References

 

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Brod, H. (1990).  “Pornography And The Alienation Of Male Sexuality.”  In Hearn, J. and Morgan, D. (eds.) Men, Masculinities, and Social Theory.  London: Unwin Hyman.

 

Burt, M. (1980).  “Cultural myths and support for rape.”  Journal of Personality and Social Psychology 38,2: 217-230. 

 

Connell, R.W. (1987).  Gender and Power.  Cambridge: Polity.

 

Cowan, G. and Dunn, K.F. (1994) “What Themes in Pornography Lead to Perception of the Degradation of Women?”  The Journal of Sex Research 31,1: 11-21.

 

Dines,G., Jensen, R.,  and Russo, A. (1998) Pornography: The Production and Consumption of Inequality.  London: Routledge.

 

Kimmel, M.S. (1999) “Masculinity as Homophobia: Fear, Shame and Silence in the Construction of Gender Identity.  In Kupers, J.A. (ed.) Men and Power.  New York: Prometheus.

 

Linz, D. (1989) “Exposure to Sexually Explicit Materials and Attitudes Toward Rape: A Comparison of Study Results.”  The Journal of Sex Research 26,1: 50-84.

 

Morgan, R. (1980). “Theory and Practice: Pornography and Rape.”  In Leberer, L. (ed.) Take Back the Night: Women on Pornography.  New York: William Morrow.

 

Ward, C.A. (1995) Attitudes Toward Rape: Feminist and Social Psychological Perspectives.  Thousand Oaks CA: Sage. 

 

Russell, D.E.H. (2000) “Pornography and Rape: A Causal Model.” In Cornell, D. (ed.) Feminism and Pornography.  New York: Oxford.

 

Zillman, D. and Bryant, J. (1982) “Pornography, Sexual Callousness, and the Trivialization of Rape.”  Journal of Communication (Autumn) 10-20.

WHERE YET THE SWEET BIRDS SING

Richard Quinney

 

That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang

Upon those boughs which shake against the cold,

Bare ruined choirs, where late the sweet birds sang.

 

William Shakespeare, Sonnet 73

 

             I have been spending more of my time at the farm, the farm that has belonged to my family for generations since first being settled by my great-grandparents fleeing the potato famine in Ireland.  My return to the farm was prompted by recent events in my life.  The farm offered solace as I recovered from a life-threatening illness; my mother had died the year before, after living alone on the farm for thirty years after my father died; I was in the process of forming a new life after retiring from a lifetime career of university teaching and research; and my wife and I were exploring the possibility of a move to a new location.

             This much loved place, the farm that has been a center of my life even while I have been away for long periods of time, was now the place for recovery and reconstitution.  It would have been easy to think of the farm in the past tense.  To think of it, as Shakespeare wrote, as a place “where late the sweet birds sang.”  As the summer progressed, and as I went to the farm weekly, I began to think of time more in the present tense than the past.  Although there were the strong and constant reminders of the past—from the rot and rust of decaying buildings to aging artifacts found in drawers and trunks and in the attic and the basement—I was transported by the wonders of the present in this well-known place.  Keeping a close watch, I photographed, and in my journal I noted life in the place where yet the sweet birds sing.

             The camera would rest on the tripod, loaded and ready for the opportune moment.  I watched the sky for light.  On my walks and during my daily chores, I made note of what might be photographed.  Walking along the road, I studied the fence line, and I watched the light and shadows play their hourly games.  On lilac bush, oak tree, bird nest, elderberry bush, chicory plant, and thistle.  On the barn, house, machine shed, marsh, woods, and fields of corn and soybeans.  All of this and more.