. The victim’s roommate returned to the room but reports that she thought the victim was merely asleep in bed, unaware of the blood that soaked the sheets or her lack of response. While this is truly tragic, the problem is that because the case is such an extreme another distancing effect occurs.
Presenting a rape that is polarizing makes it seem like this is crime outside of the viewer’s reality. Much like Broadway theater goes to extremes to create a space where the story is outside of reality and we are merely viewers, that is the effect created here. Most rape cases are often not reported by college students because they do not seem severe enough, and this is because of the spectacle elements our society uses in presenting rape. There may not be enough bruises, enough witnesses, or any out of the ordinary factors, and this is the problem with presenting rape as a spectacle crime. There is a different effect in reading about this extreme case then in reading, for example, the memoir Lucky. Alice Sebold’s rape occurred at Syracuse University, and forces the reader to recognize that the issue is not worlds away, it is merely half an hour away. In these bystander meetings a prime goal is to encourage the students to act as advocates for those who may be raped, but without any text from rape survivors then students are unaware of why it matters so much to be allies. Attending these meetings, I remember being invited to discuss reasons why I believed I should report if I suspect rape, yet I was never given material to explore why victims want people to intervene. In these meetings emphasis is placed on the sexual aspect of it and we are told to use our own reasoning, when we should seek to combat it like any other crime, no matter how grand the case can be.
Amongst my immediate peers I am the only one whose course work has ever dealt with rape explicitly, and thus outside of the two settings mentioned already, the conversation of rape is then limited. It is important to explicitly discuss and dissect the issue of rape because it scarcely occurs outside of Orientation or Bystander meetings. Without constant discussions and encountering, the issue will only have a limited audience. The importance of involving more people into the conversation is that in the spirit of Theatre of the Oppressed, a sense of community and activism is nurtured. Thus, I am arguing that along with alerting the faulty language used, it is crucial that the settings in which rape is discussed is broadened. Even though rape may seem like a hard issue to bring up in, such as in a setting like a course, it really deserves to because once again avoiding the issue does not mean it is not real. Rather avoiding the issue, being scared to address it outside of these spaces, limits individuals’ knowledge to the issue and creates an imbalance in who is empowered to act and who is not.
At HWS, the issue of rape is a fresh wound, but just like any wound ignoring it is not the cure. Ignoring the wound actually leads to infection and to a space which can prove to be toxic. Rather, because the wound is so new, the most measures possible should be taken to ensure that the issue is addressed with care and respect. Choosing to use padded language, dangerous rhetoric which encourages coping, or placing the burden of discussing rape on a small number of faculty and staff only limits the full potential of altering this crime’s discourse. One must remember that a discourse is created by, and its power, comes from the society and its citizens. Thus, if HWS truly wants to move beyond the trauma and create a positive space then along with further expanding the conversation around rape, attention must be paid to the rhetoric used in addressing the issue.
This critique of the Colleges’ addressing of the issue of rape is geared at highlighting points where refinement is necessary. The Colleges have made learning about Title IX and its responsibilities a part of the orientation experience, as well as making students attend mandatory bystander training meetings in their first semester. Credit will be given to the colleges for attempting to explore an issue that is often avoided. Thus, the criticism of the Colleges’ procedures is in the actual language used in these spaces where the issue about rape is open for discussion. In both auditory and written realms, I found that the language used in addressing rape is detrimental and rhetoric presenting rape as a sort of spectacle-a consequence of not playing the game right-has become predominant.
