#victorian reproduction

[fashionsfromhistory]

Settee

Designed by Lawrence Alma-Tadema (British)

c.1875

The MET (Accession Number: 1975.219a)

[boselliart]

[transhetanybodys]

I'm watching Edward Scissorhands rn and it should've been a lesbian romance. For the pun but also just because

[viscericorde]

gonna be delusional real quick (try to find a gunne sax dress in my price range)

[wordswithkittywitch]

Anyone want to give me a thousand-dollar gift card to American Duchess? Anyone? Ah. You want to but you can't. I understand. I feel the exact same way.

[coochiequeens]

Australia…. Where the government knew which members of the disabled community to subject to forced sterilization yet believes a sex offender with a penis is a woman.

An Australian man convicted of sexually abusing a child in a public restroom has begun identifying as a woman and is being referred to as female by the court, with multiple references to “her penis” appearing in hearing records. Khadir Kamoun, 33, plead guilty to charges of intentionally inciting a 14 year-old boy to sexually touch him, an offense that carries a maximum penalty of 10 years but for which he was handed a 2 year sentence.

According to court records, on the evening of February 18, 2021, the victim was at Bankstown Centro Shopping Centre in Sydney with a friend and members of the friend’s family. The boy indicated that he needed to use the restroom, and reportedly saw Kamoun walking nearby. He was carrying a bag on his shoulder.

When the boy located and entered the facilities, he saw Kamoun exiting a cubical, and noticed that Kamoun had left his bag inside the cubicle. Kamoun retrieved the bag and then ushered the boy inside, saying: “It’s okay go, go, go.” The victim entered the cubicle, closed and locked the door.

After exiting the cubicle, the boy made his way to the sinks and, through the mirror, he saw Kamoun standing inside the cubicle behind him. Kamoun was looking directly at the boy, with his pants partially down and his penis exposed.

The boy saw Kamoun masturbating himself, at which point he urged the victim to come closer, whispering for the boy to be quiet and waving him over with one hand. Frightened, the boy ignored Kamoun and began using the automatic hand dryer located next to the sink in the restroom.

Kamoun then approached the victim and grabbed his hand, which he attempted to place on his exposed genitals. The child pulled his hand away and ran out the restroom. Kamoun began to follow him, prompting the child to run faster until he was able to meet up with his friend’s family. In tears, the boy called his own family and relayed details of the incident to them.

The legal representative defending Kamoun, barrister Ronald Driels, attempted to portray the incident as a one-off occurrence of public exhibitionism “with a bit more.” However, Magistrate Glen Walsh argued that the claim “substantially understates the seriousness of the offending” and highlighted Kamoun’s history of sexual crimes.

In December of 2012, Kamoun was accused of sending indecent materials to groom a child under the age of 16 for sex. He was also charged with sexual assault and indecent assault. The details of the case are limited. According to court records, Magistrate Walsh stated that “this is not a record that entitles [him] to leniency.”

While he was detained in a men’s prison awaiting trial, forensic psychologist Dr. Kris North diagnosed Kamoun as having ���gender dysphoria’ in addition to depression and PTSD. 

In light of what the court determined was a “a dysfunctional upbringing” that involved “difficulties at school and an erratic employment history,” as well as “violence perpetrated against the offender by [his] father arising from or relating to [his] gender or sexual orientation,” Kamoun was granted a lenient sentence despite his “serious offenses” that involved sexually abusing children.

The court also noted the “inconvenience” faced by Kamoun at having been placed in a men’s correctional facility which resulted in “unwanted sexual advances in custody and inability to obtain hormone replacement treatment.”

Despite the leniency of the sentence, Kamoun attempted to file a severity appeal, arguing the sentence was “crushing” when considering the fact he has been in custody since April of 2021. But the appeal was rejected by the district court, which affirmed the 2-year jail sentence that had been handed down by the local magistrate in December of 2022.

