Edebiyat, Kültür ve Sanatta Şiddet Temsilleri Konferans Bildiriler Kitabı 2021
Representations of Violence in Literature, Culture and Arts Conference Proceedings 2021
Contributor(s): Sümeyra Buran (Editor), Mahinur Akşehır (Editor), Barış Ağir (Editor), Neslihan Köroğlu (Editor)
Subject(s): Politics / Political Sciences, Philosophy, Social Sciences, Literary Texts, Fine Arts / Performing Arts, Psychology, Essay|Book Review |Scientific Life, General Reference Works, Library and Information Science, Sociology
Published by: Transnational Press London
Keywords: Posthumanism Series; Türkçe Seri; arts; Burgess; culture; edebiyat; Flannery O'Connor; gender; kültür; literature; Margaret Atwood; racism; Representations; sanat; Şiddet Temsilleri; toplumsal cinsiyet; Violence
Summary/Abstract: In his foreword to World Report on Violence and Health, published by the World Health Organization (WHO) in 2002, Nelson Mandela states that “the twentieth century will be remembered as a century marked by violence”. Now we are nearly at the end of the first quarter of the twenty-first century, but violence still permeates in our lives at various levels. Various forms of violence occurring at levels of interpersonal, self-directed, collective, state, warfare, child and youth violence, intimate partner violence, environmental violence, and animal violence lay bare the complexity and pervasiveness of the phenomenon, yet it also brings along the necessity to discuss violence from multiple perspectives.
Nelson Mandela Dünya Sağlık Örgütü’nün 2002 yılında yayınladığı Şiddet ve Sağlık Hakkında Dünya Raporu’nun önsözünde “yirminci yüzyılın şiddetle mimlenen bir yüzyıl olarak hatırlanacağını” söyler. Bizler, neredeyse yirmi birinci yüzyılın ilk çeyreğinin sonlarını yaşamaktayız, ancak şiddet hayatımıza hala çeşitli düzeylerde nüfuz ediyor. Kişilerarası, öze yöneltilen, kolektif, devlet, savaş, çocuk ve genç şiddeti, yakın eş şiddeti, çevresel şiddet ve hayvan şiddeti gibi çeşitli düzlemlerde vuku bulan şiddet biçimleri olgunun karmaşıklığını ve yaygınlığını açıkça ortaya koymakla beraber şiddet kavramının farklı açılardan tartışılması gerekliliğini de ortaya koymaktadır
- E-ISBN-13: 978-1-80135-131-7
- Print-ISBN-10: 978-1-80135-1
- Page Count: 185
- Publication Year: 2022
- Language: Turkish, English
A Clockwork Orange by Burgess: Revisiting Violence in a Dystopian Fiction
A Clockwork Orange by Burgess: Revisiting Violence in a Dystopian Fiction
(A Clockwork Orange by Burgess: Revisiting Violence in a Dystopian Fiction)
- Author(s):Anuska Guin
- Language:English
- Subject(s):Studies in violence and power, British Literature
- Page Range:3-16
- No. of Pages:14
- Keywords:A Clockwork Orange; Burgess; Violence; Dystopian Fiction;
- Summary/Abstract:Representation of violence in literature is not new and it is very much perspective-oriented and diverse in forms but mainly it appears in the shape of abuse, war, and crime. From The Mahabharata, Beowulf, Illiad to Oedipus The King, King Lear, and 1984, violence in literature has evolved. Hannah Arendt suggests that violence has become the most dubious and uncertain instrument in international relations and it has gained a reputation in the matter of revolution (Jaber, 2021). It is suggested that the brutality and violence portrayed between the European nations in the First World War managed to “destroy a two-thousand-year-old Western tradition of hope and to transform it into a mood of despair” (Fromm, 1963, as cited in Baldwin, 2019). The rise of dystopian literature is witnessed mostly during 1945-1990, which is also known as the Cold War phase. Dystopia has been regarded as a ‘vessel’ for political coverage, dating back to the 19th century. The idea of a disintegrated and collapsed society has been one of the main pillars, behind the evolution of the genre. The acts of ultra-violence used in the book are mostly associated with the romanticization of social liberalism, aesthetic daring, and the State’s “dehumanizing’’ character which are the prime sources of the dystopian element. Alex and his “droogs’’ are represented as lacking empathy and Burgess predicted that youth culture would attach to sexual precocity and a kind of disabused knowingness (Dalrymple et al., 2022). A Clockwork Orange portrays different facets of violence ranging from the sexual exploitation of both sexes, the violence-induced slang, Nadsat to a battle between humanity and the State. In this paper violence as represented in dystopian fiction will be revisited and various layers, in addition to the aspects of violence that we get to observe in the novella, will be discussed from the perspective of dystopian violence. The Monstrosity of Alex – The Most Emphasized Dystopian Element