When the issue of rape is first introduced to the student body at orientation it is an ineffective experience because the language avoids educating students as to the horrendous nature of rape. On the second day of HWS’s orientation all first years are mandated to attend one of several performances by the Mosaic theatre company. The theater ensemble performs a play that defines consent and presents situations where consent cannot be offered, and then discusses the aftermath of such a violation. Here is where the first flaw occurs. Not once in is the word rape used, instead the phrases sexual misconduct and sexual assault are used to mask the former word. The problem with this decision is that because this is the first encounter many students have with this topic they will infer that the word rape as forbidden. By using the word sexual misconduct one is giving power to the word rape by allowing it to remain taboo and lessening the effect of the crime. The students are taught to use words that are “padded”, words that are empty. Rape is a one syllable word that connotes very dark incidents, whereas the other choses to be “safe.” Sexual misconduct does not create those same feelings of fear, disgust, or shock as the word it is attempting to hide. Without taking this risk, there is way of engaging students and instilling within them a desire to combat the word that is saturated with darkness. This decision also does not address the multiple dimensions of rape; it is more than just physical violation. Not only is the discussion around rape softened, but it is also limited in scope. Instead of creating a conversation about rape then, the effect is that students are taught how to avoid creating a conversation that is charged with emotion and that lacks critical engagement.
Choosing to use these safe words instead of the word rape also presents the issue of rape as something that is dealt with outside of society. In our society rape connotes a very horrific event. The phrases sexual assault does not possess such a longstanding history and because of this it doesn’t summon the same emotions or images as the former; it also sounds artificial. Other examples of these distant phrases include sexual assault, sexual harassment, sexual misconduct, or sexual exploitation. The issue with having these varying words is that it creates a separation in the wholeness of the crime of rape. Rape is an all-consuming crime that deals with more than just sexual encounters; it is about power; it tortures both the mind and body. Having to choose category also creates a hierarchy and among rape survivors. Survivors will notice that some labels sound more severe than others, and thus many may assume that each category will get different priority and methods of treatment. All cases are different and must be dealt with care and respect but if one doesn’t feel like the crime is as severe (as some of these words aren’t charged) then they may not even seek aid. By choosing to address rape without explicitly calling it rape, students are inexplicably taught that the school prefers to hide the complex reality that is rape, and the word continues to possess its’ power of creating silence and stigma.
When facilitating a discussion about rape, surgical attention must be placed in the framing of questions because if done poorly they present rape because of wrong decisions. One question that still disturbs me went along the lines of “What could she have done instead of decision X?” We were prompted to discuss methods of reducing the chance of rape. This discussion was centered on learning methods of coping rather than combating the justifications of rape. Some of these methods included indirect recommendations to females to walk home in groups, avoid staying out too late, or not revealing too much skin, or even keep a friend updated sporadically. My displeasure with this approach is because coping involves a kind of passivity; one will simply deal with the issue when it is present. The unfortunate truth is that we live in a rape culture, so while these measures are a marginally helpful they do not alter the larger factors that perpetuate this toxic culture. Once again, a crucial supplement to the discussion is the explicit conversation of why rape is fundamentally wrong. If a productive conversation were to be created in these spaces, then instead of asking questions like “What do we do to avoid rape?” the intellectual and analytical (facilitative questions) would ask “Why does rape happen?”. I believe that the greatest flaw in the college’s addressing of this issue is that in the few settings where students encounter this issue they do not learn about the full horrors of rape, or how to combat it.
First year students must attend bystander meetings where they are encouraged to be active bystanders and intervene if they assume that someone may be or has been raped. My criticism of these meetings arrives in how the issue of rape is presented in these meetings. All attendants are informed about a truly graphic rape case about a young woman who was raped and then found dead. Some of the details include that the assailant was the victim’s ex-boyfriend and he had bludgeoned her in order to leave her unconscious. The victim’s roommate returned to the room but reports that she thought the victim was merely asleep in bed, unaware of the blood that soaked the sheets or her lack of response. While this is truly tragic, the problem is that because the case is such an extreme another distancing effect occurs.
