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The c-word, 'cunt', is perhaps the most offensive word in the English language, and consequently it has never been researched in depth. Hugh Rawson's Dictionary Of Invective contains the most detailed study of what he calls "The most heavily tabooed of all English words" , though his article is only five pages long. A Cultural History Of The C-Word is therefore intended as the first comprehensive analysis of this ancient and powerful word. According to Francis Grose's scurrilous definition, it is "a nasty name for a nasty thing" As a noun, 'cunt' has numerous other senses: It can also be used as an adjective to describe a foolish person , a verb meaning both to physically abuse someone and to call a woman a cunt , and an exclamation to signify frustration.
Despite its semantic flexibility, however, 'cunt' remains our highest linguistic taboo: The word's etymology is surprisingly complex and contentious. Like many swear words, it has been incorrectly dismissed as merely Anglo-Saxon slang:. In fact, the origins of 'cunt' can be traced back to the Proto-Indo-European 'cu', one of the oldest word-sounds in recorded language. The c-word's second most significant influence is the Latin term 'cuneus', meaning 'wedge'. The Old Dutch 'kunte' provides the plosive final consonant.
The Oxford English Dictionary clarifies the word's commonest contexts as the two-fold "female external genital organs" and "term of vulgar abuse" RW Burchfield, At the heart of this incongruity is our culture's negative attitude towards femininity. Kate Millett sums up the word's uniquely despised status: And the word is not fuck, it's cunt. Our self-contempt originates in this: When used in a reductive, abusive context, female genital terms such as 'cunt' are notably more offensive than male equivalents such as 'dick'.
This linguistic inequality is mirrored by a cultural imbalance that sees images of the vagina obliterated from contemporary visual culture: Censorship of both the word 'cunt' and the organ to which it refers is symptomatic of a general fear of - and disgust for - the vagina itself.
The most literal manifestation of this fear is the myth of the 'vagina dentata', symbolising the male fear that the vagina is a tool of castration the femme castratrice, a more specific manifestation of the Film Noir femme fatale. There have been attempts, however, to reappropriate 'cunt', investing it with a positive meaning and removing it from the lexicon of offence, similar in effect to the transvaluation of 'bad', 'sick', and 'wicked', whose colloquial meanings have also been changed from negative to positive - what Jonathon Green calls "the bad equals good model" of oppositional slang Jennifer Higgie, The Cunt-Art movement used traditional 'feminine' arenas such as sewing and cheerleading as artistic contexts in which to relocate the word.
A parallel 'cunt-power' ideology, seeking to reclaim the word more forcefully, was instigated by Germaine Greer - and later revived by Zoe Williams, who encouraged "Cunt Warriors" to reclaim the word , the latest of the "various attempts over several hundred years of usage to "resignify" cunt to resume its original, feminine-anatomical status" Jacqueline Z Wilson, [b].
What 'cunt' has in common with most other contemporary swear words is its connection to bodily functions. Genital, scatological, and sexual terms such as, respectively, 'cunt', 'shit', and 'fuck' are our most powerful taboos, though this was not always the case.
Social taboos originally related to religion and ritual, and Philip Thody contrasts our contemporary bodily taboos with the ritual taboos of tribal cultures: In Totem Und Tabu , Sigmund Freud's classic two-fold definition of 'taboo' encompasses both the sacred and the profane, both religion and defilement: To us it means, on the one hand, 'sacred', 'consecrated', and on the other 'uncanny', 'dangerous', 'forbidden', 'unclean'" Taboos relating to language are most readily associated with the transgressive lexicon of swearing.
William Shakespeare, writing at the cusp of the Reformation, demonstrated the reduced potency of blasphemy and, with his thinly veiled 'cunt' puns, slyly circumvented the newfound intolerance towards sexual language. Later, John Wilmot would remove the veil altogether, writing "some of the filthiest verses composed in English" David Ward, with an astonishingly uninhibited sexual frankness and a blatant disregard for the prevailing Puritanism. It was not until the latter half of the 20th century, after the sensational acquittal of Lady Chatterley's Lover , that the tide finally turned, and sexual taboos - including that of 'cunt' - were challenged by the 'permissive society'.
During the Lady Chatterley obscenity trial, the word 'cunt' became part of the national news agenda, and indeed the eventual publication of Lady Chatterley can be seen as something of a watershed for the word, marking the first widespread cultural dissemination of "arguably the most emotionally laden taboo term" Ruth Wajnryb, The word has since become increasingly prolific in the media, and its appearances can broadly be divided into two types: Humorous, euphemistic references to 'cunt', punning on the word without actually using it in full, represent an attempt to undermine our taboo against it: By contrast, the parallel trend towards repetitive usage of 'cunt' seeks to undermine the taboo through desensitisation.
If 'cunt' is repeated ad infinitum, our sense of shock at initially encountering the word is rapidly dispelled. With other swear words notably 'fuck' gradually losing their potency, 'cunt' is left as the last linguistic taboo, though even the c-word can now be found adorning badges, t-shirts, and book covers.
Its normalisation is now only a matter of time. Martin Samuel calls it "one of the best words" Our taboo surrounding the word ensures that it is rarely discussed, though, when it is, the superlatives come thick and fast. Accordingly, Zoe Williams writes: Jacqueline Z Wilson also writes in superlative terms: In her study of Australian prison graffiti, Wilson writes that 'cunt' is "the most confronting word in mainstream Australian English, and perhaps in every major variety of English spoken anywhere" [b].
Sarah Westland calls it "the worst insult in the English language", "the nastiest, dirtiest word", "the greatest slur", and "the most horrible word that someone can think of". Peter A Neissa describes it as "the most degrading epithet in English speaking culture" Sara Gwin calls it "the most offensive word for women" and "one of the most offensive words in the English language, if not the worst".
Specifically, she problematises the word's reductivism: She cautiously acknowledges the potential for feminist reclamation: However, there has to be the acknowledgement that this word is still incredibly insulting to many and we have to respect that". Naomi Wolf's book Vagina includes a chapter on the c-word titled The Worst Word There Is , in which she calls 'cunt' "the word considered to be the most derogatory, the most violent, the most abusive".