The Scrutiny of Violence in the Contemporary Period Through the Scar Test
The Scrutiny of Violence in the Contemporary Period Through the Scar Test
(The Scrutiny of Violence in the Contemporary Period Through the Scar Test)
- Author(s):Kadriye Bozkurt
- Language:English
- Subject(s):Studies in violence and power
- Page Range:17-29
- No. of Pages:13
- Keywords:The Scrutiny of Violence; Contemporary Period Through; Scar Test;
- Summary/Abstract:Violence is a very complex issue that covers threat, assault, battery, torture, sexual assault, domestic violence, murder, rape, kidnapping, terrorist attacks, racial or religious discrimination, verbal abuse, self-flagellation and many other violent and unpleasant acts directed against oneself or others. In dictionaries violence is defined as “a) actions or words that are intended to hurt people, b) extreme force, c) extremely forceful actions that are intended to hurt people or are likely to cause damage” (Cambridge dictionary, 2021). These definitions give general ideas about violence, but they do not define violence wholly. Clearly, violence appears in different ways in private and public life and especially in contemporary life the abundance of violence is strongly felt by people. Its different forms draw the researchers’ attention on the broader aspects of violence. Being a multifaceted phenomenon, violence is studied and investigated in different multidisciplinary fields from anthropology, history, sociology to literature and as Elizabeth A. Stanko stresses, “there is no set and agreed definition among the researchers of what violence is.” (2003. p. 3). There are many aspects of violence to inquire: the different forms of violence, the victims of violence, initiators of violence, the relation between violence and social, cultural, political, racial, and religious elements, or the motivation for violence, etc. In his book Violence and Nonviolence: Pathways to Understanding (2003), Gregg Barak investigates the issue of violence, and he divides the forms of violence into four categories. According to him, violence can basically be categorised as violence in perspective, interpersonal violence, institutional violence and structural violence (p. xv, 21). The diversity of violence can be observed in his categorisation since different forms of violence are gathered around these titled categorisations. These long listings and categorisations of violence by Barak show the diversity of violence and the broad effect of it on any person or group of people.
Zami: A New Spelling against Racism
Zami: A New Spelling against Racism
(Zami: A New Spelling against Racism)
- Author(s):Pulkita Anand
- Language:English
- Subject(s):British Literature
- Page Range:48-60
- No. of Pages:13
- Keywords:Zami; Spelling; Racism; William Golding; famous novel;
- Summary/Abstract:William Golding has mentioned in his famous novel, The Lord of the Flies that man is inherently evil, evil is in all of us. It is true and relevant in contemporary times too. The evil aspect of a human is due to his/ her violent nature. This violence is evident to every being that human beings encounter and destroy through his /her evil design. The current climate crisis is a testimony of man’s greed and deed. Violence is a recurring theme in literature. It is an integral part of our socio-political, religious and cultural life. There is more ‘subtle’ kind of violence that manifests itself in the everyday is what Gyanendra Pandey calls ‘routine violence’, that is, “a violence written into the making and continuation of contemporary political arrangements, and into productions of majorities and minorities” (Pandey, 2006, p. 1). He continues how we must recognize violence not only in its most spectacular, explosive, visible moments, but also in its most disguised forms -- in our day-to-day behaviour, the way we construct and respond to neighbours as well as strangers, in the books and magazines we read, the films we see, and the conversation and silences in which we participate. (Pandey, 2006, p. 8). Ron Eyerman gives a good definition of “cultural trauma” in his book Cultural Trauma: Slavery and the Formation of African American Identity. As opposed to psychological or physical trauma, which involves a wound and the experience of great emotional anguish by an individual, cultural trauma refers to a dramatic loss of identity and meaning, a tear in the social fabric, affecting a group of people that has achieved some degree of cohesion. (2001, p. 2).
