This book is an ambitious and expansive examination of the visual language of self-injury in performance art from the 1960s to the present. Inspired by the gendered nature of discussion around self-harm, the book challenges established readings of risk-taking and self-injury in global performance practice. The interdisciplinary methodology draws from art history and sociology to provide a new critical analysis of the relationship between masculinity and self-inflicted injury. Based upon interviews with a range of artists around the world, it offers an innovative understanding of the diverse meanings behind self-injury in performance, and delves into the gendered coding of self-harming bodies. Individual chapters examine the work of Ron Athey, Günter Brus, Wafaa Bilal, Franko B, André Stitt, Pyotr Pavlensky, and Yang Zhichao, offering a new perspective on the forms and functions of self-injury in performance art. The book will be of interest to scholars working in art history, performance studies, gender studies, and cultural studies.

This book provides an appreciative, sociological engagement with accounts of the embodied practice of self-injury. It shows that in order to understand self-injury, it is necessary to engage with widely circulating narratives about the nature of bodies, including that they are separate from, yet containers of 'emotion'. Using a sociological approach, the book examines what self-injury is, how it functions, and why someone might engage in it. It pays close attention to the corporeal aspects of self-injury, attending to the complex ways in which 'lived experience' is narrated. By interrogating the way in which healthcare and psychiatric systems shape our understanding of self-injury, Self-Injury, Medicine and Society aims to re-invigorate traditional discourse on the subject. Combining analytical theory with real-life accounts, this book provides an engaging study which is both thought-provoking and informative. It will appeal to an interdisciplinary readership and scholars in the fields of medical sociology and health studies in particular.

From the 1980s onwards, the incidence of eating disorders and self-harm has increased among Japanese women, who report receiving mixed messages about how to be women. Mirroring this, women’s self-directed violence has increasingly been thematised in diverse Japanese narrative and visual culture. This book examines the relationship between normative femininity and women’s self-directed violence in contemporary Japanese culture. To theoretically define the complexities that constitute normativity, the book develops the concept of ‘contradictive femininity’ and shows how in Japanese culture, women’s paradoxical roles are thematised through three character construction techniques, broadly derived from the doppelgänger motif. It then demonstrates how eating disorders and self-harm are included in normative femininity and suggests that such self-directed violence can be interpreted as coping strategies to overcome feelings of fragmentation related to contradictive femininity. Looking at novels, artwork, manga, anime, TV dramas and news stories, the book analyses both globally well known Japanese culture such as Murakami Haruki’s literary works and Miyazaki Hayao’s animation, as well as culture unavailable to non-Japanese readers. The aim of juxtaposing such diverse narrative and visual culture is to map common storylines and thematisation techniques about normative femininity, self-harm and eating disorders. Furthermore, it shows how women’s private struggles with their own bodies have become public discourse available for consumption as entertainment and lifestyle products. Highly interdisciplinary, it will be of huge interest to students and scholars of Japanese studies, Japanese culture and society and gender and women's studies, as well as to academics and consumers of Japanese literature, manga and animation.

This book traces how the American freak show has re-emerged in new visual forms in the 21st century. It explores the ways in which moving image media transmits and contextualizes, reinterprets and appropriates, the freak show model into a “new American freak show.” It investigates how new freak representations introduce narratives about sex, gender, and cultural perceptions of people with disabilities. The chapters examine such representations found in horror films, including a prolonged look at Freaks (1932) and The Texas Chainsaw Massacre (1974), documentaries such as Murderball (2005) and TLC’s Push Girls (2012-2013), disability pornography including the pornographic documentary Sick: The Life and Death of Bob Flanagan Supermasochist (1997), and the music icons Marilyn Manson and Lady Gaga in their portrayals of disability and freakishness. Through this book we learn that the visual culture that has emerged takes the place of the traditional freak show but opens new channels of interpretation and identification through its use of mediated images as well as the altered freak-norm relationship that it has fostered. In its illumination of the relationship between normal and freakish bodies through different media, this book will appeal to students and academics interested in disability studies, gender studies, film theory, critical race theory, and cultural studies.

Blunt Traumas thoughtfully engages responses to suffering and death with compassion and brutal honesty applying a variety of methodologies, including case studies, fieldwork, systematic philosophy, and historical and textual analysis.

Non-suicidal self-injury (NSSI) is the deliberate harming of one's body without suicidal intent. NSSI tends to be secretive, often involving cutting, bruising, or burning on hidden parts of the body. While NSSI often occurs among adolescents, it is not limited to that age group. Communication and NSSI intersect in many ways, including conversation among family members, consultation with healthcare providers, representation in the media, discourse among people who self-injure, and even communication with oneself. Each chapter in Communicating With, About, and Through Self-Harm: Scarred Discourse addresses a different context of communication crucial to our understanding NSSI. An international group of clinicians and communication specialists describe, analyze, and explain how NSSI is communicated about, what NSSI is communicating, and how can we do a better job in communicating with others about NSSI. This book’s fundamental purpose is to empower individuals who self-injure as well as their families, friends, healthcare providers, and communities to better understand and deal with NSSI and the pressures that cause it.

Boys and young men have been previously overlooked in domestic violence and abuse policy and practice, particularly in the case of boys who are criminalized and labelled as gang-involved by the time they reach their teens. Jade Levell offers radical and important insights into how boys in this context navigate their journey to manhood with the constant presence of violence in their lives, in addition to poverty and racial marginalization. Of equal interest to academics and front-line practitioners, the book highlights the narratives of these young men and makes practice recommendations for supporting these ‘hidden victims’.

In this book, Justin Russell Greene argues that Quentin Tarantino’s versions of masculinity represented throughout his filmography replicates the limitations gender binaries place on men and women. Scholars of film studies, gender studies, and popular culture will find this book of particular interest.

This book questions punishment as concept, social phenomenon and contemporary practice. It unpacks punishment’s nature and the assumptions that underpin it, examines its targets, objectives and implications, locates punishment and punitivity within their social contexts, and aims to unsettle the idea that there is something common-sensical, necessary and unavoidable about punitive justice. Questioning Punishment develops its argument through an innovative structure organised around five central questions: what punishment is; who punishment’s targets and subjects are; how punishment is perpetuated and experienced; when and where punishment unfolds and why we punish. It ends by considering the implications of this enquiry to understandings of punishment and broader pursuits of justice. It is essential reading for all those engaged with the sociology of punishment and prisons, criminal justice, and theoretical criminology.

This collection invites us to think about how African-descended men are seen as both appealing and appalling, and exposed to eroticized hatred and violence and how some resist, accommodate, and capitalize on their eroticization. Drawing on James Baldwin and Frantz Fanon, the contributors examine the contradictions, paradoxes, and politico-psychosexual implications of Black men as objects of sexual desire, fear, and loathing. Kitossa and the contributing authors use Baldwin’s and Fanon’s cultural and psychoanalytic interpretations of Black masculinities to demonstrate their neglected contributions to thinking about and beyond colonialist and Western gender and masculinity studies. This innovative and sophisticated work will be of interest to scholars and students of cultural and media studies, gender and masculinities studies, sociology, political science, history, and critical race and racialization. Foreword by Tommy J. Curry. Contributors: Katerina Deliovsky, Delroy Hall, Dennis O. Howard, Elishma Khokhar, Tamari Kitossa, Kemar McIntosh, Leroy F. Moore Jr., Watufani M. Poe, Satwinder Rehal, John G. Russell, Mohan Siddi