On February 17, 1983, a female student at the University of Pennsylvania reported that she had been carried upstairs during a fraternity party and raped by five or six men, sparking outrage across college campuses. The victim eventually confessed the rape to her professor, Peggy Reeves Sanday, inspiring Sanday to investigate the societal context which normalizes gang rape. Fraternity Gang Rape is the culmination of Sanday’s investigation of sex, brotherhood, and male privilege on college campuses and provides valuable insight into the persistence of dominant masculinity in brotherhood perceptions of rape. Sanday divides her examination of fraternity gang rape into two parts; the first part analyzes the events leading to the gang rape of her former student in order to flesh out themes of male dominance underlying fraternity practices of “working a yes out.” Twenty-six years later, the campus environment described in Fraternity Gang Rape maintains its privileging of white males, promoting reluctance to accuse rapists and shaming victims as asking for it, evidenced by the lenient sentencing of Brock Turner.
Sanday’s anthropological approach to examining fraternity party culture illustrates the attitudes guiding brothers and party goers; young women engage in heavy drinking or drugs, pressured to gain social acceptance, which fraternity brothers interpret as consent to brutal sexual victimization. In order to assemble various perspectives, reflective of the campus environment, Sanday trained students to interview guests and fraternity members at fraternity parties over a two-year period. These interviews were recorded and then transcribed, to reflecting typical conversations about sexual aggression among fraternity brothers. Analyzing this web of interviews, Sanday reconstructs the fraternity environment through the perspectives of victims, fraternity brothers, and party goers, exposing the social prevalence of a rape inducing sexual subculture during a period in which fraternity gang rape was secluded from public discourse.
Sanday meticulously details the gang rape of her former student, revealing the sexual subculture of fraternities which perpetuate male dominance through rape. Using interviews with the victim and two witnesses, familiar with the fraternity, Sanday ascertains that the victim, who she refers to as Laurel, was heavily incapacitated after taking hits of LSD and engaging in heavy drinking the night she was raped. At the end of the party, Laurel was taken to a room upstairs and to crash and was later raped by five or six fraternity members. According to girls who witnessed conversations among brothers, fraternity brothers initially boasted about their sexual conquest of Laurel. When directly confronted by one of the girls, the brothers claimed that rape could not have transpired since Laurel was unable to say no, viewing her state of mind as irrelevant. As a result, Sanday asserts that fraternal discourse perpetuates misogynistic ideology, positioning members to blame Laurel for failing to resist their sexual advances. Analyzing the experiences of girls familiar with the environment of fraternity parties, Sanday illuminates an environment constructed to break down female resistance and ensnare vulnerable women. Reflecting on their experiences at fraternity parties, these women recalled being assaulted with stares and subjected to disparaging remarks under the fraternal practice of “riffing on women.” Unraveling the multiple experiences of being plied with alcohol and drugs and repeatedly pressured for sex, Sanday deciphers the practice of “riffing on women” as a mechanism employed to sexually abuse women and celebrate the power of the brotherhood (p. 46).
Arguably, Sanday provides her most powerful insight into fraternity life through her analysis of a “highlights sheet,” a humorous version of meeting minutes written by fraternity brothers. The sheet serves as an uncensored account of the gang rape, as told by the brothers, reflecting their true attitudes regarding sexual abuse of women. Sanday deconstructs the euphemisms employed by the brothers, who bragged about the success of a new “little sisters program,” referring to the raping young, vulnerable women, and expressed optimism in recruiting “little wenches,” or future victims, providing insight into sexist fraternal discourse (p. 66). Exploring the fraternal ideology is crucial to understanding how fraternities normalize gang rape as a valid form of sexual expression. Sanday exposes the misogynistic fraternal discourse underlying the “good Samaritan rift,” mentioned in the highlights sheet, in which brothers praised one another for having sex with a victim drifting in and out of consciousness (p. 67). Evaluating the minutes, Sanday asserts that gang rape is perpetuated through public displays of masculinity and fraternal bonds, seen in the brotherly pride associated with various forms of “riffing.” Carefully examining direct quotations from the perpetrators, Sanday frames sexual aggression as prioritizing fraternal sexual prowess over displaying compassion for a vulnerable peer.