Nonviolence vs. Non-Ethics in Harry Turtledove’s Story “The Last Article”
Nonviolence vs. Non-Ethics in Harry Turtledove’s Story “The Last Article”
(Nonviolence vs. Non-Ethics in Harry Turtledove’s Story “The Last Article”)
- Author(s):Nataliya Krynytska
- Language:English
- Subject(s):Ethics / Practical Philosophy, Studies in violence and power, Theory of Literature, American Literature
- Page Range:31-47
- No. of Pages:17
- Keywords:Nonviolence, Non-Ethics; Harry Turtledove Story; American; The Last Article; alternate history; historical fiction; science fiction; fantasy; mystery fiction;
- Summary/Abstract:Harry Turtledove (b. 1949) is an American author of alternate history, historical fiction, science fiction, fantasy and mystery fiction. Turtledove’s story “The Last Article” (1988) presents an alternate history of WWII where the UK capitulated to the Nazis in 1941. The story that has not been in the focus of the critics yet begins with the surrender of the British Army of India that fought heroically against the Germans until 1947. However, the local people headed by Mohandas (Mahatma) Gandhi and Jawaharlal Nehru, the leaders of the Indian independence movement from British rule, continue to resist the Nazi regime. In our reality, in 1945, the Nazis capitulated to the Allies, and in 1947, India got independence from British colonial rule.
Son Fısıltının Hakikati: Flannery O’Connor’ın “Greenleaf” Öyküsünde Otoimmünite ve Şiddet
Son Fısıltının Hakikati: Flannery O’Connor’ın “Greenleaf” Öyküsünde Otoimmünite ve Şiddet
(Reality of the last whisper: Autoimmunity and violence in Flannery O'Connor's "Greenleaf")
- Author(s):Hivren Demir-Atay
- Language:English
- Subject(s):Studies in violence and power, American Literature
- Page Range:63-80
- No. of Pages:18
- Keywords:Flannery O’Connor; Greenleaf;
- Summary/Abstract:Amerikan edebiyatının önemli isimlerinden Flannery O’Connor (1925-1964), öykülerinde psikolojik ve fiziksel şiddet temsillerine sıklıkla yer verir. Hor görmekten ayrımcılığa, yaralamadan cinayete uzanan bir çeşitlilik arz eden bu temsiller benzer bir örüntüyü de paylaşır. Şiddetin muhataplarının bir aydınlanma yaşadığı iması bu örüntünün can alıcı unsurunu oluşturur. O’Connor’ın kurmaca dışı metinlerinde edebiyat ve şiddet ilişkisi üzerine söyledikleri, öykülerdeki bu imayı anlamlı bir zemine oturtur ve teolojik bir yorumu olanaklı kılar. O’Connor’a göre öykülerinde şiddete uğrayan kişiler bunu bir “lütuf ânı” olarak deneyimler ve yaşadıkları sarsıcı olaydan dolayı son nefeslerinde de olsa “hakikatle” yüzleşirler (O’Connor, 2014a, s. 112). Diğer bir deyişle, O’Connor’ın poetikasında şiddet, insanlara “ilahi yaşam”ı hatırlatma işlevine sahiptir (s. 112). Üstelik şiddetin yalnızca kurbanının değil, bütün muhataplarının, failinin ve okurunun da söz konusu hakikat yüzleşmesini yaşama ihtimali vardır. Daha da önemlisi şiddet sarmalı, faili ve kurbanı net bir biçimde ayırmayı zorlaştırabilir.
Who is Responsible? The Politics of Structural Violence in Selected Films
Who is Responsible? The Politics of Structural Violence in Selected Films
(Who is Responsible? The Politics of Structural Violence in Selected Films)
- Author(s):Trayee Sinha
- Language:Turkish
- Subject(s):Politics / Political Sciences, Studies in violence and power, Film / Cinema / Cinematography
- Page Range:83-96
- No. of Pages:14
- Keywords:Who is Responsible; Politics; of Structural Violence; Selected Films;
- Summary/Abstract:The issue of violence has been a global phenomenon. Representations of violence in literature, culture and arts have been universally experienced and as a consequence it is significant to trace the root cause of all forms of violence. The living organisms are prone to violence – whether it is a human being or any other species, violence is everywhere. Structural violence constitutes all forms of violence. As Freud has figured out that there are different layers of mind and the layers produce different levels of consciousness (Freud, 1913). Michel Foucault’s theory of power establishes the relation between knowledge and power and both these factors are responsible to impose control over societal institutions. Power is one of the means through which someone could impose restrictions on the other. Structural violence is one of the tools of depriving people of their basic needs. The present paper attempts to interrogate the societal structure to make some findings of the politics of structural violence in the selected films. The paper also intends to focus on the responsible factors of gender violence and its impact on a larger scale through popular culture.