While each state in Australia has different policies with respect to housing transgender inmates, according to Women’s Forum, New South Wales, where Kamoun was sentenced, has a “self-identification policy,” meaning that prisoners are meant to be placed in a facility based on how they identify. Exceptions are made in cases where there are safety “concerns or doubts around the authenticity of the prisoner’s gender identification.”

As Kamoun has now been diagnosed with gender dysphoria, it is likely he will apply for transfer to the female estate.

By Genevieve Gluck

Genevieve is the Co-Founder of Reduxx, and the outlet's Chief Investigative Journalist with a focused interest in pornography, sexual predators, and fetish subcultures. She is the creator of the podcast Women's Voices, which features news commentary and interviews regarding women's rights.

Australian women with disabilities face “reproductive violence”, including forced sterilisations, abortions and contraception, an inquiry will hear.

Organisations set to give evidence to the Senate inquiry into universal access to reproductive healthcare on Friday have said in their submissions that carers and a discriminatory healthcare system are violating women’s rights.

Forced sterilisation is not prohibited in Australia, while women with disabilities are vulnerable to family violence including being forced to have abortions or use contraception.

The Victorian Women’s Health Services Network said women with disabilities were “refused the right to consent to medical treatment including abortion, and are more likely to experience reproductive coercion than women without disabilities”.

Victorian organisation Women’s Health in the South East said forced sterilisation was often performed to prevent pregnancy, that it breached “every international human rights treaty to which Australia is a party” and “constitutes torture”.

The Family Planning Alliance said parents, guardians and doctors are making decisions on behalf of women with disability, with “no strategies in place to improve their understanding of their reproductive choices and rights”.

The Public Health Association of Australia said people with disabilities should be given disability-specific information about contraception use and managing menstruation, and should have their right to be pregnant and parent protected.

Women With Disabilities Australia told the inquiry in February that widespread discrimination and ableist attitudes resulted in “multiple and extreme” violations of rights.

Carolyn Frohmader, WWDA’s executive director, said the right “for everybody to make their own choices about their body, to have full control over their body, their sexuality, their health, relationships, if and when to get married or not, if and when to have children or not, without any form of discrimination, coercion or violence” was a fundamental human right.

“[Everyone should have the right to] be free from anyone else making personal decisions about sexuality and reproductive matters, and to access sexual and reproductive health information, education, services and support,” she said.

“These egregious forms of reproductive violence have no place in a civilised world, and yet remain lawful in this country.”

She said Australia was “a wealthy country that still allows practices such as forced sterilisation, forced abortion, forced contraception and menstrual suppression”.

“This is nothing short of shameful,” she said.

The latest statistics on forced sterilisation from the Australian Guardianship and Administration Council show there were nine forced sterilisations in 2020-21.

Frohmader said women with disabilities were put on long-acting reversible contraceptives (Larc) for years or decades longer than they should be, which can lead to osteoporosis.

“One woman, 47 years old, complaining constantly of lower back pain, is given Panadol. She had been on a Larc for 25 years and, of course, had never had a bone density test,” she said.

“After agitation, advocacy and intervention from our organisation, of course we got her a bone density test, and she was absolutely riddled with osteoporosis.”

The Australian Lawyers for Human Rights women and girls’ rights co-chair, Tania Penovic, said there was anecdotal evidence that women who were assaulted or raped, or deemed incapable of looking after a child, were forced to have abortions.

Decisions on behalf of women with cognitive disabilities could be made by a “substitute decision-maker” or through a guardianship arrangement.

In January, the royal commission into violence, abuse, neglect and exploitation of people with disability published a report on supported decision-making, where the person with a disability has trusted advisers to help them make choices.

It proposed a framework around universal principles including dignity and risk, co-leadership and equal rights to make decisions, support and safeguards.

ALHR highlighted the “urgent need” to prevent forced sterilisation and contraception.

It called on Australia to “introduce national uniform legislation to ensure that the use of sterilisation, abortion and the administration of contraception can only be carried out with prior, free and fully informed consent”, and to “take immediate steps to replace substitute decision-making with supported decision-making and repeal all legislation that authorises medical intervention without the free and informed consent of the persons concerned”.

