CSWS Annual Review

Amna Javed

In the Name of Honor?: Evaluating the Impact of Weather Variability on “Honor” Killings in Pakistan

by Amna Javed, PhD Candidate, Department of Economics 

Every year, approximately 5,000 women are murdered globally in the name of honor. These crimes, labeled as “honor” killings, are meant to punish transgressing individuals who are believed to have brought shame to their families by overstepping social boundaries regarding acceptable sexual freedoms. In Pakistan’s context, where the “purity” of a woman is crucial to ensuring a successful arranged marriage, dishonor might result from, among other reasons, coming home late, having an alleged affair, or eloping. 

Marcio Freitas’ “Nunca Me Calarei” (I Will Never be Silenced) features the faces of women who have experienced gender-based violence in Brazil  / photo by Emily Masucci.

"The Struggle Continues": Gender-Based Violence and the Politics of Justice and Care in Brazil

by Emily Masucci, PhD Candidate, Department of Anthropology For many historically marginalized women, the state and its institutions are not perceived as reliable. State-sponsored violence against women—low-income, afro-descendant, and indigenous women in particular—is a weapon with which the Brazilian state was founded and has maintained power since. The fabric of Brazil is stained by histories of forced sterilization of indigenous and afro-descendant women, of brutal rapes of young women students by military officials during the dictatorship, and recently by the calculated political feminicide of Rio de Janeiro city councilwoman Marielle Franco. Given this legacy, survivors of gender-based violence (GBV) are justifiably apprehensive of appealing to state institutions as they pursue safety and redress.
(From left) Karla FC Holloway and Ulrick Casimir

Writing A Death in Harlem: A Conversation with Karla FC Holloway

Interview by Ulrick Casimir, Career Instructor, Department of English Nella Larsen’s classic novel Passing (1929) features one hell of an ending. We know that one of its main characters, Clare Kendry, lies dead after falling from a window, but we don’t know whether she was pushed by her friend Irene Redfield or simply slipped and fell. We know what may have led Irene to do what she may or may not have done, but we don’t know whether the betrayal Irene suspects, between her husband and Clare, even occurred. We know the broad strokes and terminus of the connection between these two women—but the novel ends without the hinted-at intimate dimensions of their relationship ever finding air.