Describing three cases of fraternity gang rape reported at various universities, Sanday uncovers the same values of misogyny and male privilege underlying the 1983 UPenn gang rape. Drawing from student interviews of fraternity brothers, as well as personal revelations from fraternity brothers, Sanday expands upon the persistence of dominant masculinity through phallo-centric ideology across fraternity circles. Centered exclusively around channeling sexual aggression, fraternity parties allow brothers to search for victims and emerge at the top of the social power structure, united in brotherhood. Women who drink are seen as flirtatious and “asking for it” in the eyes of fraternity brothers, and victims are shamed for making a mistake. Sanday asserts that these experiences, similar to the gang rape of Laurel, are an extension of male privilege, allowing fraternity brothers to seek empowerment through inebriating and then sexually victimizing women, later denigrating these women for allowing themselves to be alone with a group of drunk men.
In the second part of her book, Sanday implicates the fraternal environment in constructing a sexual subculture which normalizes sexual coercion. One of the most shocking fraternity practices Sanday outlines is the marking of drunk women with colored dots to signal their sexual availability to other brothers. Practices such as these help fraternity members to “work a yes out”, by targeting the most vulnerable party goers to coerce into sex. Instead of retreating after their sexual advances are denied, fraternity brothers feel encouraged to push copious amounts of drugs and alcohol onto women until they obtain a yes. However, as Sanday reveals, a yes to the brothers doesn’t mean verbal consent; instead fraternity members push until the victim is drifting out of consciousness or nearly comatose and cannot say no. Strategizing together, fraternity brothers aid one another in their sexual endeavors, using excuse sexual aggression under the privilege of the brotherhood.
Referencing student interviews with fraternity brothers, Sanday uncovers phallocentric ideology undergirding party gang rape, privileging the brothers to take advantage of compromised women. In these interviews, fraternity brothers admitted to working a yes out of hesitant women, organizing parties “get ‘em drunk and go for it” (p. 115). Illuminating inside fraternal discourse, Sanday uncovers the prevailing ideology which blames women for what happens after they are drunk. In response to the UPenn gang rape many brothers blamed the victim, asserting “that girl just totally brought everything onto herself” (p. 119). One perpetrator mocked the situation, remarking “she was responsible for her condition and that just leaves her wide open…so to speak” prompting laughter among the brothers (p. 119). Examining these direct statements from fraternity brothers demonstrates the explicit callousness of members towards the suffering of victims. Verbal coercion, Sanday asserts, provides an escape only if victims have the physical and mental strength to do so, ultimately placing the responsibility of rape onto the victim.
Sanday also illuminates egregious initiation rituals, such as those requiring pledges to lie to lie in feces and vomit, demonstrating the construction of abusive social order. Using various tapes of initiation rituals and incidents reported by brothers, Sanday highlights the aims of pledging a fraternity to destroying any aspects of vulnerability and emotional accessibility, which normalizes the subjugation of women. Throughout initiation rituals, pledges are ridiculed for their femininity, whilst constructing the fraternity as a source to alleviate anxiety over insufficient masculinity. As a result, a template for masculine identity is forged through granting pledges the ability to abuse party women under the shared power of the brotherhood. This “radical alteration of consciousness” constructs a callous attitude towards women, normalizing sexual behavior and discourse that subject women (p.192).