M Hunt [no relation] calls it "the most taboo word in the English language" Peter Silverton describes it as "the most unacceptable word in the language", "the worst word in the language", and "a hate word of unparalelled force".
Zoe Heller calls it "the worst of bad words" Libby Brooks views it as "the most shocking word in the English language [ Andrew Goldman calls 'cunt' "the mother of all nasty words" and "the most controversial word of all" Victoria Coren calls it "the word which is still considered the most offensive in the language" Deborah Lee, Alex Games sees it as "still the ultimate taboo utterance" Geoffrey Hughes calls it "the most seriously taboo word in English" For Tom Aldridge, it is "unarguably the most obscene [and] most forbidden word in English", "the ultimate obscenity", and "the nastiest four-letter word" In her article The C Word: Jack Holland notes that "the word 'cunt' expresse[s] the worst form of contempt one person could feel for another" John Doran describes it as "The most offensive word in the world", "the worst word that anyone has ever been able to think of", and "[the] most terrible of terrible words" It is, according to Sue Clark, "far and away the most offensive word for the British public.
Beatrix Campbell calls it "a radioactive word [ It is Michael Madsen's favourite word: It is also Elton John's favourite word: Rankin, who wore a mask with an 'I'm a cunt' slogan in , describes it as "an amazing word".
Deborah Orr provides a neat summary of the word's central functions, invective and empowerment: For many centuries now, the word has been elaborately veiled under the weird and heavy drapes of a disapproval so strong that it has become pre-eminent among forbidden words.
For others, though, its use is a mark of worldly and liberal sophistication" The programme, presented by Will Smith, acknowledged the omnipresence of 'cunt' in contemporary life and culture: But for how much longer? You see, the more you hear it, the more you become immune to its power". The etymology of 'cunt' is actually considerably more complex than is generally supposed. The word's etymology is highly contentious, as Alex Games explains: In Cunt , a chapter from the anthology Dirty Words , Jonathan Wilson notes the word's etymological convolution: Greek Macedonian terms for 'woman' - 'guda', 'gune', and 'gyne' - have been suggested as the word's sources, as have the Anglo-Saxon 'cynd' and the Latin 'cutis' 'skin' , though these theories are not widely supported.
Jay Griffiths , for example, links 'cunt', 'germinate', 'genital', 'kindle', and 'kind' to the Old English 'ge-cynde' and Anglo-Saxon 'ge-cynd' extended to 'ge-cynd-lim', meaning 'womb' ; to this list, Peter Silverton adds 'generate', 'gonards', and 'genetics', derived from the Proto-Indo-European 'gen' or 'gon'.
Perhaps the clearest method of structuring the complex etymology of 'cunt' is to approach it letter by letter, and this is the approach I have taken here. I have examined the Indo-European, Latin, Greek, Celtic, and Dutch linguistic influences on 'cunt', and also discussed the wide variety of the word's contemporary manifestations.
The prefix 'cu' is an expression of "quintessential femineity" Eric Partridge, , confirming 'cunt' as a truly feminine term. The synonymy between 'cu' and femininity was in place even before the development of written language: Mark Morton suggests that the Indo-European 'skeu' 'to conceal' is also related.
Thus, 'cu' and 'koo', both pronounced 'coo', were ancient monosyllabic sounds implying femininity. Other vaginal slang words, such as 'cooch', 'coot', 'cooter' inspiring the Bizarre headline Cooter Couture in , 'cooz', 'cooze', 'coozie', 'coozy', 'cookie', 'choochy', 'chocha', 'cootch', and 'coochie snorcher' are extensions of them. Also, heterosexual pornographic films are known as 'cooch reels'. The feminine 'cu' word-base is also the source of the modern 'cow', applied to female animals, one of the earliest recorded forms of which is the Old Frisian 'ku', indicating the link with 'cu'.
Other early forms include the Old Saxon 'ko', the Dutch 'koe', the Old Higher German 'kuo' and 'chuo', the German 'kuhe' and 'kuh', the Old Norse 'kyr', the Germanic 'kouz', the Old English 'cy' also 'cua' and 'cyna' , and the Middle English 'kine' and 'kye'.
The prefix has also been linked to elliptical thus, perhaps, metaphorically vaginal terms such as 'gud' Indo-European, 'enclosure' , 'cucuteni' 'womb-shaped Roman vase' , 'cod' 'bag' , 'cubby-hole' 'snug place' , 'cove' 'concave chamber' , and 'keel' 'convex ridge'.
The Italian 'guanto' 'glove' and the Irish 'cuan' 'harbour' may also be related, as they share with 'vagina' the literal meaning 'receptacle'. RF Rattray highlights the connection between femininity and knowledge: Indeed, there is a significant linguistic connection between sex and knowledge: It also has vaginal connotations: The Latin 'cognoscere', related to 'cognate', may indeed be cognate with the sexual organ 'cunt'. Knowledge-related words such as 'connote', 'canny', and 'cunning' may also be etymologically related to it, though such a connection is admittedly tenuous.
Less debatable is the connection between 'cunctipotent' and 'cunt': Geoffrey Chaucer's 'cunt'-inspired term 'queynte' is yet another link between sex and knowledge, as he uses it to mean both 'vagina' and 'cunning'./p>
Thus for example cunt is a more strongly tabooed word than prick, and has more tabooed synonyms" Jonathon Green concurs that "the slang terms for the vagina outstrip any rivals, and certainly those for the penis [ William Leith notes that "We may have equality of the sexes but we do not have equality of sexual organs [ I can print the words prick, cock and dick as much as I like", adding coyly: Ed Vulliamy makes the same point: The inequality of 'prick' and 'cunt' is also explored in the HBO series Curb Your Enthusiasm David Steinberg, , after the central character uses 'cunt' as an insult towards another man:.
Pricks and cunts, they're equal. According to Brigid McConville and John Shearlaw, 'cunt' "reflects the deep fear and hatred of the female by the male in our culture.