Presenting a rape that is polarizing makes it seem like this is crime outside of the viewer’s reality. Much like Broadway theater goes to extremes to create a space where the story is outside of reality and we are merely viewers, that is the effect created here. Most rape cases are often not reported by college students because they do not seem severe enough, and this is because of the spectacle elements our society uses in presenting rape. There may not be enough bruises, enough witnesses, or any out of the ordinary factors, and this is the problem with presenting rape as a spectacle crime. There is a different effect in reading about this extreme case then in reading, for example, the memoir Lucky. Alice Sebold’s rape occurred at Syracuse University, and forces the reader to recognize that the issue is not worlds away, it is merely half an hour away. In these bystander meetings a prime goal is to encourage the students to act as advocates for those who may be raped, but without any text from rape survivors then students are unaware of why it matters so much to be allies. Attending these meetings, I remember being invited to discuss reasons why I believed I should report if I suspect rape, yet I was never given material to explore why victims want people to intervene. In these meetings emphasis is placed on the sexual aspect of it and we are told to use our own reasoning, when we should seek to combat it like any other crime, no matter how grand the case can be.
Amongst my immediate peers I am the only one whose course work has ever dealt with rape explicitly, and thus outside of the two settings mentioned already, the conversation of rape is then limited. It is important to explicitly discuss and dissect the issue of rape because it scarcely occurs outside of Orientation or Bystander meetings. Without constant discussions and encountering, the issue will only have a limited audience. The importance of involving more people into the conversation is that in the spirit of Theatre of the Oppressed, a sense of community and activism is nurtured. Thus, I am arguing that along with alerting the faulty language used, it is crucial that the settings in which rape is discussed is broadened. Even though rape may seem like a hard issue to bring up in, such as in a setting like a course, it really deserves to because once again avoiding the issue does not mean it is not real. Rather avoiding the issue, being scared to address it outside of these spaces, limits individuals’ knowledge to the issue and creates an imbalance in who is empowered to act and who is not.
At HWS, the issue of rape is a fresh wound, but just like any wound ignoring it is not the cure. Ignoring the wound actually leads to infection and to a space which can prove to be toxic. Rather, because the wound is so new, the most measures possible should be taken to ensure that the issue is addressed with care and respect. Choosing to use padded language, dangerous rhetoric which encourages coping, or placing the burden of discussing rape on a small number of faculty and staff only limits the full potential of altering this crime’s discourse. One must remember that a discourse is created by, and its power, comes from the society and its citizens. Thus, if HWS truly wants to move beyond the trauma and create a positive space then along with further expanding the conversation around rape, attention must be paid to the rhetoric used in addressing the issue.
Laced with Fear, The Skin of Survivors of Rape
A grave misconception about rape is that the atrocity ends once the attacker is no longer in physical contact with the victim. This is a deadly inference because really the atrocity’s effects linger long after the attack. Rape leaves an emotional gash on the individual and because this wound is usually on the interior, the trauma of a rape victim goes unnoticed.
The survivor’s body retains a second memory of the sexual attack. Because the physical being is the medium that is violated, it can also act act as a catalyst for the healing process. This second memory is more easily defined as Post-traumatic stress disorder (PTSD) and it manifests itself in a multitude of ways. Rape is defined as an act of forced penetration, but for this paper the definition employed will include any form of physical violence that lacks consent. Because rape is about dehumanization and power, rape survivors feel disassociated from their bodies and dread or resist human interaction. As stated by American Massage Therapy association, trauma like rape creates “The loss of confidence in the body's ability to keep [one] safe is experienced as the ultimate betrayal of all that they have come to know and trust about the world and other people” (AMTA Massage). Recognizing that the physical aspect of rape leaves an impression on the body is crucial to aiding survivors overcome their attack because if they can reclaim physical touch, then they can also reclaim their life.
In the film The Invisible War, Kori Cioca’s story demonstrates how the trauma rooted in rape survivors’ bodies hinders their ability to maintain healthy relationships. The audience recognizes that while most of Kori’s obvious damage is that on her jaw, the undetected trauma branded into her skin complicates her relationship with her husband. Kori’s husband is so afraid of alarming her that he does not embrace her unexpectedly; he always tells her when he is about to physically contact her. From hugging, to hand holding, and even during intercourse, he constantly asks Kori how she is doing. Thus, in moments where intimacy should be nurtured and cultivated, neither finds it a pleasurable experience. Her body still feels the pain from the past, and thus her body belongs to the attack and not to her will (which is to embrace her husband). Her responses can range from cringing to crying. This inability to engage with physical contact makes it difficult for Kori to maintain relationships because those who may want to be around her run the risk of triggering her trauma.
