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" "The story of Bangladesh was unique in one respect. For the first time in history the rape of women in war, and the compex aftermath of mass assault, received serious international attention. The desperate need of Sheik Mujibur Rahman's government for international sympathy and financial aid was part of the reason; a new feminist consciousness that encompassed rape as a political issue and a growing, practical acceptance of abortion as a solution to unwanted pregnancy were contributing factors of critical importance. And so an obscure war in an obscure corner of the globe, to Western eyes, provided the setting for an examination of the “unspeakable” crime. For once, the particular terror of unarmed women facing armed men had full hearing.
Susan Brownmiller (born Susan Warhaftig, February 15, 1935 – May 24, 2025) was an American feminist writer, journalist, and activist best known for her book Against Our Will: Men, Women, and Rape (1975).
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In medieval times, opportunities to rape and loot were among the few advantages open to...soldiers, who were paid with great irregularity by their leaders...When the city of Constantinople was sacked in 1204, rape and plunder went hand in hand, as in the sack of almost every ancient city....Down through the ages, triumph over women by rape became a way to measure victory, part of a soldier's proof of masculinity and success, a tangible reward for services rendered...[and] an actual reward of war.
[R]ape by a conqueror is compelling evidence of the conquered's status of masculine impotence. Defense of women has long been a hallmark of masculine success. Rape by a conquering soldier destroys all remaining illusions of power and property for men of the defeated side. The body of a raped woman becomes a ceremonial battlefield, a parade ground for the victor's trooping of the colors. The act that is played out upon her is a message passed between men - vivid proof of victory for one and loss and defeat for the other.
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The master-slave relationship is the most popular fantasy perversion in the literature of pornography. The image of a scantly clothed slave girl, always nubile, always beautiful, always docile, who sinks to her knees gracefully and dutifully before her master, who stands with or without boots, with or without whip, is commonly accepted as a scene of titillating sexuality. From the slave harems of the Orient potentate, celebrated in poetry and dance, to the breathless description of light-skinned fancy women, de rigeur in [[a particular genre of pulp historical fiction, the glorification of forced sex under slavery, institutional rape, has been a part of our cultural heritage, feeding the egos of men while subverting the egos of women- and doing irreparable damaage to the healthy sexual process. The very word "slave girl" impart to many a vision of voluptuous sexuality redolent of perfumes gardens and soft music strummed on a lyre. Such is the legacy of male-controlled sexuality under which we struggle.