It is a far nastier and more violent insult than 'prick' which tends to mean foolish rather than evil. This violent usage is a constant and disturbing reminder to women of the hatred associated with female sexuality and leaves women with few positive words to name their own organs" The 'cunt' taboo is but the most extreme example of a general taboo surrounding the lexicon of the female genitals: The word 'vagina' is also subject to this taboo: Braun and Wilkinson cite examples of the term being banned from billboards "the London Underground banned a birth control advertisement - deeming it 'offensive' for including the word 'vagina'" and theatrical posters "Promotional material for theatrical pieces whose titles contained the word vagina has been censored [ Indeed, after surveying women's own attitudes, Sophie Laws discovered that they even felt obligated to self-censor their own discourse: Virginia Braun and Celia Kitzinger published a 'survey of surveys', revealing the extent to which 'vagina' is a tabooed word: The German equivalent is even more demeaning: Word-meanings are dictated by consensus and contemporary usage, thus negative meanings can be reversed when pejorative terms are systematically reappropriated: Melinda Yuen-Ching Chen and Robin Brontsema have both described the specific reappropriation of 'queer', though they also discuss the concept of reappropriation in general.
Brontsema provides a succinct definition of the terminology: He views the process as a harnessing and reversal of the original invective: Laying claim to the forbidden, the word as weapon is taken up and taken back by those it seeks to shackle - a self-emancipation that defies hegemonic linguistic ownership and the a buse of power". Chen defines reclamation as "an array of theoretical and conventional interpretations of both linguistic and non-linguistic collective acts in which a derogatory sign or signifier is consciously employed by the 'original' target of the derogation, often in a positive or oppositional sense" The focus here is primarily on feminist reappropriations, specifically on feminist attempts to reclaim 'cunt' and other abusive terms: The mainstream success of reappropriations, however, depend upon the consensus of the population as a whole: The commonest derogative term for a woman - 'bitch' - is on the road to reclamation.
A woman should be proud to declare she is a Bitch, because Bitch is Beautiful. It should be an act of affirmation by self and not negation by others" Casey Miller and Kate Smith discuss this transvaluation of 'bitch' and also cite "Groups of feminists who choose to call themselves witches [ Other formerly derogatory terms for women have also been reclaimed: Witch, bitch, dyke, and other formerly pejorative epithets turned up in the brave names of small feminist groups" Gloria Steinem, Mary Daly has attempted to reverse the negative associations of words such as 'spinster', 'witch', 'harpy', 'hag', and 'crone'.
Where she is able to demonstrate non-pejorative etymological origins of these terms, she advocates a reversal of their current definitions. Daly does readily admit that not every modern negative term was originally positive 'crone', for example, has always implied old age , though in these cases she assert that negative connotations are a patriarchal perception: For women who have transvalued this, a Crone is one who should be an example of strength, courage and wisdom" In an episode of the sitcom Veep , 'crone' is confused with the c-word: I was like, 'What an old crone!
Regularly used as a pejorative term [ As Roz Wobarsht wrote in a letter to the feminist magazine Ms: Our use takes away the power of the words to damage us" Jane Mills adds that "crumpet has recently been appropriated by women to refer to men [and] women today are making a conscious attempt to reform the English language [including] the reclamation and rehabilitation of words and meanings" Maureen Dowd notes the "different coloration" of 'pimp' and charts the transition of 'girl' "from an insult in early feminist days to a word embraced by young women".
A less likely pioneer of reclamation is the self-styled 'battle-axe' Christine Hamilton, though her celebratory Book Of British Battle-Axes nevertheless marked a re-evaluation of the term.
Julie Bindel cites 'bird' and 'ho' as "blatant insults [ Patrick Strudwick praises Bint Magazine for "reclaiming the term "bint" from the huge slag heap of misogynist smears and turning it into something fabulous" The offensive term 'slut' has also been reclaimed as an epithet of empowerment: Kate Spicer suggests that 'slut' is "a term of abuse that has been redefined by fashion to mean something cool [ In the s, Katharine Whitehorn famously used her column in The Observer to self-identify as a 'slut', using the term in its original sense meaning a slovenly woman.
In , Bea Miller released the song S. In , the campaigning group SlutWalk Toronto organised a series of 'slutwalks' - demonstrations in which women marched while wearing sexually-provocative clothing and holding banners reappropriating the word 'slut'.
The SlutWalk campaign provoked considerable feminist debate, with Gail Dines and Wendy J Murphy arguing that the protesters were fighting a lost cause: But the focus on "reclaiming" the word slut fails to address the real issue. The word is so saturated with the ideology that female sexual energy deserves punishment that trying to change its meaning is a waste of precious feminist resources" Germaine Greer was more enthusiastic about the SlutWalk phenomenon, though she cautioned that "It's difficult, probably impossible, to reclaim a word that has always been an insult" and she should know.
Here, the principal is the same as that pioneered by Madonna: It is not simply the word 'slut' that is being redefined, it is the lifestyle that the word represents - the meaning of the term 'slut' has stayed the same, though the cultural acceptance of its characteristics has increased.
As Chinese is a tonal language, the same word can have multiple meanings depending on its pronunciation; this has been used subversively by women to reappropriate the pejorative term 'shengnu' 'leftover women' , which can also mean 'victorious women' when pronouced with a different tone. This "pun that turns the tables on the prejudicial description" gained popularity following the television series The Price Of Being A Victorious Woman Tatlow, [a].
It is important to note the distinction between changing a word's definition and changing its connotation. Women have sought not to change the definitions of for example 'cunt' or 'slut', but instead to alter the cultural connotations of the terms. Thus, the reclaimed word 'cunt' is still defined as 'vagina' and the reclaimed 'slut' still means 'sexual predator'. What have been reclaimed are the social attitudes towards the concepts of vaginas and sexual predators: In a sense, this is true of a large number of terms which are regarded as positive by some yet as negative by others: Salman Rushdie gives examples of older political terms which have also been reclaimed: Also, in Thailand, poor farmers protesting against the aristocratic political system wore t-shirts with the word 'prai' 'commoner' as a symbol of pride, in "a brilliant subversion of a word that these days has insulting connotations" Banyan, After Republicans derided Barack Obama's Patient Protection and Affordable Care Act as 'Obamacare', Obama himself began using this more concise though originally derogatory term, professing that he liked it.