The committee will report in May.

[addictedbespoken]

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[hometoursandotherstuff]

I can see why. What a wonderful idea to bring them back. I hate when people put contemporary baths in Victorians when they have reproductions of the original fixtures. This is great, I'd want to live there, too.

[vintagerpg]

Henry Justice Ford is a curiously under-remembered artist of the golden age. He is most known today, if he is known at all, for his work illustrating all twelve volumes of Andrew Lang’s Fairy Books (fun fact: despite being known as “Andrew Lang’s Fairy Books,” Lang’s wife Leonora Blanche Lang selected and translated all but the first in the series, The Blue Fairy Book).

This is a fairly thorough collection of Ford’s work from Dover Books: Maidens, Monsters & Heroes (2010). Ford’s ink work is bold and intricate, his color work luminous and often combining surprising colors (perhaps a side-effect of the reproduction process). I tend to gravitate more toward his inks, perhaps because there are more monsters there (though that Chimera is pretty fab). Ford, of all of these artists, seems to have delighted in monsters. Especially reptilian ones, though he has talent for grinning demons and goblins, too. So many of his monsters are downright strange, too — look at that Scylla! WTF?! He has quite an array of giants, as well. Longtime readers may recall my enthusiasm for his Arabian cyclops, which featured on the cover of A Natural History of Unnatural Things.

Unlike the other artists I’m looking at this week, Ford has a direct influence on Dungeons & Dragons. That affable looking giant with the club is the clear inspiration for Trampier’s cloud giant illustration in the Monster Manual and I think generally you can see a lot of resonance between the two artists, particularly in terms of framing and posing. Tramp’s pseudodragon seems to have a lot of Ford in it.

A tremendous artist, flipping through any of his collections is like looking through a Victorian Monster Manual.

[english-history-trip]

Arthur Bourchier played the role in Shakespeare's Henry VIII opposite his real-life wife Violet Vanbrugh as Katherine of Aragon; it was not a promising omen for their marriage. Here's her gown, likely based on engravings now identified as Louise of Savoy:

Her necklace is a replica of one from a real portrait of Catherine:

The couple also appeared in a silent movie version of the play, one of the earliest screen depictions of Henry VIII and his queens:

I must take a moment to appreciate this incredibly detailed costume from 1911

[gothhabiba]

Nosferatu (2024)

I'll tell you right now that I'm going to call everyone by their Dracula names because I'm sorry but I don't know the proper ones

The camera angle when the first Germany part of the movie opens! you're so in the streets, so in the crowds. idk if that's the cinematography or just that I haven't seen a film on such a large screen in a long time?

The scenes with Count Orlac in the castle and how civil he is in his speech (demanding to be addressed by his proper title; forbidding Jonathan to leave but saying "you will stay as I advise," not e.g. "as I command"), and how thin but impenetrable that veneer of civility is. For "civility" read here all of its implications of "civilisation"

The first scene of the ship being in perfect profile, sailing on a sunny sea with picturesque clouds in the background, just like a painting!! like an Age of Sail painting, and all the things about aesthetics, colonialism, depiction-as-claiming-of-ownership, that that implies.

And then the next time you see the ship, it's storming, the camera pans in from over the stern and forward, the ship is rocking, it's much more down in it, the sunny idealism of imperialist fortune-making brought down to its gritty reality

The East As Contagion (free square)

Major missed opportunity to make the ship more explicitly imperialism-flavoured

Female Sexuality As Dangerous And Inviting Contagion (free square)

Lucy and Arthur already being married and having children, specifically her being pregnant again, Lucy and Arthur as "heterofuture" (after @metamatar), reproductive futurity, him being a shipman, their money being conspicuous and being from shipping--

then Mina having one of her episodes just as they're about to kiss, in the water, dress pulled up, legs open to the water (to the Contagion From The East), convulsing--! Inappropriate female sexuality (inadequately contained, inadequately future-oriented, the West as future, heterosexuality as future, female sequestration in the home to raise children who are also appropriately heterosexual as futurity) and how inappropriate female sexuality interrupts the heterofuture that Lucy & Arthur's almost-kiss represents.