Violence in textile: A closer look at the warrior shawls of Nagaland
Violence in textile: A closer look at the warrior shawls of Nagaland
(Violence in textile: A closer look at the warrior shawls of Nagaland)
- Author(s):Rugmani Venkatadri
- Language:English
- Subject(s):Anthropology, Studies in violence and power
- Page Range:97-113
- No. of Pages:17
- Keywords:Violence in textile; A closer look; warrior shawls; Nagaland;
- Summary/Abstract:India is akin to an ethnographic museum for the purpose of anthropological study. The nature of the diversity within Indian terrain itself gives rise to diversity in the following - Climate, Weather, Flora & Fauna as well as available resources. The connections between people and the landscapes they inhabit are very crucial, as each has an effect on the other. Human lifestyle is a consequence of efforts for continuous adaptation to these factors. Material culture is both a symbol and outcome of human lifestyle.
Sanatta Şiddetin Temsili: Bir Kez Daha Guernica
Sanatta Şiddetin Temsili: Bir Kez Daha Guernica
(Representation of Violence in Art: Once Again Guernica)
- Author(s):Ali Asker Bal
- Language:Turkish
- Subject(s):Visual Arts, Studies in violence and power
- Page Range:115-131
- No. of Pages:17
- Keywords:Representation of Violence in Art; Guernica; violence; art;
- Summary/Abstract:Sanat tarihinin gelişimi içerisinde, ilk örnekleri mitoloji ve dinsel konularda görülen şiddet sahneleri, zaman içerisinde devlet ve iktidarların güç sınamasında sistemli bir yöntem olarak başvurdukları savaş olgusu şeklinde dönüşerek süreklilik kazanmıştır. En ilkelinden en modernine kadar, savaş ve şiddet gerçekliği, toplumların gündemlerinde yer bulduğu oranda sanat ve sanatçıların da ilgi alanı içinde olmuştur. Sanatın işlevlerinden biri, içinde yaşanılan çağa tanıklık etmesi, bellek oluşturma ve kayıt tutma aracı gibi tüm zamanların bilgi ve belgeleri açısından başvurulması gereken önemli kaynaklardan biri olmasıdır. Yaşamı anlamlı kılma eylemi olarak sanat; doğrudan ya da dolaylı olarak toplumsal ölçekte, kültür üretimine denk düşen zihinsel sürecin tümel bir ifadesidir. Dünya tarihinde, gerçek yaşanmışlıklardan alınmış şiddet ve savaş konularının sanattaki temsilleri ciddi bir birikime ulaşmış boyutlardadır. Sanat tarihinde Paolo Uccello’nun San Romano Savaşı (1440), Albrech Altdorfer’in İskender’in Issus Savaşı (1529), Diego Velazquez’in Breda’nın Teslimi (1634), Francisco Goya’nın 3 Mayıs Katliamı (1814), Kathe Kollwitz’in Savaş ve Keder (1903), Max Beckmann’ın Gece (1919), Otto Dix’in Savaş Triptiği (1929), Pablo Picasso’nun Guernica (1937), Leon Golub’un Vietnam (1973) Kara Walker’in Masumların Katliamı (2016) gibi yapıtlar farklı dönemlerden seçilmiş etkili şiddet temsilleri olarak ele alınabilirler. Bu çalışmalar arasında sayılan Picasso’nun Guernica adlı yapıtı, üretildiği tarihten bugüne değin, hem modern savaşlar ve şiddetin neden olduğu acıların hem de insanlığın barış özleminin sembolü haline gelmiş kült bir yapıttır.
