How American fiction represents soldiers--and soldier criminality--in depictions of the Iraq War

Heroes and Victims explores the cultural power of war memorials in 20th-century Romania through two world wars and a succession of radical political changes -- from attempts to create pluralist democratic political institutions after World War I to shifts toward authoritarian rule in the 1930s, to military dictatorships and Nazi occupation, to communist dictatorships, and finally to pluralist democracies with populist tendencies. Examining the interplay of centrally articulated and locally developed commemorations, Maria Bucur's study engages monumental sites of memory, local funerary markers, rituals, and street names as well as autobiographical writings, novels, oral narratives, and film. This book reveals the ways in which a community's religious, ethnic, economic, regional, and gender traditions shaped local efforts at memorializing its war dead.

The most accessible expression of François Laruelle's non-philosophical, or 'non-standard', thought, General Theory of Victims forges a new role for contemporary philosophers and intellectuals by rethinking their relation to victims. A key text in recent continental philosophy, it is indispensable for anyone interested in the debates surrounding materialism, philosophy of religion, and ethics. Transforming Joseph de Maistre's adage that the executioner is the cornerstone of society, General Theory of Victims instead proposes the victim as the cornerstone of humanity and the key figure for contemporary thought. Laruelle condemns philosophy for participating in and legitimating the great persecutions of the twentieth century, and lays out a new vision of victim-oriented ethics. To do this, he engages the resources of both quantum physics and theology in order to adapt a key concept of non-philosophy, Man-in-person, for a new understanding of the victim. As Man-in-person, the victim is no longer exclusively defined by suffering, but has the capacity to rise up against the world?s persecution. Based on this, Laruelle develops a new ethical role for the intellectual in which he does not merely 'represent' the victim, but imitates or 'clones' it, thereby assisting the victim?s uprising within thought.

Justice for Victims brings together the world’s leading scholars in the fields of study surrounding victimization in a pioneering international collection. This book focuses on the current study of victims of crime, combining both legal and social-scientific perspectives, articulating both in new directions and questioning whether victims really do have more rights in our modern world. This book offers an interdisciplinary approach, covering large-scale (political) victimization, terrorist victimization, sexual victimization and routine victimization. Split into three sections, this book provides in-depth coverage of: victims' rights, transitional justice and victims' perspectives, and trauma, resilience and justice. Victims' rights are conceptualised in the human rights framework and discussed in relation to supranational, international and regional policies. The transitional justice section covers victims of war from those caught between peace and justice, as well as post-conflict justice. The final section focuses on post-traumatic stress, connecting psychological and anthropological perceptions in analysing collective violence, mass victimization and trauma. This book addresses challenging and new issues in the field of victimology and the study of transitional and restorative justice. As such, it will be of interest to researchers, practitioners and students interested in the fields of victimology, transitional justice, restorative justice and trauma work.

Winner of the 2016 Nonfiction Category from The Authors' Zone In recent years, members of legal, law enforcement, media and academic circles have portrayed rape as a special kind of crime distinct from other forms of violence. In Framing the Rape Victim, Carine M. Mardorossian argues that this differential treatment of rape has exacerbated the ghettoizing of sexual violence along gendered lines and has repeatedly led to women’s being accused of triggering, if not causing, rape through immodest behavior, comportment, passivity, or weakness. Contesting the notion that rape is the result of deviant behaviors of victims or perpetrators, Mardorossian argues that rape saturates our culture and defines masculinity’s relation to femininity, both of which are structural positions rather than biologically derived ones. Using diverse examples throughout, Mardorossian draws from Hollywood film and popular culture to contemporary women’s fiction and hospitalized birth emphasizing that the position of dominant masculinity can be occupied by men, women, or institutions, while structural femininity is a position that may define and subordinate men, minorities, and other marginalized groups just as effectively as it does women. Highlighting the legacies of the politically correct debates of the 1990s and the terrorist attacks of 9/11, the book illustrates how the framing of the term “victim” has played a fundamental role in constructing notions of agency that valorize autonomy and support exclusionary, especially masculine, models of American selfhood. The gendering of rape, including by well-meaning, sometimes feminist, voices that claim to have victims’ best interests at heart, ultimately obscures its true role in our culture. Both a critical analysis and a call to action, Framing the Rape Victim shows that rape is not a special interest issue that pertains just to women but a pervasive one that affects our society as a whole.