Richard Herring notes the paradox that, while the vagina should be celebrated, 'cunt' is an inexplicably offensive term: If you give words the power then they are nasty. But you can turn things around and use them in a different way" Anthony Barnes, Thus, reclaiming abusive language requires a change not in meaning but in attitude.
Whereas Madonna is perhaps the most significant embodiment of this transvaluation - female sexual empowerment being asserted as liberating and subversive - the theory behind it has been articulated most dramatically by Germaine Greer in her essay for Suck on the word 'whore'. Germaine Greer - who instigated the cunt-power movement, of which more later - wrote I Am A Whore , in which she consciously identified herself with the word 'whore', attempting to show that it can be positive rather than negative: Greer's biographer fundamentally misjudged her suggestion, calling it "a direct betrayal of what feminism was supposed to be about [ In fact, far from identifying as a prostitute, Greer was implying that the word 'whore' could be removed from its pejorative associations.
A term with similar status is the racially abusive 'nigger', which has been reclaimed or 'flipped' by African-Americans such as Richard Pryor's Supernigger , and is used in this context as a term of endearment. Jonathon Green suggests that this use "as a binding, unifying, positive word" dates from as early as the s Jennifer Higgie, Its reappropriation is not universally accepted, however: Spike Lee has criticised what he perceives as Samuel L Jackson's insensitivity towards the word's history.
Similar attempts to reclaim other racially abusive terms such as 'paki' notably the PAK1 clothing brand have been equally contentious: In his article A Bad Word Made Good , Andrew Clark notes the reappropriation of 'wog', formerly a term of racist abuse though later used self-referentially amongst Australia's Greek community: Greek[s] happily refer to themselves as wogs [ Furthermore, Todd Anten cites the increasing transvaluation of 'chink', noting that "Virtually any word that is or has been a slur can be reappropriated by the target group" Lenny Bruce made the point that the social suppression of taboo words such as 'cunt' and 'nigger' serves to perpetuate and increase their power: He argued that only through repetition can we remove the abusive powers of taboo words: The film's director later explained that he was consciously attempting to "take everything that's negative in the language and turn it into a positive thing" Criterion, The editor of the Jewish magazine Heeb intended its title as a transvaluation of the term, a variant of 'hebe': Annie Goldflam self-identified as both a 'kike' and a 'dyke', in Queerer Than Queer: The homophobic term 'queer' has also been positively - yet contentiously - reappropriated, for example by Queer Nation: Ratna Kapur and Tayyab Mahmud cite 'fruit' amongst other terms "appropriated by the gay community as words denoting pride, self-awareness, and self-acceptance" The gay-oriented cosmetics brand FAG: Fabulous And Gay has helped to reclaim 'fag', and Todd Anten cites the company's mission statement: Larry Kramer's book Faggots began the transvaluation of another homophobic term.
Another book title, Christopher Frayling's Spaghetti Westerns , was also intended as a positive reappropriation of a negative term: The similar film term 'chop-socky' has also been "repurposed" David Kamp and Lawrence Levi, The various epithets used to insult mentally handicapped people represent a further lexicon of reclaimed pejoratives. Mark Radcliffe profiles "people with mental health problems tak[ing] the sting out of stigma by reclaiming pejoratives" , citing 'Crazy Folks' and 'Mad Pride' as groups whose names "reclaim some of the stigmatising language".
This consciously humorous appropriation of 'crazy' and 'mad' must, however, avoid being misinterpreted as a trivialisation of those whom it seeks to empower. The term 'punk' has become associated with a musical genre, though it also has an insulting definition, as it is used to describe men who are raped by fellow prisoners in jail. Robert Martin, who was repeatedly gang-raped in prison, has now spoken out against jail-rape while also celebrating the term 'punk': He has performed the same etymological magic trick that others have done with [ Finally, we should consider 'otaku', 'geek', and 'nerd', all of which are negative terms implying anti-social obsessive behaviour.
Increasingly, people are self-identifying as geeks, otakus, and nerds, using the terms proudly: The comedy film Revenge Of The Nerds celebrated the atypical victory of nerds against jocks in an American school.
It is clear that "The conversion of a derogatory term into a battle cry by radicals is not uncommon" Hugh Rawson, , though 'cunt' itself has yet to emerge as a fully reclaimed term. Presently, the initial stages of its reappropriation are more contentious and complex than those of the epithets dicussed above.
Todd Anten categorises slurs into two types, to distinguish between words in different positions along the road to reclamation: He also notes that it is not only words that can be reclaimed: He cites as an example the pink triangle used by the Nazis to identify homosexuals: An especially intriguing aspect of reappropriation is that of trademark applications. Aware that potentially disparaging words are denied trademark status, Todd Anten argues that such restrictions should be lifted for "self-disparaging" terms: He also cites Joe Garofoli's comment that "[S]elf-labeling defuses the impact of derisive terms by making them more commonplace".
Anten notes trademark applications for various contentious terms, all intended to be reappropriated as positive acronyms: In the latter case, 'jap', Anten notes that the term "may disparage multiple groups": Reappropriation is indeed a minefield.
The marginalisation of the feminine is apparent not only in relation to language but also in cultural attitudes towards the sexual organs themselves.
A large penis is equated with potency and sexual prowess: Phrases such as 'well hung' maintain the male obsession with penis size, and John Holmes became one of the world's most famous porn stars thanks to his fourteen-inch erection.
Size and the female reproductive organs, however, have a reversed relationship: A large vagina is seen as indicative of copious copulation, prompting accusations of prostitution or nymphomania. Or, as Germaine Greer puts it: No woman wants to find out that she has a twat like a horse-collar" [a].