Lucy being very light in colouring and lit so as to emphasise that fact, obsessively dressed in white and placed in all-white rooms, versus Mina being dark in colouring (I mean of hair & eyes) and dress, reproductive futurity as whiteness

The Insane Asylum piquing itself as morally upright, scientific, humane, modern, future-oriented institution; the doctor's "don't lock him [Renfield] up, we don't do that here"--and then of course he stays locked up and restrained, and more so than he was before the doctor spoke to him (so gently and kindly and civilly)

Renfield caressing a bird Dracula had given him and saying "master likes the pretty ones," Mina as bird, birds in cages as metaphor for Victorian womanhood and sequestration within the home, Jonathan saying immediately when the men plan to go hunt Dracula down that Mina isn't going

Something about the drunk (?) man gently banging his head against a wall whom they have to pass to get to Van Helsing's, and this coming on the heels of the scene in the asylum

Mina becoming poorly specifically when Jonathan leaves, her saying that she's unwell because he's gone, Lucy saying "and Jonathan leaving caused your..." and Mina finishing "melancholy." When, like, obviously what's being elided here is the idea that Mina is unwell because she's sexually unfulfilled, the Victorian idea that once a woman has sex she has to continue to or she'll become physically and mentally unwell--a series of ideas you may be most familiar with under the heading of "hysteria."

Mina talking about her "epilepsies," insert everything about Victorian medical science versus popular culture and how ambivalently epilepsy was treated as effectively demonic and uncontrollable on the one hand, or subjected to modernising theories of disease (including and especially mental illness) on the other hand--

which, obviously, the "science versus popular superstition" is a significant part of what animates this. I think they brought this out very well & maybe even a little too explicitly

The fact that it is Germany's (England's) "modern" and "scientific" ideas that allowed this to happen, when Nosferatu had grown weak in Transylvania because of the superstitions of the local populace and especially the "g*psies"--I have to think about it more but there's a countercurrent in there somewhere--expressing anxiety not necessarily on behalf of, but about, "Western" modernity and heterofuturity

That Mina x Jonathan sex scene was so good even & especially because of the demonic possession / doing-it-to-prove-a-point thing. they're so endlessly devoted to one another and I love them so much

Needed an intermission. really really needed an intermission

Just the sexiest Dracula adaptation ever. horniest by far, by far. yes, even including that other one, which really wasn't sexy or horny at all imo.

Whoever was involved in making this movie is very, very familiar with Victorian anxieties and motivations and rhetoric and very, very psychosexually disturbed. perfection

My girlfriend complained that all the sex was missionary-style but I think that worked perfectly. For one thing, think of "missionary" and all the colonial implications there. The implications of heterosexual reproduction specifically within marriage that it carries. Also the implications of domination that come with being physically on top of someone, and the fact that the way Nosferatu feeds on Jonathan bears close resemblance to the way he feeds on & has sex with Mina--

then Nosferatu apparently telling Mina that Jonathan was "pathetic" and "weak" and "womanish"--!!!!!!! And the image of spread legs (recall Mina's scene in the water, also Lucy after her death) as surrender. If all the sex and quasi-sex scenes weren't so formulaically heterosexual in this particular way, these parallels wouldn't work as well.

And speaking of Jonathan, it's also interesting that his seduction-by-three-brides-of-Dracula thing is cut out to emphasise instead Mina's seduction by Dracula. We don't get any of that reference to his "indiscretion" (with Mina holding his hand sympathetically, forgiving, perfect angelic Victorian wife) that we get in 1992.

Stupid ending. there is never a good or poetic or touching reason to kill the woman at the ending of a movie. it's always stupid. like I get that she sacrificed herself to save everyone and took agency by reversing things so that inside, within the home, within the bed was where the war was fought, and outside, with the men was just a diversion and I get that this is an intentional subversion of the Angel-in-the-Home bird-in-a-cage situation. I still think it's stupid.

