Chinese University Students’ Attitudes Toward Rape Myth Acceptance: The Role of Gender, Sexual Stereotypes, and Adversarial Sexual Beliefs

The present study constructs and tests models that examine the relations between variables of “gender,” “sex role stereotyping,” and “adversarial sexual beliefs” on rape myth acceptance. The sample is 975 Chinese university students from seven universities in China. Measures include Chinese Rape Myth Acceptance (CRMA), Sex Role Stereotyping (SRS) Scale, and Adversarial Sexual Beliefs (ASB). We use structural equation modeling to investigate whether gender directly affects the acceptance of rape myth, or that these influences are mediated by SRS and ASB, after controlling for several demographic characteristics. Results suggest that SRS and ASB have a direct effect on rape myth acceptance. Gender has no direct effect on rape myth acceptance in three out of the four models, but it significantly (β = −.02, p < .05) predicts the acceptance of rape–violence myth. We also discuss the implications and limitations of the study.

NOVEL-FILM INTERFACE AND POSTCOLONIAL DYSTOPIA: A COMPARATIVE ANALYSIS OF TSITSI DANGAREMBGA’S NOVEL AND FILM, NERVOUS CONDITIONS AND NERIA

This paper comparatively and contrastively explores two art forms, the novel and film, by the same artist, Tsitsi Dangarembga, with a view to gauging their effectiveness in con­figuring Zimbabwe’s postcolonial dispensation. What is gained and what is lost when an artist shifts from one art form to another? Dangarembga belongs to the protest tradition of Zimbabwean postcolonial artists and the conceptual fibre of this tradition is notably the dystopian themes like disillusionment, cultural confusion, sex-role stereotyping, as well as social power relations. Dangarembga’s canonical novel, Nervous conditions (1988), and the highest grossing film in Zimbabwean history, Neria (1993), are both sterling at­tempts within the feminist tradition. The film and novel mirror a society in the throes of an epochal transition, the sense of impending change giving the works the commonality of an apocalyptic vision. Against a backdrop shaped by the interplay of historical, cul­tural and colonial forces, the works become perceptive anthropological windows into a society replete with multiple contradictions. In both her novel and her film, Dangarembga equips her protagonists, Tambudzai and Neria respectively, with a self-defining voice that questions and subverts the status quo. Salient manifestations of toxic masculinity in this patriarchal society account for the subtlety with which Dangarembga critiques gender relations within and without the boundaries of race and class. The protagonists in both works undergo rigorous struggles from which they ultimately emerge as different persons. This paper focuses on the nature of this struggle and its concomitant change.