Corrective surgery - namely a laser vaginal rejuvenation operation - is available in such circumstances, to make "the vaginal canal smaller and the opening of the vagina smaller" Nicola Black, , whereas male genital surgery serves to enlarge the organ rather than reduce it. Crude terms such as 'big cunt', 'bushel cunt', 'bucket cunt', 'bucket fanny', 'butcher's dustbin', 'spunk dustbin', 'bargain bucket', 'billposter's bucket', 'Big Daddy's sleeping bag', 'ragman's trumpet', 'ragman's coat', 'turkey's wattle', 'raggy blart', 'pound of liver', 'club sandwich', 'ripped sofa', 'badly-packed kebab', 'stamped bat', 'wizard's sleeve', 'clown's pocket', 'Yaris fanny', 'fanny like a easyjet seat pocket', 'a fanny like Sunderland's trophy cabinet', 'cow-cunt', 'double-cunted', 'sluice-cunted', and "canyon-cunted" Jim Goad, [b] , equate dilation with repulsion: Thus, alongside the linguistic suppression of 'cunt', the vagina is also physically suppressed: The penis is an external organ whereas the vagina is an internal one, therefore the penis is naturally the more visible of the two; there is, however, a cultural emphasis placed upon this difference that acts to reinforce and extend it.
The bulging male groin 'lunchbox' is identified as sexually attractive, whereas women are encouraged not to emphasise their groins but to camouflage them: Phallic references and penis jokes litter daily discourse, whereas vulval imagery is seemingly limited to pornography" Joanna Briscoe, The venerated male 'lunchbox' can be directly contrasted with the condemned female equivalent, the 'cameltoe'. The female group Fannypack released a single called Cameltoe in which they criticised women for "grossin' people out with your cameltoe[s]" Similarly, the male codpiece's exaggeration of penile protrusion can be contrasted with female chastity belts that lock away the vagina.
Also, excessive female pubic hair the 'bikini line' is shaved to render the area indistinguishable from any other part of the body: Oliver Maitland contrasts artistic representations of the vagina with those of the penis: The physical differences between the male and female sexual organs are central to Sigmund Freud's theory of penis envy.
This is the notion that a girl perceives her clitoris to be the result of her castration, and, faced with what Freud terms an "inferiority" , develops a desire for the visible, external symbols of virility possessed by men. Joan Smith answers this with the proposition that "it's time to start talking, pace Freud, about the terrible problems men have in overcoming their cunt envy" , a timely riposte to Freudian phallocentricity.
Germaine Greer's key feminist text is titled The Female Eunuch , though accusations of penis envy serve merely to trivialise the feminist feeling of physical and linguistic marginalisation. The 'female eunuch' is symbolic of the desexed representation of the female sexual experience, rather than representing a literal desire for a male organ.
Patriarchal marginalisation is not, therefore, a literal neutering of women, though it does generate this metaphorical effect; while the penis is exaggerated, the vagina is rendered subordinate. Male attempts to marginalise the vagina lexically, physically, and pictorially can be seen as symbolic attempts to suppress female sexuality. The myth of the vagina dentata discussed in more detail later is appropriate in this regard, as there are many mythological instances of toothed vaginas being blunted by male weapons: A Mimbres bowl drawn by Pat Carr from a Zuni Pueblo original depicts a man's club-like penis inside a vagina dentata to illustrate a myth involving two men who meet eight women with vagina dentatas: They have teeth in their vaginas.
They will cut you and you will die. When the oak members were worn out, they put them aside and took the hickory ones. By daylight the teeth of these women were all worn out" Pat Carr and Willard Gingerich, Symbolically, this male domination over female sexuality - using a tool to cut vaginal teeth - clearly represents the power of the phallus and the weakness of the vagina, or, in other words, the Magnolia mantra quoted above.
According to Pueblo mythology, the Ahaiyute would "break girls' toothed vaginas with false wooden penises" Marta Weigle, A Jicarilla Apache Indian myth describes four 'vagina girls' who swallow men with their vaginas, until a medicine administered by the male 'Killer-of-Enemies' neutralises their power: But this medicine destroyed their teeth entirely" Catherine Blackledge, In a similar example, "There was a Rakshasa's [demon's] daughter who had teeth in her vagina.
When she saw a man, she would turn into a pretty girl, seduce him, [and] cut off his penis" - the only way to neuter her was to "make an iron tube, put it into her vagina and break her teeth". Pueblo Indian artwork depicts "efforts to remove a woman's vaginal teeth with a false penis made out of oak and hickory", and this ceremony is now symbolically re-enacted: Provoked by the sudden intrusion, the demon responded by biting off the young man's pecker". The woman's "cock-chomping beaver" was subdued by an iron dildo, an object which is still celebrated on the first Sunday of every April at the Kanamara Matsuri event in Kawasaki, Japan.
Our environment is becoming increasingly saturated with sexual images, justified by the maxim 'sex sells'. This situation, which Brian McNair terms "The sexualization of the public sphere" , predominantly involves images of women, appealing to heterosexual male desires at the expense of heterosexual female ones. Significantly, however, they represent a "tit-and-arse landscape" Barbara Ellen, , with the breasts and buttocks over-exposed and the genital area airbrushed away.
As Germaine Greer notes, these images are "poses which minimize the genital area" and "The vagina is obliterated from the imagery of femininity" [a]: Catherine Blackledge ascribes this prejudice to Christian misogyny: Albert Ellis explains that our culture's obsessive interest in breasts and buttocks and disinterest in the vagina is the result of subconscious displacement: Germaine Greer's explanation is more direct: She has actually incorporated a drawing of female ovaries into her signature, in a personal attempt to increase their visual representation.
Germaine Greer's term 'womb-fear' highlights the underlying reason for both the cultural suppression of the vagina and the linguistic suppression of 'cunt'. At the heart of the abusive impact of 'cunt', and the paranoid marginalisation of the vagina, is the implication that the female genitals are disgusting and fearsome: Mark Morton describes the vagina as "a part of the female body that has traditionally been considered shameful or menacing" Andrea Dworkin writes despairingly of the "repulsion for women [ Indeed, such is the level of disgust with the "monstrous female genitals" that, as Eric Partridge notes, the abusive term 'cunt face' is "even more insulting than the synonymous shit face" - the vagina is regarded as even more disgusting than excrement.