Without a sense of trust and belonging within her body, Kori is unable to move on from the attack because her body acts as an artifact of the attack. This is due to the fact that trauma, like rape, can undermine basic human needs such as “The need to trust. The need to feel value…[and] The need to feel close to others” (AMTA Massage). Because she doesn’t trust her own body she cannot trust any other individuals, and she cannot add depth to her relationship. Kori’s experience is not an isolated one because, as many of the course material has revealed in this class, touch is one of the most powerful sensations in the body and it can deeply affect one’s wellbeing.
In the powerful memoir Lucky, author Alice Sebold eloquently recounts her rape and reveals how one of her greatest struggles was reclaiming her sense of touch. In Lucky, Sebold begins by giving a detailed account of her rape near Syracuse University. Sebold recognized her body’s trauma when her professor who “…was a father [and] came near [her] wanted to comfort, but then instinctively, he pulled back;” she states that, “[As] a rape victim; how would interpret his touch?” (105). This line echoes the reality that like Kori, society and the survivor see the body as an artifact of the assault. The society and survivor assume that the body will react violently to any type of physical contact, because the attacked was executed through physical means. This assumption is paradoxical because if the survivor does not engage with others then she will not be able to encounter and defeat the fear that is laced into her skin. Sebold proves that by forcing herself to face her fear of physical contact (in her case through sexual intercourse) she was able to reclaim the trajectory of her life.
An essential moment in Sebold’s recovery is when she finally engages in intimacy after her attack, and this conscious act allows her to reclaim the reins of her body and life. After some time of growing a relationship with upperclassman Jamie, Sebold visits his apartment and both consent to having sex.
Sebold is very fearful about engaging in sex because she has not done anything sexual since her attack, thus she does not know how she will react. This is a common trait of PTSD as “For those who carry the effects of trauma… they cannot trust their bodies to give the appropriate signals of safety”(AMTA Massage). The reader understands how cathartic the experience is through her gripping statement “Somehow I lay under him as he fucked me…I wasn’t prepared for it. I wept. I wept. I wept louder than I ever could have imagined. I shook with it” (157). The diction alone reveals that the experience was gruesome because of how aggressively she portrayed Jamie. Sebold uses the word fucked, a harsh word that connotes a foul act. This illuminates that sex is an act tainted for Sebold, and she must work to redefine this impression. The parallel structure and repetition cement the point that this encounter was painful not because of Jamie, but because she was taken back to her attack. Her rape left her fragile to exploring her body’s sense of touch because that is what caused her pain. Yet, after the intercourse one notes that Sebold is now persistent on finding justice. As mentioned above, after Sebold faces her fear of human touch she is motivated not to give up and actively seeks justice. There are other instances when instead of the survivor reclaiming human touch directly, it is used as therapy on them.
In the memoir I Am the Central Park Jogger, Trisha Meili reconstructs the narrative of the assault she cannot remember while also documenting her empowering transformation since the rape. One of the most intriguing parts of the book is when Meili describes the therapy she received from a nurse, Pat Babb. Some of Patt’s practices included untying the restraints on Meili, picking her up and holding her, and massaging her body with oils (68-70). These particular exercises are significant because Patt’s philosophy is that of many massage therapists who work with individuals with PTSD. Patt and these practitioners believe in massage therapy because “This is client-centered care at its best…massage therapy for clients with PTSD acknowledges and helps to restore the most basic of human needs-for safety, trust, control, self-worth, and intimacy” (AMTA Massage). Even though Meili was unconscious, Patt believed that she was still aware of the space around her; she simply couldn’t interact with others. An interesting idea because this alludes to most rape survivors’ relationship with their body and, ultimately, society. Staying in this theoretical space allows one to better grasp the benefit of human touch in therapy for rape survivors.
