This study brings out the norms and culturally dependent values that formed the
basis of the theoretical regulation and the practical handling of incest cases
in Sweden 1680–1940, situating this development in a wider European context. It
discusses a broad variety of general human subjects that are as important today
as they were hundreds of years ago, such as love, death, family relations,
religion, crimes, and punishments. By analysing criminal-case material and
applications for dispensation, as well as political and legislative sources, the
incest phenomenon is explored from different perspectives over a long time
period. It turns out that although the incest debate has been dominated by
religious, moral, and later medical beliefs, ideas about love, age, and family
hierarchies often influenced the assessment of individual incest cases. These
unspoken values could be decisive – sometimes life-determining – for the outcome
of various incest cases. The book will interest scholars from several
different fields of historical research, such as cultural history, the history
of crime and of sexuality, family history, history of kinship, and historical
marriage patterns. The long time period also broadens the number of potential
readers. Since the subject concerns general human issues that are as current
today as they were three centuries ago, the topic will also appeal to a
This book demonstrates that incest was representative of a range of interests crucial to writers of the Gothic, often women or homosexual men who adopted a critical stance in relation to the heteronormative patriarchal world. In repositioning the Gothic, representations of incest are revealed as synonymous with the Gothic as a whole. The book argues that extending the traditional endpoint of the Gothic makes it possible to understand the full range of familial, legal, marital, sexual and class implications associated with the genre's deployment of incest. Gothic authors deploy the generic convention of incest to reveal as inadequate heteronormative ideologies of sexuality and desire in the patriarchal social structure that render its laws and requirements arbitrary. The book examines the various familial ties and incestuous relationships in the Gothic to show how they depict and disrupt contemporary definitions of gender, family and desire. Many of the methodologies adopted in Gothic scholarship and analyses of incest reveal ongoing continuities between their assumptions and those of the very ideologies Gothic authors strove to disrupt through their use of the incest trope. Methodologies such as Freudian psychoanalysis, as Botting argues, can be positioned as a product of Gothic monster-making, showing the effect of Gothic conventions on psychoanalytic theories that are still in wide use today.
thinking entailed changes in the status of religious and moral crimes. They were still believed to have a detrimental influence on society from a moral perspective; but, for all that, they were less serious than crimes aimed directly at the state or the individual. The set penalties could therefore be reduced.
The Penal Act of 1864 abolished the death penalty for incest, replacing it with hard labour.
As was pointed out above, several incest prohibitions had been questioned in repeated parliamentary
order to increase one's network of loyal allies. The other strategy focuses on preserving property and capital within one's own group through strategic marriages within the family.
The latter strategy has often been linked to social groups with major property holdings; for instance, the nobility or, during later periods, the emerging middle classes. Within anthropology, such marriage patterns are referred to as ‘exogamous’ and ‘endogamous’, respectively, and they have often been seen as relevant to how incest
Gustav III, who had come into contact with the philosophical ideas of the French Enlightenment in his youth, made a few attempts at reform in the 1770s. Among other things, he forbade torture in connection with interrogations and attempted to abolish the death penalty for incest crimes. However, this proposal met with fierce resistance from the estates of the realm with the justification that the crime was in opposition to God's law.
Thus, the death penalty remained in force until 1864 for the closest relationships in
Incest is a topic that provokes strong feelings. From time to time, tragic stories about the abuse of minors are revealed, causing widespread horror and concern. As late as 2008, an incest case from Austria created headlines all over the world when it was discovered that a man had kept his biological daughter locked up in his basement and abused her for over twenty years.
But revelations of voluntary sexual relationships between relatives also cause powerful reactions among the general public
This article considers James Baldwin’s last published novel, Just Above My Head (1979),
as the culmination of his exploration of kinship, reflecting on the ways distance and loss
characterize African-American familial relations. By analyzing Baldwin’s representation of
Hall Montana’s relationship to, and mourning of, his younger brother Arthur, this article
argues that JAMH revises the terms of the black family to imagine an alternative, errant
kinship that is adoptive, migratory, and sustained through songs of joy and grief. My
approach to the novel’s portrayal of kinship is indebted to Édouard Glissant’s Poetics of
Relation (1990), in which he defines “errantry” as a fundamental characteristic of
diaspora that resists the claustrophobic, filial violence and territorial dispossession
that are slavery’s legacies. Baldwin represents errant kinship in JAMH through his
inclusion of music and formal experimentation. Departing from previous scholarship
that reads JAMH as emblematic of the author’s artistic decline, I interpret the
novel’s numerous syntactic and figurative experiments as offering new formal insight into
his portrait of brotherly love. Baldwin’s integration of two distinctive leitmotifs, blood
and song, is therefore read as a formal gesture toward a more capacious and migratory
Dispelling Misconceptions about Sexual Violence against Men and Boys in
Conflict and Displacement
Heleen Touquet, Sarah Chynoweth, Sarah Martin, Chen Reis, Henri Myrttinen, Philipp Schulz, Lewis Turner, and David Duriesmith
genital violence ( Meger, 2015 ; SVRI, 2016 ). In fact, a variety of forms of
sexual violence have been documented against men and boys in conflict, including
forced nudity, anal and oral rape, castration, penile amputation, genital violence,
sexual humiliation, sexual slavery, forced incest and forced rape of others ( Ba and Bhopal, 2016 ; Chynoweth et al. , 2020b ).
The most common form of conflict-related sexual violence against men and boys is
unknown ( Chynoweth et al
is no fine writing in these volumes … but in point of
moral tendency they are unexceptionable.
Review (1794) of Eliza Parsons,
Castle of Wolfenbach ( 1793 ) 2
Frances Burney’s assessment
of Horace Walpole’s play The Mysterious Mother ( 1768 ) reflects a strong discomfort with its
depiction of mother–son incest that
The 1990s witnessed an explosion in women's writing in France, with a particularly exciting new generation of writer's coming to the fore, such as Christine Angot, Marie Darrieussecq and Regine Detambel. This book introduces an analysis of new women's writing in contemporary France, including both new writers of the 1990s and their more established counter-parts. The 1990s was an exciting period for women's writing in France. The novels of Louise Lambrichs are brilliant but troubling psychological dramas focusing on the traumas that inhabit the family romance: incest, sterility, the death those we love and the terrible legacy of mourning. The body of writing produced by Marie Redonnet between 1985 and 2000 is an unusually coherent one. The book explores the possibility of writing 'de la mélancolie' through focusing on the work of Chantal Chawaf, whose writing may be described as 'melancholic autofiction', melancholic autobiographical fiction. It places Confidence pour confidence within Constant's oeuvre as a whole, and argues for a more positive reading of the novel, a reading that throws light on the trajectory of mother-daughter relations in her fiction. Christiane Baroche was acclaimed in France first as a short-story writer. Unable to experience the freedom of their brothers and fathers, beur female protagonists are shown to experience it vicariously through the reading, and the writing of, narratives. Clotilde Escalle's private worlds of sex and violence, whose transgressions are part of real lives, shock precisely because they are brought into the public sphere, expressed in and through writing.