The clinical sterility of tampon advertising, for example, paradoxically demonstrates a profound disgust for the vagina: In their paper Socio-Cultural Representations Of The Vagina , Virginia Braun and Sue Wilkinson identify several "persistent negative representations of the vagina", dividing them into categories such as The Vagina As Disgusting "The vagina is often represented as part of the female body that is shameful, unclean, disgusting" and The Vagina As Dangerous "The Western construction of women's bodies as a source of horror, fear, and danger [ After many conversations with women, Betty Dodson reported that a great number of them viewed their own genitals in negative terms: This attitude is instilled during childhood, as David Delvin notes: Jane Ussher describes the cyclical process whereby childhood confusion leads to cultural phobia: In this way, social stereotypes which define women's genitals as unpleasant, [mal]odorous and unattractive, are internalized by the female child" Judith Seifer suggests that the prejudice is actively instilled at a very early age: Even a scientific programme on the Discovery Channel demonstrates cultural womb-fear: The reductive usage of 'cunt' as a term of unparalleled abuse reflects both a fear of the vagina and a misogynist hatred of it.
This hatred manifests itself in ingrained cultural representations of the vagina as an abject organ: The t-shirt slogan 'salty yoni sweet dick' unfavourably contrasts the tastes of the vagina and penis. The slang terms 'site box', 'fanny like a rabid dog', 'gorilla's armpit' and, especially, 'gorilla autopsy', present the vagina as an abject organ.
The slang phrase 'smells like a pile of dead fannies' is used as a simile for something malodorous, and the barrack-room ballad The Ballad Of Lupe also known as Down In Cunt Valley is equally unpleasant in its imagery:. Also, compare this monologue by Jim Goad, from his morally ambiguous and provocative zine Answer Me!
Filthy fucking cunt, rotten diseased fucking cunt". The issue of Answer Me! It was felt that many of the articles in Goad's zine condoned and even encouraged the rape of women. More poetic than Answer Me!
But to the girdle do the Gods inherit, Beneath is all the fiends': There's hell, there's darkness, there is the sulphurous pit, Burning, scalding" William Shakespeare, The Dread Of The Vagina In "King Lear" , Peter L Rudnytsky notes the bifurcation of the female body as described in Lear , with "the human or divine region above and the bestial or demonic below" He also, perhaps less convincingly, finds further pejorative references to the vagina in the play, including "the female genitals as a place of [ Furthermore, he cites a play by George Wilkins, apparently inspired by Lear , in which another scholar has detected a genital allusion: Wilkins's line "in hope shee can open her teeth" , inspired by Shakespeare's "face between her Forkes" from Lear , has been interpreted by Frank Whigham as a vaginal reference "vagina dentata, the fiendish face between her forks", John Weir divides attitudes towards the vagina into two opposing viewpoints: It is the former of Weir's two categories that is reflected in slang terms such as 'nasty', 'stink', 'stinkhole', 'stench trench', 'smelly cunt', 'smelly pussy', 'slime hole', 'smell-hole', 'stinky cunt', 'stink-pit', 'something crawled in and died', 'dirty cunt', 'rotten crotch', and 'scabby cunt'.
These words and phrases all equate the vagina with filth and dirt: One of the interviewees in Shere Hite's sex survey described how her male partner "thinks the vulva area smells ghastly", and Oliver Maitland even cites a female comment that vaginas are "Dirty, smelly things" Boyd Rice cites a quotation usually attributed to the Latin writer Tertullian which defines 'woman' as "a temple A scene in the film The Shawshank Redemption , in which a man emerges from a sewage pipe, has been interpreted as a metaphorical rebirth, with the sewage pipe symbolising a birth canal: In On Mrs Willis , John Wilmot wrote of the eponymous prostitute that "her cunt [is] a common shore" It is this viewpoint that seemingly inspired many traditional limericks, drawing their imagery from "[the] filth down there, between the legs, in the hole" Boyd Rice, Comic strips such as It's Jemima And Her Smelly Vagina in Gutter , and Dirty Annie And Her Smelly Fanny in The Trout , position the vagina as an organ of abjection, an attitude exemplified by the slang phrase 'Billingsgate box', which compares the vagina's odour with that of a fishmarket.
Similar terms include 'ling' 'vagina' , 'fish' 'vagina' , 'fish-market' 'vagina' , 'bit of fish' 'vagina' , 'fishpond' 'vagina' , 'fishtank' 'vagina' , 'tench' 'vagina' , 'trout' 'vagina' , 'tuna' 'vagina' , 'fish-cunt' 'woman' , 'fish-fanny' 'woman' , 'tuna taco' 'cunnilingus' , 'ling-grappling' 'sex' , 'have a bit of fish on a fork' 'sex' , 'fish fingers!
This long-standing belief, that "the vagina resembles a fish because like a fish it stinks", is the commonest example of what was described in as the "historical cultural connection between women's genitals and filth and disease" Celia Roberts, Susan Kippax, Mary Spongberg, and June Crawford.
The connection is evoked in these song lyrics:. Ughhhhhhh" XXX Maniak, In a slight variation, Jim Goad smeared a dead squid over his magazine Chocolate Impulse: We used a [ Criticising these attitudes, Alix Olson reminds us how advertising distorts reality, creating 'feminine intimate hygiene' products that are completely un-necessary:.
Gray, Auburn, Ebony, Gold. We'd ban commercials of: Are you not so fresh? Is your vag repulsive? Do you stink of fish? Not only are vaginas "continually denigrated" Laura Kipnis, as dirty and diseased, they are also literally demonised, regarded as a 'chamber of horrors', as "the deadly genitals of woman" Barbara Creed, , and as hellish 'cunnus diaboli': The vagina dentata is the mouth of hell - a terrifying symbol of woman as the 'devil's gateway'". The title of Catherine Breillat's film Anatomie De L'Enfer is a reference to the vagina, and Breillat's objective in making the film was to confront viewers with vaginal images: In the end, who is horrified by women's genitalia?