Fraternity Gang Rape was a landmark publication, serving as one of the first comprehensive accounts of the abusive sexual behaviors encouraged by fraternity parties. Sanday’s graphic portrayal of aggressive sexual attitudes and practices of fraternity members gained widespread public attention; illuminating fraternal ideology centered around the sexual exploitation of women. As a result, the unprecedented nature of her analysis left Sanday with little discourse to engage with. However, Sanday mentions vigorous debate over the roots of sexual violence, analyzing cross-cultural studies in order to invalidate the argument that gang rape can be excused as the manifestation of the “explosive, biological nature of male sexual expression” (p. 61). Referencing anthropological investigations of matrifocal and patriarchal societies which argue against the existence of a single gender template, Sanday positions the social influences of fraternity gang rape within a global context, demonstrating the silencing practices of sexist fraternity practices, which largely subject female college students to unwanted sexual interactions. Sanday’s monograph is powerful, exposing the grotesque, secluded behaviors of fraternities which construct gang rape as normal behavior, providing a framework upon which universities can construct effective policy. However, Sanday undercuts the significance of her work by ignoring race in her accounts of fraternity gang rape. Taking the accounts of minority women and fraternity brothers would lend to a more expansive construction of male privilege and help universities to better work against fraternity gang rape culture.
Sanday, Peggy Reeves. Fraternity Gang Rape: Sex, Brotherhood, and Privilege on Campus. New York: New York University Press, 1990. Print.

Technology, and the Politics of Reproduction
Every day, every single interaction, whether conscious or unconscious, shapes our identity and perception of the world. From the time we wake up in the morning until the time we go to bed at night, we are taking in information, processing it, and shifting our awareness of society based on the viewpoints we perceive. This impact of interactions and social cues has evolved over time into the hegemonic countercultures in different places around the globe. In her book Flirting with Danger, Lynn N. Phillips explores the ideology of power and choice within hetero-relationships formed by Western Culture through an in-depth analysis of the personal stories from young women.

The femme fatale finds her cultural counterpoint in the Don Juan of the industries’ hyper-sexualized advertising. He is presented as a hunter, rather a trapper. Yet he makes only a small investment in each prey, shooting a smile as an arrow (Freitas 4). This is perfectly visualized in Beckham’s intimately BECKHAM NIGHT. Beckham is pictured here as a man that associates with high society, holding the female model in his submission, yet lacking an explicitly sexual position, intimating independence and emotionally detachment. He is strong and empowered with his arm locked around her neck which seems to give her a sort of intoxicated pleasure, which once again sells women’s sexuality short as it highlights her need for a man to desire her and the ease at which she submits to him.
The second dominant construct in fragrance advertisement is that of the ‘natural woman’ and the ‘natural man.’ The ‘natural woman’ is portrayed as a flower-child or sportswoman, one that casts aside the artificiality of corporatism and society and uses light, fresh fragrances. She is featured in Marc Jacob’s DAISY, where the dark evening gown and club setting of the femme fatale are exchanged for lighter colors and outdoor flower fields with breezes and sunlight that envelop her (Freitas 7)The ‘natural woman’ finds her male equivalent in, of course, the ‘natural man.’ The ‘natural man’ will not be found in a bed of flowers. In Dolce & Gabanna SPORT, all feminine items are done away with. The young fragile girl is replaced by a chiseled male model, simply wearing a pair of shorts and displaying his impressive, muscular torso. The ‘natural man’ poses against the ancient stone of a Hellenistic stadium that compliments his skin tone and visually immerses his body in rock through strategic composition and color manipulation. Like the ‘natural woman,’ the evening light of the Don Juan is replaced with a bright noon sun. The ‘natural woman’ then is one who is young and innocent, in perfect harmony with nature, and who claims no power over man with the retraction of explicit sexuality.
The dichotomy for women is clear: either power through sex or innocence through nature. Femininity and masculinity exist in very rigid structures, where both genders are hyper-sexualized and lack fluidity. Women are emotional beings who desire the allure of men. Men are detached and fulfil the ‘tall, dark, and handsome’ cliché, with little room left for other else. Artists take constructs solidified by mass marketing and present them as a heterosexual paradigm of womanhood and manhood. These adverts elevate enticement, sex, and lust, rather than knowledge or health as desirable. They present paradigms to a highly impressionable, materialistic post-modern America, who seek to use their scents to meek this market’s one-dimensional definition of desirable.
teens and such who are frequently on Pinterest. Because the post was originally meant to be simple entertainment, many people have surely seen this meme and have thought nothing of it. Most peple who see this post have likely grown up in the heteronormative, gender stereotype-enforcing culture in which we live today, therefore they did not read deeper into the meaning of the picture and merely laughed at the “philosotoddler’s” deep inquiries about life. However, when the post is viewed through the probing lens of gender and sexuality, the reader can truly realize a much deeper meaning hidden between the lines.