When Jonathan kisses Mina's hand as she's naked, covered in blood, legs spread, covered by the body of Nosferatu, and he pulls away, and he's so covered in tears and snot and saliva and all those liquids make so many stringy trails in the backlit space between her hand and his face as he pulls away. so so so good.

the sound design was incredible

[captainuranium543]

Fairy tail headcanons nobody asked for part 3

For a place men aren't allowed, fairy hills seems to really hate enforcing that rule. Evergreen can regularly be found having movie night with the thunder legion, natsu and gray come over to train with erza once a week, bisca has had alzack over almost every night, nobody gaf tbh.

Cana straight up cannot play most card games, she's been cheating so long she doesn't even know the rules anymore just goes with what her magic tells her.

Erza is a real pain in the ass when she's sick. She can take such a ridiculous amount of damage and keep fighting but one cold and it's so over. She flip flops between insisting she's completely fine and being a pathetic Victorian child dying of the scarlet fever asking to be taken out to the garden to see the sun one last time.

Unironically they've had to get freed to put up jujitsu shiki to stop her from getting up so she could actually get some sleep

Natsu and lisanna used to play wolves I don't take criticism

Wendy is exceptionally good at pick pocketing and nobody knows where she got that skill. She can take things off while you're looking right at her and it's rly unnerving

Laki is the one always fixing the guild after fights and because of this she's actually one of the strongest maker wizards there are from the sheer practice.

Lucy has the most random knowledge. Growing up she spent a lot of time reading and would sometimes just pick a book and go without caring what it was about. She could tell you sooo much about the reproductive cycle of earth worms guys

Levy is extremely interested in magic just in general, as a science. Part of the reason she started using script magic was that it was rooted in almost all magic types.

[dumpcraft]

I finally finished my housewife/hussif from @terrorcamp and @haverkampink ‘s mending workshop. (I was fighting carpal tunnel syndrome and got defeated by stitching through all the layers on the actual day of the workshop. I ended up using the sewing machine on the edges to save my wrists and then hand stitched the ribbon binding over it.) I used lots of my Victorian era reproduction fabrics and some antique buttons. I did my darning practice on the top pocket but it was too distracting so I added the Peglar eye. I think I’ll really use it when taking portable sewing projects with me.

[pastorfutureletthembe]

"The show is about to start."

One more mention of being a spectator, an observer. The idea of the Manipulator implies that he doesn't get his hands dirty, he sends people in and watches how things unfold. He doesn't even look that involved, emotionally.

The settings on this screenshot makes it look like a guy watching the world through cameras, but the couch isn't facing the TVs, it's facing us. I think there is a recurrent theme in this fandom we easily overlook: the 4th wall. But let's put that aside for now and focus on his role as an active spectator, making his headcanons come true from the darkness of his basement.

On this countdown picture, he's watching the show, LIVE. The bouquet 💐 puts us on his trail: he's not watching a silver screen but an actual representation. If this is a theater, it also implies there is no do over for each scene, the comedians have to do it all in one go and this night will be like no other before and after, each show tragically unique for people only there to witness it.

And tonight, with a flower bouquet in his arms, he intends to meet his favorite performer (Lu Guang)!

Spiderworts symbolize enduring love, just like myosotis, but also immortality and moral authority. Its other names are Widow’s Tears and False Dayflower.

Interesting.

The former, reminds us of the black widow of course. This name is related to the female's bad habit of eating the male after mating. Cannibalism, you say? x) Why does it do it? Nutrition, of course. It enhances reproductive success. So it's only natural behavior, survival instincts. With the spider imagery comes the spiderweb metaphor, which is always efficient to express manipulation and hunter/prey relationship.

The later forces us to ask, what do you mean false? Dayflower is an actual flower, by the way, meaning reliability and trustworthiness. 👀 Coincidence that Liu Xiao's flower basically implies that he isn't reliable and trustworthy? I don't think so 😂 It also is a call back to the Devil tarot card meta I did last week saying he represents the antichrist, the one you choose to put your trust into for salvation but who's actually bringing you closer to your demise.