Yet they slowly get used to this horrific vision" Lisa Ades, Breillat's observations are confirmed anecdotally by Stephanie Zacharek: Particularly a friend of mine, a critic, wrote: He just, like, didn't wanna look at that". Furthermore, the vagina is also known as the 'devil's kitchen', the clitoris as the 'devil's doorbell', and the cervix as the 'seal of Hades'. Pauline Kiernan writes that "Hell is a term frequently used [ Jelto Drenth cites Christian vagina-phobia - "The vagina is seen as the devil's stigma" and warns that "Anyone tempted to enter a vagina should be aware that great dangers lie in wait for him".
Andre Schwarz-Bart cites the expression "Wash your devil" 'wash your cunt' and young Ifaluk women at puberty are traditionally told of "the "devil" beneath [the] skirt" Penelope Shuttle and Peter Redgrove, An illustration by Eugene Le Poitevin Les Diableries Erotiques , depicts a group of seductive female devils, with skulls on their chests, inside a vagina.
Slang terms for 'vagina' such as 'mark-of-the-beast' perpetuate this association, as in the drama Witchcraze: Barbara Creed, in a chapter titled Woman As Monstrous Womb , asserts that "From classical to Renaissance times the uterus was frequently drawn with horns to demonstrate its supposed association with the devil" Ruth Wajnryb links this association of femininity with monstrosity directly to 'cunt' itself: It is part of [ Medusa, the female demon, is also evoked in vagina mythology, leading Orlan to display images of her vagina "[alongside Sigmund] Freud's text on the head of Medusa [which] read: Elaine Showalter also cites Freud's equation of Medusa with a deadly vagina: For men to unveil the Medusa is to confront the dread of looking at the female sexual organs" Freud's equation of Medusa with the vagina is significant as it presents the vagina as an organ capable of castrating the male penis: Thus, the "fearsome female genitals" Penelope Shuttle and Peter Redgrove, are repeatedly associated with diseases and foul smells, regarded as abject, disgusting organs, stinking and pox-ridden - "that disgusting sick hole down there", as Jim Goad puts it [a].
Furthermore, they are also equated with demonic and Satanic figures such as Medusa and the devil, damned as a "daemonic womb" Camille Paglia, The Fellowship Of The Ring includes the fiery Eye of Sauron, which has been interpreted as a vaginal symbol representing "ultimate evil" Duncan Tucker, Another film with an evil entity interpreted as vaginal is Kiss Me Deadly ; its apocalyptic atom bomb, a reference to Pandora's Box, can be seen as "an atomic female orgasm" Graham Fuller, , a reading initially proposed by Carol Flinn: These misguided male associations perpetuate male anxiety about women's genitals, and thus also perpetuate the avoidance of them in male-dominated language and culture: They see it as a gaping maw, at times toothed, frighteningly insatiable.
It is then that male fears make them monstrous, hellish, and vile, disgust-evoking places" William Ian Miller, We have seen how the word 'cunt' and the vagina itself - the signifier and the signified - are both suppressed in language and culture. They are associated with uncleanness 'cunt' as a 'dirty word' and the vagina as 'smelly' , and this false projection of abject qualities is rooted in a fear of "the demonic bodies of women" Edward Shorter, Fundamentally, fear of the vagina leads to its symbolic and linguistic representations being suppressed and its physical characteristics being demonised.
Censorship of 'cunt', obliteration of vaginal imagery, and association of vaginas with disease all stem from a primal fear of the vagina itself. Central to the discussion of male cunt-hatred and womb-fear is the myth of the vagina dentata, "a motif occurring in certain primitive mythologies, as well as in modern surrealist painting and neurotic dream, which is known to folklore as 'the toothed vagina' - the vagina that castrates" Joseph Campbell, The vagina dentata evokes the male castration complex, which in this instance is the fear that, once it has entered the vagina, the penis will be bitten off and consumed - the fear of "witches stealing men's penises with their vaginal teeth", as Catherine Blackledge puts it The vagina dentata myth is the most potent symbol of male "dread of the female genital" HR Hays, There are several possible explanations for the persistence of the vagina dentata myth, all of which relate to male fears of symbolic post-coital death: An illustration by Alfred Kubin is a clear example of this fear, depicting a man with an erection diving into an oversized vagina as if it were a swimming pool.
Kubin's title, Todessprung , suggests that the male figure is leaping to his death. Semen can be said to symbolise life, thus the release of semen into the vagina may represent the transference of life from the penis to the vagina. Likewise, when the penis has ejaculated and withdrawn from the vagina, its flaccid state is perhaps symbolic of death when contrasted with its pre-penetration tumescence.
The connection between sex and death is a well-established one: Also relevant here is the previously discussed notion of the vagina as a harbinger of disease: The central fear, however, is that of castration, that the vagina will bite off the penis during intercourse: Stephen King admitted that his greatest sexual fear was "making love to a woman and it just slammed shut and cut your penis off", and a character in 44 Inch Chest dreams that his wife's "cunt had dentures" Malcolm Venville, Exploiting the vaginal slang term 'beaver', Stewart Ferris notes that both beavers and vaginas can "bite your fingers off" , with the finger here being a clear substitution for the penis.
Basic Instinct , Body Of Evidence , and GoldenEye all exploit these fears, depicting women played respectively by Sharon Stone, Madonna, and Famke Janssen who either murder their partners during sex or literally fuck them to death as do the mermaids in the film Empires Of The Deep.
A Madonna song featured the line "My sex is a killer". Such behaviour amongst widow and redback spiders, praying mantises, midges, horned nudibranchs, and Photuris fireflies, is well-documented, and male honey bees are prone to sudden death shortly after ejaculation. Such coital cannibalism actually has evolutionary advantages, as the body of the male, if eaten, provides nutrition for the gestating offspring.
This is a logical extension of the 'femme fatale' Film Noir archetype, the mythical succubus, and the 'honey trap' entrapment strategy. The fact that the vagina extracts semen, induces penile flaccidity after orgasm, and is perceived as a source of disease, contributes to the vagina dentata myth, the fear of the vagina as a murderous, violent demon.
She has my dads baby in her. But I am not so sure it is my dads. What if it is mine?! Either way, I have other things on my mind. I want one more go around with my crazy, sexy stepmom. So, she strips down on the couch and lets me enter her from her blind spot.