This book examines the representation of women in relation to violence in Chinese crime films made on the mainland, and in Hong Kong and Taiwan. It introduces a new trajectory in the investigation of the cinematic representation of female figures in relation to gender issues by interweaving Western feminist and postfeminist critiques with traditional Chinese sociocultural discourse. An in-depth narrative identifies three major representations of women: the female victim, the female perpetrator of violence, and the female professional. Salience to contemporary society shows up in many ways, passive and active, all of which reinforce a sense of male dominance and patriarchal power. Analysis bridges the gap in the field of female representation in Chinese culture/Chinese film studies by systematically examining Chinese crime films as a genre in its own right. The depiction of female victimisation at the hands of men in the selected crime films consolidates the notion of women's vulnerability and inferiority as perceived in Chinese gender discourse. On the other hand, the representation of active female perpetrators of violence, and as professional working women, presents what may be seen as a postfeminist masquerade a cultural strategy that shows an ostensible impression of female empowerment albeit that it reinforces traditional gender hierarchies in the Chinese gender context. While graphic female victimisation is commonly presented, female perpetrators of violence and females in professional roles in crime films are shown to remain under the control of male authority, leading to the conclusion that Chinese crime films are produced in a context of heavy patriarchal power and misogyny.

In international law victims' issues have gained more and more attention over the last decades. In particular in transitional justice processes the victim is being given high priority. It is to be seen in this context that the Rome Statute for the International Criminal Court foresees a rather excessive victim participation concept in criminal prosecution. In this volume issue is taken at first with the definition of victims, and secondly with the role of the victim as a witness and as a participant. Several chapters address this matter with a view to the International Criminal Court (ICC), the Extraordinary Chambers in the Courts of Cambodia (ECCC) and the Trial against Demjanjuk in Germany. In a third part the interests of the victims outside the criminal trial are being discussed. In the final part the role of civil society actors are being tackled. This volume thus gives an overview of the role of victims in transitional justice processes from an interdisciplinary angle, combining academic research and practical experience.

Nils Christie’s (1986) seminal work on the ‘Ideal Victim’ is reproduced in full in this edited collection of vibrant and provocative essays that respond to and update the concept from a range of thematic positions. Each chapter celebrates and commemorates his work by analysing, evaluating and critiquing the current nature and impact of victim identity, experience, policy and practice. The collection expands the focus and remit of ‘victim studies’, addressing key themes around race, gender, faith, ability and age while encompassing new and diverse issues. Examples include sex workers as victims of hate crimes, victims’ experiences of online fraud, and recognising historic child sexual abuse victims in Ireland. With contributions from an array of academics including Vicky Heap (Sheffield Hallam University), Hannah Mason-Bish (University of Sussex) and Pamela Davies (Northumbria University), as well as a Foreword by David Scott (The Open University), this book evaluates the contemporary relevance and applicability of Christie’s ‘Ideal Victim’ concept and creates an important platform for thinking differently about victimhood in the 21st century.

The rhetoric of heroism pervades politics. Political leaders invoke their own heroic credentials, soldiers are celebrated at sporting events, ordinary citizens become state symbols (or symbols of opposition), and high profile celebrities embody a glamorized, humanitarian heroism. Using analytical tools drawn from international relations, gender studies, war studies, history, and comparative politics, this book examines the cultural and political phenomenon of heroism and its relationship to the process of creating, sustaining and challenging political communities. Arguing that heroism is socially constructed and relational, the contributors demonstrate that heroes and heroic narratives always serve particular interests in the ways that they create and uphold certain images of states and other political communities. Studying the heroes that have been sanctioned by a community tells us important things about that community, including how it sees itself, its values and its pressing needs at a particular moment. Conversely, understanding those who are presented in opposition to heroes (victims, demonized opponents), or who become the heroes of resistance movements, can also tell us a great deal about the politics of a state or a regime. Heroes are at once the institutionalization of political power, and yet amorphous--one can go from being a hero to a villain in short order. This book will appeal to scholars and students working on topics related to international relations, gender, security and war studies, comparative politics, state building, and political communities.

On March 16, 1978, the former prime minister of Italy, Aldo Moro, was kidnapped by the Red Brigades, and what followed—the fifty-five days of captivity that resulted in Moro's murder—constitutes one of the most striking social dramas of the twentieth century. In this compelling study of terrorism, Robin Wagner-Pacifici employs methods from sociology, symbolic anthropology, and literary criticism to decode the many social "texts" that shaped the event: political speeches, newspaper reports, television and radio news, editorials, photographs, Moro's letters, Red Brigade communiques, and appeals by various international figures. The analysis of these "texts" calls into question the function of politics, social drama, spectacle, and theater. Wagner-Pacifici provides a dramaturgic analysis of the Moro affair as a method for discussing the culture of politics in Italy.