Şiddetin Mitik Temsilleri Üzerine Karşılaştırmalı Bir Değerlendirme
Şiddetin Mitik Temsilleri Üzerine Karşılaştırmalı Bir Değerlendirme
(A comparative analysis of Mythological Representations of Violence)
- Author(s):Ülfet Dağ
- Language:Turkish
- Subject(s):Language and Literature Studies, Studies in violence and power
- Page Range:133-144
- No. of Pages:12
- Keywords:A comparative analysis of; Mythological; Representations of Violence;
- Summary/Abstract:Mitler, evrenin, tanrı/tanrıların, insanın ve yaşama dair her şeyin yaratılış öyküsüdür. Kozmogoni, evrenin yaratılışını açıklar. Teogoni, tanrı/tanrıların ortaya çıkışını anlatır. Antropogoni, evrene anlam katan insanın yaratılışının öyküsüdür. Eskatoloji her başlangıcın bir sonu olduğunun temsilidir. Bunların yanı sıra takvim mitleri, totem mitleri, kahramanlık mitleri, ritüel mitleri ve köken mitleri her şeyin yaratılışını ve kökeni bizlere açıklar. Yaratılış öykülerinde hayata dair iyi/kötü, olumlu/olumsuz, güzel/çirkin vb. her şeyi bulmak mümkündür. Bu bağlamda son derece etiyolojik olan mitler, nerdeyse insanlık tarihiyle yaşıt, geçmişten günümüze toplumun en büyük sorunlarından biri olan şiddetin de örneklerini sunar. Şiddet, evrensel bir sorun olmakla birlikte tüm mitlerde farklı bir şekliyle karşımıza çıkmaktadır. Mitler kolektif bilinçaltı ürünleri olduğundan milletlerin toplumsal hafızalarının gizli köşelerinde bastırılmış şiddet, mitlerde açığa çıkmaktadır. Tanrıların gazabı, tanrılar arası savaş, insansı özelliklere sahip tanrıların kıskançlık, açgözlülük, cinsellik gibi duyguları şiddeti hem sosyal bir sorun hem de birçok sosyal sorunun kaynağı haline getirir.
Margaret Atwood’s The Testaments: A Portrayal of State Violence Against Women
Margaret Atwood’s The Testaments: A Portrayal of State Violence Against Women
(Margaret Atwood’s The Testaments: A Portrayal of State Violence Against Women)
- Author(s):Elvan Karaman
- Language:English
- Subject(s):Studies of Literature, Studies in violence and power, American Literature
- Page Range:147-162
- No. of Pages:16
- Keywords:Margaret Atwood’s The Testaments; A Portrayal of State Violence Against Women; Violence; Violence Against Women;
- Summary/Abstract:Discussed around the world as the writer of more than fifty books, including novels, rewritings, poetry and essays, Margaret Atwood is not only our contemporary but also an author in the future with her genius. Her career has been shaped by the socio-cultural changes emerging from the Cold War, different kinds of regimes, crises and tensions around the world. After everyone had been curious about what happened to Offred, the narrator of The Handmaid’s Tale, for thirty-four years, Atwood created The Testaments as a product of the twenty-first century and published it in 2019, two years after Donald Trump was elected and the Women’s March, “the largest single-day demonstration in the country’s history”, was organised by women against him (Gheorghiu & Praisler, 2020, p. 91). Thus, Atwood has created a follow-up for The Handmaid’s Tale and she (2009) emphasises that “as time moved on, instead of moving further away from Gilead we moved towards it” (p. 3). As a result, it sold more than 100.000 copies in a week and it is the co-winner of the Booker Prize, showing that the reader needs this work in the atmosphere of the twenty-first century. This study aims to analyse The Testaments in terms of state violence, especially employed against women, as a portrayal of the patriarchal totalitarian regime of the Republic of Gilead. In this totalitarian regime, two types of repression are employed against women: mental repression and a corporeal subjection of women, systematically practised in different ways. Two years after the publication of the novel, the world has the reality of Taliban in Afghanistan and nobody knows what kind of oppression is utilised there against women. Accordingly, Atwood is proved to be right in her observation about the oppressive regimes, which usually practise the most severe discrimination against women. In Atwood’s words (2019), “For a long time we were going away from Gilead and then we turned around and started going back towards Gilead, so it did seem pertinent” (paras 12). Although we live in a period, proud of its technological improvements reaching beyond the Earth and preparing to colonise the Mars, we have not been able to develop humanity to the same extent. Therefore, there are populist leaders, capitalist investors and totalitarian rulers resulting in a great number of troubles around the world for people and nature and violence will always be a tool for them available to use, which means more dystopias, climate fiction and post-apocalyptic works will be created in the future.