I fuck her from behind before flipping her over and providing her a huge meat injection. Date Night Dong Later on, I tell her I am going on a date, and all of a sudden it is back to square one. She tries to keep me at home again, stealing my keys and hiding them like she is a little kid.
I only put up with it because I have a feeling I know where this is going. She keeps bugging me until she rips my pants off and has my throbbing sword in her mouth. She licks and slobbers better than any date ever could. I Still Need Semen Later on, she wants to finish what we started.
Last time, we got interrupted by my dad coming home. So, this time, she comes into my room and climbs on my bed. I am starting to think my stepmom is a bigger perv than me! She assures me I will not get into trouble as she sucks my fire stick. Then she rides me like a skilled equestrian. Who knew this lady was such a bombshell in the bedroom.
What have I gotten myself into? Sneaking In For Snatch Now that my stepmom has finally gotten to play with my cock, she is being so nice to me.
And I am really starting to appreciate just how hot she is. She has this sexy red hair that makes my cock rise faster than mercury in a thermometer.
Last night, I could not help myself. I snuck in to her room to see her resting with her ass hanging all the way out. She definitely was not upset. She played with me in ways that made me feel like a real man. And I gave that sexual attention right back to her, right in her mouth. When I saw her starting in porn I decided to try her out.
I picked her up at the station and we drove to the apartment where sheimmidiately began to undress and show me her body. I was suprised because she She is beautiful and fun! This is her very first time every taking on more than one guy and her VERY first facial!
She takes it like a champ. She will definitely be back to see us again soon! This site does not store any files on its server. In which, alone, 2. Moreover, you desecrate the memory of Witold Pilecki plus other Polish officer escapees from Auschwitz who produced written reports, e. I am omitting here reports by Jewish escapees, for example the Vrba-Wetzler report, as well as the fate of the Jewish part of my family during the war, so as to skirt the whole specious Joooos-tainted-it aspect of your comment.
The lowest for Auschwitz, for instance by the Polish historian Franciszek Piper , cites 1. The highest figure cited for Auschwitz is 4 million. However, much has happened since it went up, including the Blogger outage.
Scroll down for a report on that. More new posts will be added below this one. The essay below is the conclusion of the ninth part in a series by Takuan Seiyo. See the list at the bottom of this post for links to the previous installments. For over 60 years, White mea-culpists have had a firm grip in all fields of cultural mind imprinting: Their main endeavor has been to enforce their compulsory e. K and discretionary e.
Nor the evils of the worldwide Islamic Inquisition which — not in the 16th century but now, in the 21st, condemns Muslim apostates to barbaric execution. Instead, aggressive White androphobes of all genders which I can no longer count are decimating the philogynous and egalitarian West. Equality psychos are tearing down the most egalitarian society that ever existed except for initial communist experiments, before they turned bloody.
American Jews, at the apex of the greatest fortune and philosemitic tolerance their long diaspora has ever bestowed on their kind, are busy supporting all the ideologies and policies that demolish their safe harbor and build up their Muslim, Black and Third World enemies.
Leftoid masochists and the Christian meek call for returning Hawaii to the Hawaiians and capitulating before a massive Mexican reconquista of one-third of America. The rightful Etruscan landowners are not bearing angry placards in front of the Vatican. The Japanese are not planning to relinquish Hokkaido to its original owners, the Ainu. The tall, white and fair-haired Chachapoyas of the Andean forest have, alas, no remnants left to sue the Incas for genocide in a Peruvian court of law.
However, even that great moral abyss of Western civilization — the Holocausts — stands out more in its industrialized and organizational features than it does either in the quality of its hatefulness or its relative or even absolute volumes. In relative numbers, in just one year, , the Hutus and Tutsis in Rwanda, killed off a total of one million, in a population of 7 million.
Is it more humane to go by a stroke of a blunt machete than by a whiff of Zyklon B? The Khmer Rouge murdered at least 2 million Cambodians between and Is it more humane to die by wallops from a Cambodian pickaxe handle than by a bullet from a German Mauser? Inscription on the back in German: There is a special horror attached to the Third Reich, because those were 20 th century Europeans, Christians, and in many ways the smartest, most civilized people on Earth.
But the Holocausts do not prove that Whites are worse than other people, just that they are no better. The history of the Third Reich also proves that with the right formula of economic blowup, misery and humiliation, sparked by charismatic evil, no people are immune to such horror, at no time.
Our Norwegian correspondent The Observer sends his translation of an article and interview with two respectable high-profile Muslim leaders in Oslo, who have strongly negative opinions about Jews and the worldwide Jewish conspiracy. A new trend seems to have developed in the Islamic community in Norway: It should also be pointed out that this is the same mosque that the Norwegian police apologized so profusely to last year for the fact that we have freedom of speech in Norway.
The translated article from Dagsavisen:. Many Norwegians have a negative view on Islam due to Jewish domination of the media. We are visiting Central Jamaat-e Ahl-e Sunnat, the mosque with the largest member base in Norway, to talk to its spiritual leader. The mosque was founded in and currently has more than 5, members. The Imam begins by explaining that all three heavenly religions, Judaism, Christianity and Islam, are sacred to them.
Many people are unaware of this fact, says Sarwar. Both of them believe that the school visits confirms their views that Norwegians in general have an inaccurate impression of Islam and Muslims. People are ignorant because they get their information from the media, and the media only write negatively about Islam. Only a handful of people were behind the movie about Mohammed in the U. So who was financing them, who was backing them? A big tip of the Bodissey pickelhaube to our commenter Jolie Rouge, who has provided us with a brand new acronym.
Note the aggressor is not named other than by geographical location e. North Africa, Afghanistan and surprisingly the inclusion of Turkey. I think JIM could have great utility for our enterprise: Who will be the first major Western politician not counting Geert Wilders to break the greatest cultural taboo of our time, and mess around with JIM? Yesterday a group of Al Qaeda terrorists assaulted a natural gas plant in Algeria and killed two foreigners while taking 41 other hostage.
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