As the rape survivors’ body is seen as ruined by society and avoided, the victim also sees his or her body as a burden. The philosophy is that massage therapy “offers intimacy that is nonsexual, thereby providing an opportunity for clients who are fearful of intimacy to experience it safely” (AMTA Massage). Especially in the case of rape survivors, these relaxing and welcoming gestures invites the body to feel valued once more. In Meili’s case, while she consciously cannot remember this treatment, she admits that she believes this is what allowed her recovery to occur so quickly. Because her body was soothed of its trauma, it made it easier for her mind to readjust to the world. Thus, while untraditional, Babb’s methods reveal that rape victims need to have the trauma soothed out of their skin just as how counseling eases the brain.
As the works above have revealed, human touch is both a rape survivor’s greatest fear, but it can also be a medium for healing. Touch is one of our prime senses, and when this sense is violated the rest of our being suffers a disenfranchisement. In order to ensure a rape survivor is able to recover from her nightmare then she must feel like her body, a key in one’s sense of self, is her own. While an attacker may leave scars, both internal and external, if a survivor is able to recognize the wound, then she is also able to treat it. Unfortunately, the discourse of rape forgets that just like the brain, within one’s skin lies a second memory, and if trauma is inflicted on the mind it damages the body as well.
The survivor’s body retains a second memory of the sexual attack. Because the physical being is the medium that is violated, it can also act act as a catalyst for the healing process. This second memory is more easily defined as Post-traumatic stress disorder (PTSD) and it manifests itself in a multitude of ways. Rape is defined as an act of forced penetration, but for this paper the definition employed will include any form of physical violence that lacks consent. Because rape is about dehumanization and power, rape survivors feel disassociated from their bodies and dread or resist human interaction. As stated by American Massage Therapy association, trauma like rape creates “The loss of confidence in the body's ability to keep [one] safe is experienced as the ultimate betrayal of all that they have come to know and trust about the world and other people” (AMTA Massage). Recognizing that the physical aspect of rape leaves an impression on the body is crucial to aiding survivors overcome their attack because if they can reclaim physical touch, then they can also reclaim their life.
In the film The Invisible War, Kori Cioca’s story demonstrates how the trauma rooted in rape survivors’ bodies hinders their ability to maintain healthy relationships. The audience recognizes that while most of Kori’s obvious damage is that on her jaw, the undetected trauma branded into her skin complicates her relationship with her husband. Kori’s husband is so afraid of alarming her that he does not embrace her unexpectedly; he always tells her when he is about to physically contact her. From hugging, to hand holding, and even during intercourse, he constantly asks Kori how she is doing. Thus, in moments where intimacy should be nurtured and cultivated, neither finds it a pleasurable experience. Her body still feels the pain from the past, and thus her body belongs to the attack and not to her will (which is to embrace her husband). Her responses can range from cringing to crying. This inability to engage with physical contact makes it difficult for Kori to maintain relationships because those who may want to be around her run the risk of triggering her trauma.
Without a sense of trust and belonging within her body, Kori is unable to move on from the attack because her body acts as an artifact of the attack. This is due to the fact that trauma, like rape, can undermine basic human needs such as “The need to trust. The need to feel value…[and] The need to feel close to others” (AMTA Massage). Because she doesn’t trust her own body she cannot trust any other individuals, and she cannot add depth to her relationship. Kori’s experience is not an isolated one because, as many of the course material has revealed in this class, touch is one of the most powerful sensations in the body and it can deeply affect one’s wellbeing.
In the powerful memoir Lucky, author Alice Sebold eloquently recounts her rape and reveals how one of her greatest struggles was reclaiming her sense of touch. In Lucky, Sebold begins by giving a detailed account of her rape near Syracuse University. Sebold recognized her body’s trauma when her professor who “…was a father [and] came near [her] wanted to comfort, but then instinctively, he pulled back;” she states that, “[As] a rape victim; how would interpret his touch?” (105). This line echoes the reality that like Kori, society and the survivor see the body as an artifact of the assault. The society and survivor assume that the body will react violently to any type of physical contact, because the attacked was executed through physical means. This assumption is paradoxical because if the survivor does not engage with others then she will not be able to encounter and defeat the fear that is laced into her skin. Sebold proves that by forcing herself to face her fear of physical contact (in her case through sexual intercourse) she was able to reclaim the trajectory of her life.
