This is a political project of wilful ignorance that we as citizens are implicitly asked to co-enact, over and over again. There is a hacking apart of the web of violence – of cause and effect, words and actions, ideas and transgressions – to allow for a successful scapegoating of evil men: dangerous psychopaths whose actions are to be viewed as outliers. In this effort, the Coalition Government leads the charge. In their manufactured reality, the worst kinds of violence against women are heinous, but they are also aberrations.

Even as they are ‘just’ entertainment, these fictional narratives of popular film still teach and tell stories about angry men and their relationship to violent retribution which overlap with everyday gender politics. They also function as cultural capsules which capture the fears and tensions of the time.

If more brands do not pull out of the 2GB Alan Jones advertising, they are enabling violent language towards women to be continuously normalised. Practicing the language of misogyny and violence on-air with no repercussions is a power that Alan Jones should not be afforded.

Minimising the victimisation or abuse of women is hardly something new or groundbreaking – in society or on a comedy stage. If you genuinely want to be edgy and challenge the ‘PC brigade’, go on stage and eat your own shit in protest of society’s pressure to recycle.

A particular production of King Lear is in the headlines at the moment because a tabloid newspaper reported on the sexual harassment of the young actor playing Cordelia. The famous actor playing Lear is the alleged perpetrator. [...] It is not the purposes of this piece of writing to analyse that particular incident. Rather, it is to take focus on the body of Cordelia at this moment and to consider this body and Lear’s tragedy in the contemporary moment.

The (mostly) young men who classify themselves as incels do so not merely because they lack romantic or (perhaps more significantly) sexual relationships, but because they accept their celibacy as a permanent and inevitable condition. Incels understand biology as destiny.

Songs about misogynistic murder, if sung by mainstream country artists, might be construed as indicative of the harsh patriarchal world of rural Australia. To the contrary, urban alt-country or bluegrass artists can afford to try on the persona of the violent male without any ramifications, and indeed, can accrue symbolic capital through their embrace of a song form considered gothic or edgy.

There’s a difference between campaigns and campaign tactics: one is a war, and the other a weapon. Their inability to generate an equal amount of protest on both Avid Reader and Allen & Unwin’s Facebook pages shows that MRAs are incapable of campaigns, and will always be outnumbered by the people fighting back.

In the pilot episode of Feud, Joan Crawford’s beautician says, scathingly, ‘Men age, they get character. Women age, they get lost.’

Trauma, by definition, is a threat to life or personal dignity. Parramatta stripped us of all personal dignity. It was a place where wellbeing and personal safety was compromised on a daily basis.

Dylan has been a critical artist in the history of rock and roll without a doubt. But rock and roll has very much been a male-dominated enterprise. At the recent elite Desert Trip Festival of ancient rock and roll icons in California, every single performer was male. What Dylan’s Nobel perhaps shows us is that mainstream rock and roll has more in common with the production of literature than we might think.

The excitement over Yuanhui’s comments was kind of a brutal reminder of how present yet hidden menstruating is for people like me, who bleed on a monthly basis. On the one hand, there is the inescapability of my body, the ever presence of my period: it is on or just over or waiting to happen. I’m always acutely aware of this thing that is occurring inside me – and then there is this weird hiding of that fact.

I’d never experienced women-only passenger cars before, though they are regularly proposed for Australian cities for the same purpose they have in Mexico, along with many other countries such as Israel, Japan, India, Egypt, Brazil and Malaysia – that is, to reduce the incidence of sexual assault and other violence against women occurring in public spaces by physically distancing men. Women-only sections on public transport are intended to keep us free from violent behaviours such as catcalls, groping, stalking, bashing and rape simply by segregating men.

Nunca había vivido vagones exclusivamente para pasajeras, aunque sí son frecuentemente propuestos para ciudades australianas con el mismo propósito que tienen en México, junto con muchos otros países como Israel, Japón, India, Egipto, Brasil, y Malasia: es decir, de reducir la incidencia del abuso sexual y otros tipos de violencia en contra de las mujeres que ocurren en público, al alejar a los hombres de ellas. Secciones en el transporte público exclusivamente para mujeres pretenden protegernos de las conductas violentas, tales como los piropos, la manoseada, el acecho, los ataques violentos, y la violación, al simplemente segregarnos de los hombres.

The recent killing of UK MP Jo Cox is one such example. In no major news outlet in the anglophone world was her death labelled an assassination, despite substantial evidence suggesting the attack was ideologically motivated. Cox was allegedly murdered by Thomas Mair, who gave his name in court as ‘Death to traitors, freedom for Britain’ and was reported to have shouted ‘Britain first!’ repeatedly when he stabbed and shot the West Yorkshire politician after a meeting with her constituents. Considering her involvement in the campaign for Britain to remain in the EU, it is no great leap to conclude that her killing was indeed an act of violent political antagonism.

Historically, ‘post-punk’ has been described as a predominately white, male, middle-class musical scene. While the reality was really very different – female-fronted bands such as Delta V and Au Pairs not only participated in the subculture, but used it as a platform for gender commentary – it has mostly been the male performers – Joy Division, Wire, Gang of Four – who’ve received the bulk of critical attention.