12. Gender and crime

Author(s):  
Stephen Jones

This chapter discusses the extensive consideration given to the different roles played by men and women in the commission of crime. Feminist writers first highlighted the fact that most criminologists, in assuming that crime is a male phenomenon, had largely ignored female crime. If it was discussed at all, the focus was on the biological given of sex rather than the social construction of gender. A number of writers have also started to consider the part that different assumptions of male gender roles-‘masculinities’-play in the commission of crime. Different explanations have been offered for the earlier neglect of women’s crime. One reason may be that official criminal statistics have routinely shown that women are convicted of crimes to a far lesser extent than men.

2021 ◽  
pp. 247-268
Author(s):  
Stephen Jones

This chapter discusses the extensive consideration given to the different roles played by men and women in the commission of crime. Feminist writers first highlighted the fact that most criminologists, in assuming that crime is a male phenomenon, had largely ignored female crime. If it was discussed at all, the focus was on the biological given of sex, rather than the social construction of gender. A number of writers have also started to consider the part that different assumptions of male gender roles—‘masculinities’—play in the commission of crime. Different explanations have been offered for the earlier neglect of women’s crime. One reason may be that official criminal statistics have routinely shown that women are convicted of crimes to a far lesser extent than men.


2000 ◽  
pp. 233-246 ◽  
Author(s):  
Lis Højgaard ◽  
Johanna Esseveld

Author(s):  
Agnieszka Legutko

Celia Dropkin, one of the greatest yet lesser-known Yiddish poets, revolutionized modern Yiddish poetry with her pioneering exploration of gender dynamics. Bold erotic motifs in Dropkin’s poetry shocked her contemporaries, while her poems, written mostly in the 1920s and 1930s, sound au courant in the twenty-first century. In her poetry, Dropkin addressed themes such as sexuality, love, artistic creativity, motherhood, and nature — as well as domination and sexual politics in man-woman relationships. Born in Bobruisk, Belarus as Tsilye Levin, she wrote her first poems in Russian at the age of 10. After her immigration to the USA in 1912, she began writing in Yiddish, making her literary debut in 1918. She was affiliated with modernist groups formed by Yiddish poets in America, such as Di Inzikhistin [Introspectivists] and Di Yunge [The Young]. During her lifetime, she published only one volume of poetry, In heysn vint. Her children reissued the volume after her death, updating it to include her short stories and reproductions of paintings that she created later in life. Dropkin’s modernist poetry shattered cultural stereotypes about the social and gender roles imposed on men and women, making her a path-breaking poet who ‘filled the stillness of Yiddish poetry with a passionate breath’ (Yakov Glatshtayn).


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