Shame, Gender Violence, and Ethics: Terrors of Injustice draws from contemporary, concrete atrocities against women and marginalized communities to re-conceptualize moral shame and to set moral shame apart from dimensions of subordination, humiliation, and disgrace. The interdisciplinary collection starts with a contribution from a Yazidi-survivor of genocidal and sexual violence, whose case brings together core themes: gender, ethnic and religious identity, and violence and shame. Further accounts of shame and gendered violence in this collection take the reader to other and equally disturbing accounts of lesser-known atrocities from around the world. Although shame is sometimes posited as an inevitable companion to human life, editors Lenart Škof and Shé M. Hawke situate the discussion in the theoretical landscape of shame, and the contributors challenge this concept through fields as diverse as law, journalism, activism, philosophy, theology, ecofeminism, and gender and cultural studies. Their discussion of gendered shame makes room for it to be both a negative and a redemptive concept. Combining junior and senior scholarship, this collection examines power relations in the cycle of shame and violence.

We know shame can be a morally valuable emotion that helps us to realize when we fail to be the kinds of people we aspire to be. We feel shame when we fail to live up to the norms, standards, and ideals that we value as part of a virtuous life. But the lived reality of shame is far more complex and far darker than this -- the gut-level experience of shame that has little to do with failing to reach our ideals. We feel shame viscerally about nudity, sex, our bodies, and weaknesses or flaws that we can't control. Shame can cause self-destructive and violent behavior, and chronic shame can cause painful psychological damage. Is shame a valuable moral emotion, or would we be better off without it? In Naked, Krista K. Thomason takes a hard look at the reality of shame. The experience of it, she argues, involves a tension between identity and self-conception: namely, what causes me shame both overshadows me (my self-conception) and yet is me (my identity). We are liable to feelings of shame because we are not always who we take ourselves to be. Thomason extends her thought-provoking analysis to our current social and political landscape: shaming has increased dramatically because of the proliferation of social media platforms. And although these online shaming practices can be used in harmful ways, they can also root out those who express racist and sexist views, and enable marginalized groups to confront oppression. Is more and continued shaming therefore better, and is there moral promise in using shame in this way? Thomason grapples with these and numerous other questions. Her account of shame makes sense of its good and bad features, its numerous gradations and complexity, and ultimately of its essential place in our moral lives.

This book takes James Gilligan’s theory of shame and violence as a starting point for an application of the model across disciplines (psychology, sociology, philosophy, political science, cultural studies, history, architecture and urban studies) and levels of analysis (from the individual to the global). It critically engages with shame theory, exploring the existential origins, the emotional, linguistic, cognitive and cultural manifestations and symptoms of shame—in the mind, in the body, in public space and in the civic culture—and its relationship with other emotions, such as anger, guilt and pride. It also examines the role of shame in communities that are at the fault lines of current affairs, identity politics and “culture wars”, such as Brexit, trans rights, and racial equality. The book contributes to the literature on political psychology and psychosocial studies by facilitating an innovative application of the concept of shame: blending theory and practice, focusing on gender as a key lever of the mechanism of shame, and exploring the mechanics of shame and shame awareness, so as to seek and propose a range of guiding principles, practical models and possible solutions for the future.

"The trauma of sexual shame has widespread implications not just for individuals but also for institutions, communities, and even churches. This book provides pastors and congregational leaders with the tools to identify the assumptions, behaviors, and structures that promote, while masking, sexual shame and to begin healing sexual shame both individually and corporately. Questions for reflection are included at the end of each chapter, making this an ideal book for both private use and group discussion"-- BACK COVER.

A collection of first-person accounts documenting a historical legacy of violence against black women in the U.S. In Wounds of the Spirit, Traci West employs first person accounts-from slave narratives to contemporary interviews to Tina Turner's autobiography-to document a historical legacy of violence against black women in the United States. West, a black feminist Christian ethicist, situates spiritual matters within a discussion of the psycho-social impact of intimate assault against African American women. Distinctive for its treatment of the role of the church in response to violence against African American women, the book identifies specific social mechanisms which contribute to the reproduction of intimate violence. West insists that cultural beliefs as well as institutional practices must be altered if we are to combat the reproduction of violence, and suggests methods of resistance which can be utilized by victim-survivors, those in the helping professions, and the church. Interrogating the dynamics of black women's experiences of emotional and spiritual trauma through the diverse disciplines of psychology, sociology, and theology, this important work will be of interest and practical use to those in women's studies, African American studies, Christian ethics, feminist and womanist theology, women's health, family counseling, and pastoral care.

Examines how twentieth-century women writers depict female bodily shame and trauma.