In episode 202, “Flicky-Flicky Thump-Thump,” Maura is forced to confront the emotional implications her ability to fulfill her sense of self has on her interpersonal relationships while engaging in digital penetration with her friend and ex-wife, Shelly. The scene is set in the bathroom of Shelly’s retirement condo, where the two once again live together. Shelly relaxes in the bathtub while Maura scrutinizes her image in the mirror, wearing a black bathing suit with synthetic breasts. Their conversation derails from Maura’s body image to a reflection on their previous life as husband and wife. While Shelly is enthusiastic to reflect on their sexual experiences together, Maura resists. Her expression shifts from the frown of a perfectionist, searching for physical flaws to one marred by pain and resentment. Even as she engages Shelly, Maura is emotionally disengaged from the experience. She glowers down at Shelly, ignorant to this in her ecstasy. While Maura can dress, walk, dine, and sleep as a woman, Shelly displays one pleasure Maura cannot know. Shelly, as per usual, is oblivious to her ignorance of Maura’s emotional needs. Afterward, Maura shakes off her feelings by wrapping herself in a kimono, checking her hair and replying to Shelly’s offers of reciprocation with a curt, “I’m good.” The sumptuous nature of the kimono’s material, for Maura, must patch the divide between giving and receiving pleasure and emotional fulfillment.

Tony the Tiger accompanied by the rainbow “PRIDE” are both iconic and eye-catching, which draw the reader into a more involved advertisement for the reader. The choice of publication for this image in the Atlanta Pride Guide makes it clear who the intended audience is: people attending the Atlanta Pride celebration. To break this down further, it can be reasonably assumed that the majority of the audience is members of the LGBTQ community, with members of the allied community supplementing the target population. The primary caption encouraging readers to “Wear your stripes with pride” refers to the fact that the “gay pride flag” is a series of rainbow stripes, which obviously appeals to the LGBTQ community who use the rainbow flag as a banner, particularly at pride events. Therefore, the use of the word “pride” plays right into the event at hand, but the association of Tony the Tiger relies on years of prior advertising to appeal to emotions of the viewer. Tony, the mascot for Kellogg’s Frosted Flakes, is know for being a strong, encouraging character with the slogan “They’re Great!” This slogan could easily refer to the “stripes” that are being worn with pride. Even without being explicitly noted, the point of Tony is to bring that slogan to mind. In addition, Tony himself is covered in stripes since he is a Tiger, so the idea of “wear[ing] your stripes with pride” also encourages the reader to embrace who they naturally are.
One year later, the second image was posted on the Kellogg’s Twitter account the day that same-sex marriage was legalized. Some features are the same as the Pride Guide ad, such as the HRC endorsement and “pride & allies” tag. However, there are also some notable distinctions. The only explicit reference to the LGBT community is in the HRC endorsement for Kellogg’s as a top place to work. The other tags from DiversityInc and the NGLCC are not obviously referencing support of the LGBT community, unless the reader is familiar with the National Gay & Lesbian Chamber of Commerce. Anyone unfamiliar would likely not recognize the acronym and may not understand the endorsement. Similarly, the rest of the text and symbolism of the image may not be obviously pro-LGBT to someone who was not familiar with the rainbow flag. The flag is used as a subtle placemat for a bowl of cereal, which could be easily overlooked while reading the caption “LOVE: the same at every table” for which the bowl of cornflakes serves as the “O.” The smaller caption under the company name reads, “Nourishing families so they can flourish and thrive.” Both of these captions are generic enough that they could reference any given family without specifically referring to the legalization of same-sex marriage.