Body as a Territory: A Study of Violence Against Women as Portrayed in Partition Literature of India and Pakistan
Body as a Territory: A Study of Violence Against Women as Portrayed in Partition Literature of India and Pakistan
(Body as a Territory: A Study of Violence Against Women as Portrayed in Partition Literature of India and Pakistan)
- Author(s):Adhyeta Mishra
- Language:English
- Subject(s):Anthropology, Gender Studies, Studies in violence and power
- Page Range:163-171
- No. of Pages:9
- Keywords:Body; Territory; Violence Against Women; Literature; India; Pakistan; British;
- Summary/Abstract:India achieved its independence from British colonial domination in the year 1947 after decades of movement and fight for self-rule or ‘swaraj’. However, for many, independence came at its own cost. With the birth of a separate state, the Islamic republic of Pakistan, hundreds and thousands lost their lives and those who survived, lost their home and family in the civil riots and communal violence that followed thereafter. It was definitely not the kind of freedom people had dreamt of, had laid their lives for –“vo intezar tha jiska ye vo sahar to nahin .” This freedom bled of violence and witnessed the merciless butchering of civilians, especially women who were abducted by men from warring communities and either raped, looted or murdered, for the violation of the female body meant violation of the ‘sanctity’ of the entire community.
Revisiting Gendered Violence in Modern Iranian Fiction: Mahmoud Dowlatabadi’s Missing Soluch
Revisiting Gendered Violence in Modern Iranian Fiction: Mahmoud Dowlatabadi’s Missing Soluch
(Revisiting Gendered Violence in Modern Iranian Fiction: Mahmoud Dowlatabadi’s Missing Soluch)
- Author(s):Selin Şencan
- Language:English
- Subject(s):Gender Studies, Studies of Literature, Other Language Literature, Studies in violence and power
- Page Range:173-180
- No. of Pages:8
- Keywords:Gendered Violence; Modern Iranian Fiction; Mahmoud Dowlatabadi’s Missing Soluch; Violence;
- Summary/Abstract:Gendered violence is widely defined as an “umbrella term for any harm that is perpetrated against a person’s will on account of gendered power inequities that not only exploit distinctions between men and women but also among men and among women” (Chinouya, 2013, p. 499). Thus, different forms of violence, ranging from domestic to social, are considered to be abusive patterns of behavior. Narrating gendered violence in fiction, particularly rural fiction, is an attempt to demonstrate how culturally and socially constructed norms victimize human beings in a particular society. Mahmoud Dowlatabadi’s Missing Soluch (1979) is a modern Iranian novel that reflects the traumatic experiences of many characters in a village called Zaminej. After Slouch’s mysterious disappearance, his wife Mergan has to raise her children in his absence. The novel narrates the hardships of a mother who looks after her two sons named Abbas and Abrau, and her only daughter, Hajer. Analyzing Dowlatabadi’s novel locates us in a particular region, the Middle East that is replete with traumatic histories of which gendered violence is evident and undeniable. As far as gendered violence is considered in the Middle East, women are usually viewed as victims of sexualized violence or as the potential target for domestic violence in certain societies. However, the protagonist Mergan manages to assert her agency against the patriarchal backdrops of her village. Dowlatabadi gives voice to a female character, Mergan who is exposed to many forms of traumatic experiences, but she becomes a survivor at the end of the novel. Dowlatabadi’s novel offers us insights into a better understanding of patriarchal, social, and domestic forms of violence and the possible traumatic consequences of them in the rural areas of modern Iran. The novel mainly highlights the patterns of domestic abuse, rape, and child marriage as forms of gender-based violence.
Violence against Women in France: Actions and New Tools: The 7 Golden Rules of conduct to follow
Violence against Women in France: Actions and New Tools: The 7 Golden Rules of conduct to follow
(Violence against Women in France: Actions and New Tools: The 7 Golden Rules of conduct to follow)
- Author(s):Efstratia Oktapoda
- Language:English
- Subject(s):Gender Studies, Gender history, Studies in violence and power
- Page Range:181-194
- No. of Pages:14
- Keywords:Violence against Women in France; Actions and New Tools; Rules; Violence; Women; France;
- Summary/Abstract:According to the High Council for Equality between Women and Men (HCE/fh) in France, “Violence against women is the basis of inequalities between women and men. They fuel on the one hand the feeling of domination among the perpetrators, and on the other hand the feeling of fear and loss of self-confidence among the victims.” (Bousquet, D. and al., 2016, p. 7) . The same study points out that “women are still widely considered to be responsible for the sexual violence they endure.” (p.7)