http://habibiaislamicus.com/index.php/hirj/article/view/67

Crimes against women include many crimes, but this research paper focuses on rape cases and seeks to find out when television channels cover rape cases, what are the consequences of it, how they affect the Islamic society and what has been said about it in the light of Qur'an and Hadith? This topic is also important because no significant research paper on this subject has been written in Pakistan before and no clear picture has emerged. The pamphlet assumes that the broadcasting of incidents of rape of women on television channels is having a negative impact on the society, which has been investigated in every possible way. In this regard, various incidents of rape from 2012 to 2014 have been studied in the broadcasts of two television channels. A survey was also conducted to gauge public opinion, which revealed a variety of views. The survey included all kinds of questions that cover the entire subject. On the other hand, an interview with a victim has been conducted to find out the opinion of the rape survivor; while an interview with an individual associated with electronic media and a psychologist is also part of this pamphlet. The study found that news channels do not pay attention to a single statement while covering rape incidents, while on the other hand, the identity of the victim is revealed, which is also denied by our religion Islam and the Qur'an. According to the findings, more research is needed in the near future, and television channels need to collaborate with researchers and give them access to content. Similarly, there is a need for a large-scale comprehensive study in which data from all over the country is collected so that a complete picture can emerge.

‘We Choose Our Own Pain. Mine Helps Me Remember’

This Chapter argues that Captain Gabriel Lorca, upon first look, is the archetype of the Starfleet Captain in the vein of Kirk and Picard: a white, middle-aged, (presumably) heterosexual man. However, his reveal as a Terran effectively recasts the character from a capable leader to a white supremacist sociopath, and is thus powerfully subverting the trope of the action hero, and in turn, that of the Starfleet Captain. Discovery thus actively criticizes pervasive ideals of masculinity of the genre (and beyond) through Lorca. It further does so via the character Ash Tyler, who also represents an alternative concept to the traditional action hero. Unlike Lorca, whose sexual prowess is referenced often, Tyler engages in a romantic relationship, an aspect usually neglected in on-screen romances of male heroes. Additionally, he is a rape survivor, again successfully subverting the established gender roles of the genre. This chapter discusses both Lorca and Tyler in order to highlight Discovery’s engagement with, and subversion of genre tropes, and its criticism of traditional ideas of masculinity.

Writing the Male Rape Survivor

The rise of the rape novel featuring female victims inspired the telling of more stories about male rape victims. Just as the early stories about the sexual assault of women portrayed rape as nonexistent, inconsequential, or the fault of the women and girls themselves, the stories of male rape often have belittled the victims and position the male rape victim as an object of derision, scorn, and even amusement. As the revelations of several high-profile sexual abuse cases early in the twenty-first century brought to light the plight of young boys being assaulted by trusted older men, male victims are now being treated with the concern and sympathy that women experienced in the 1970s. The political activism inherent in the rape novel—educating its readers, offering community to the victims, and encouraging social activism and change to societal attitudes—will continue as the stories of male rape survivors are told in greater numbers.

Don’t Speak, Maharani: Raising Awareness Towards How Victim Blaming is Worsening Rape Survivor’s PTSD

The screenplay Don’t Speak, Maharani is the story of Maharani as a rape survivor who suffers from post traumatic stress disorder. Using drama as the genre of the story, the screenplay shows multiple struggles of Maharani who lives her life with unsupportive family which is worsening her psychological state. Since the screenplay focuses on the act of victim blaming which is worsening rape survivor’s Post Traumatic Stress Disorder (PTSD), the story focuses on Maharani reaction towards the action given to her. As the plot advances, it shows how Maharani’s PTSD is worsened by victim blaming given to her. In the end, Maharani tries to heal by taking drugs but she gets overdose. In order to create this screenplay, I use two concepts which are rape and PTSD and rape and victim blaming. The issues regarding victim blaming and PTSD are rarely brought up in a form of a screenplay. However, I believe victim blaming is an act of killing and needs to be stoped. Keyword: Rape, Post Traumatic Stress Disorder, Victim Blaming.

Women’s Health: Treating Survivors of Sexual Assault

Almost half of all women and almost a quarter of all men in the United States have experienced sexual violence in their lifetime. Treating individuals who have survived sexual assault can pose challenges for psychiatric and medical treatment. The rates of posttraumatic stress disorder (PTSD) are higher with sexual assault, and people with sexual trauma often feel stigmatized and have difficulty presenting for care. This chapter reviews epidemiology and neurobiology of sexual assault as well as the physical and psychological sequelae of sexual assault. Here, the authors review and propose practical treatment recommendations to assist in the treatment of individuals with a history of sexual assault. This review 5 figures, 5 tables, and 53 references. Key Words: posttraumatic stress disorder, rape recovery, sexual assault, treatment recommendations, women’s mental health, rape survivor treatment, rape

Neo-liberal Subjectivity, Self-branding and ‘My Rape Story’ YouTube Videos

This article considers the YouTube ‘My Rape Story’ genre in light of critical feminist analyses of rape survivor stories. The feminist mobilization that developed out of the political ferment of 1968 told a ‘rape story’ of male power and women’s oppression. However, as first-hand rape stories proliferated in late 20th-century popular media, psychological experts typically framed them with therapeutic narratives of individual self-efficacy and self-transformation. Critical feminist analyses of such rape ‘survivor discourse’ called for new discursive spaces that would allow survivors to eschew therapeutic accounts. A new generation of women have spoken out on a variety of digital platforms, confronting established limits on talking about rape. Considering YouTube ‘My Rape Story’ videos as one manifestation of this new wave of speaking out, my analysis shows that examples of such videos evidence the impact of incitements to self-disclosure through self-branding built into much social media. I argue that these videos exemplify how first-hand rape stories can provide a site for the construction of neo-liberal subjectivity by positioning rape trauma as something survivors must work on in order to achieve self-efficacy. Nevertheless, these accounts also show resistance to victim-blaming rape myths.