An essential moment in Sebold’s recovery is when she finally engages in intimacy after her attack, and this conscious act allows her to reclaim the reins of her body and life. After some time of growing a relationship with upperclassman Jamie, Sebold visits his apartment and both consent to having sex.
Sebold is very fearful about engaging in sex because she has not done anything sexual since her attack, thus she does not know how she will react. This is a common trait of PTSD as “For those who carry the effects of trauma… they cannot trust their bodies to give the appropriate signals of safety”(AMTA Massage). The reader understands how cathartic the experience is through her gripping statement “Somehow I lay under him as he fucked me…I wasn’t prepared for it. I wept. I wept. I wept louder than I ever could have imagined. I shook with it” (157). The diction alone reveals that the experience was gruesome because of how aggressively she portrayed Jamie. Sebold uses the word fucked, a harsh word that connotes a foul act. This illuminates that sex is an act tainted for Sebold, and she must work to redefine this impression. The parallel structure and repetition cement the point that this encounter was painful not because of Jamie, but because she was taken back to her attack. Her rape left her fragile to exploring her body’s sense of touch because that is what caused her pain. Yet, after the intercourse one notes that Sebold is now persistent on finding justice. As mentioned above, after Sebold faces her fear of human touch she is motivated not to give up and actively seeks justice. There are other instances when instead of the survivor reclaiming human touch directly, it is used as therapy on them.
In the memoir I Am the Central Park Jogger, Trisha Meili reconstructs the narrative of the assault she cannot remember while also documenting her empowering transformation since the rape. One of the most intriguing parts of the book is when Meili describes the therapy she received from a nurse, Pat Babb. Some of Patt’s practices included untying the restraints on Meili, picking her up and holding her, and massaging her body with oils (68-70). These particular exercises are significant because Patt’s philosophy is that of many massage therapists who work with individuals with PTSD. Patt and these practitioners believe in massage therapy because “This is client-centered care at its best…massage therapy for clients with PTSD acknowledges and helps to restore the most basic of human needs-for safety, trust, control, self-worth, and intimacy” (AMTA Massage). Even though Meili was unconscious, Patt believed that she was still aware of the space around her; she simply couldn’t interact with others. An interesting idea because this alludes to most rape survivors’ relationship with their body and, ultimately, society. Staying in this theoretical space allows one to better grasp the benefit of human touch in therapy for rape survivors.
As the rape survivors’ body is seen as ruined by society and avoided, the victim also sees his or her body as a burden. The philosophy is that massage therapy “offers intimacy that is nonsexual, thereby providing an opportunity for clients who are fearful of intimacy to experience it safely” (AMTA Massage). Especially in the case of rape survivors, these relaxing and welcoming gestures invites the body to feel valued once more. In Meili’s case, while she consciously cannot remember this treatment, she admits that she believes this is what allowed her recovery to occur so quickly. Because her body was soothed of its trauma, it made it easier for her mind to readjust to the world. Thus, while untraditional, Babb’s methods reveal that rape victims need to have the trauma soothed out of their skin just as how counseling eases the brain.
As the works above have revealed, human touch is both a rape survivor’s greatest fear, but it can also be a medium for healing. Touch is one of our prime senses, and when this sense is violated the rest of our being suffers a disenfranchisement. In order to ensure a rape survivor is able to recover from her nightmare then she must feel like her body, a key in one’s sense of self, is her own. While an attacker may leave scars, both internal and external, if a survivor is able to recognize the wound, then she is also able to treat it. Unfortunately, the discourse of rape forgets that just like the brain, within one’s skin lies a second memory, and if trauma is inflicted on the mind it damages the body as well.