Apparently, in victorian floriography language, a man gifts spiderworts to another man to express esteem (X). Liu Xiao wants to make his feelings known, finally, and he's using flowers to do it. I feel like he has a very parasocial relationship with Lu Guang, though. He's pining hard, but Lu Guang never appears to be aware of him. Even in "The Eye", he's looking at the window while Liu Xiao is reading the same poem over and over again. This Shakespeare poem which, as mentioned in a previous meta, is about two lovers who must be separated for survival reasons. Waiting patiently for the end of the representation to make his presence/existence known hints on his penchant for theatrics as well.

All of this info is cool and all but what does it mean?

I truly believe that Liu Xiao is in awe of Lu Guang, might it be because of his abilities (and the creative way he might use them to save Cheng Xiaoshi), his achievements (that we barely know about) or his objective/motivation. Think of him as a scientist who bases his own research on his peer's work. Liu Xiao could very much be the mad scientist type, though lmao.

The fact Lu Guang's chess piece is a white Knight but Liu Xiao is kissing the black Knight in his PV? He's either delusional, thinking Lu Guang and he are the same, or he knows all of Lu Guang's dark secrets. As a stalker does, you know.

[see-arcane]

Seeing the Nosferatu and Creature of The Black Lagoon remake summaries reminds me that heterosexual Monster movie summaries are like "The intense and tragic and erotic encounter between a Lagoon creature/vampire/demon/victorian zombie and a woman he is infatuated with." When will the monster be the woman.

Seriously. So fucking seriously. The most I can think of off the top of my head are one-off bogeywomen who never brush the mainstream.

First off, monster women. Not sexy waifu vampire girl with baby fangs meets Average Everyman and they do kissing about it. Real monster women. Who are decayed, or ugly, or inhuman, or outright horrifying. Even just a visibly cadaverous revenant babe ala Warm Bodies' R or Lisa Frankenstein's Creature. Where are they? Where the hell are the actually monstrous monster women?

I know The Ritual has Moder the Jotunn and her badass giant chimera god utterly non-human look. She does some killing, as one does. But we only actually learn she was female from outside sources, not in the film itself. When Moder is referred to as 'a god' the assumption is male, rather than just calling her 'a goddess.' Feels like a cheat.

There's Jenifer from Masters of Horror, based off the comic from Creepy by Bruce Jones and Bernie Wrightson. Her whole deal is being 1) Unavoidably uncannily grotesque and 2) Capable of some depraved shit via simple violence or using her psychic ability to orchestrate some very very unpleasant intimate interludes (and tragic demises).

I know the V/H/S movies have gotten a good handful in, some Medusas and body horror babes, but always in the form of those brief one-shot anthology bits. There and gone. They had an exception with Lilith (the type who starts as Pretty Girl and transforms into Something Else) who appears in the first movie with "Amateur Night" and got her own standalone movie with Siren, which I thought was a really well done sexual/amorous horror story--one in which the woman is the unambiguous predatory monster seeking and assaulting a man as her human crush-target. ...And is also barely known to the horror community.

There's the nightmare shit that happened to the protagonist of Bite. The full movie is here. Do not--Do NOT--watch if you have any phobias to do with insects, disease, reproduction or slow transformative body horror. This is the daughter of Cronenberg's The Fly and The Metamorphosis' pure misery. Good god.

And...that's it. That is the full roster of visibly monstrous females on film I have in my memory.

Second thing: Romance. Human Guy and Monster Lady.

Literally the only thing that comes to mind is 1) Corpse Bride with the Most Hourglassed and Beestung Pout Lipped Cadaver You Have Ever Seen and 2) Spring (2014). The latter I haven't seen yet, but the premise is very clearly Legit Monster Babe and Smitten Lover. Kudos.

Everything else I've come across is just Hot Chick has Fangs and the guy is a guy. No genderswapped Beauty and the Beast. No scaly hulking Ladycreature of the Lagoon pining for a young man taking a swim. No eldritch/demonic horror-woman forming a relationship with a male admirer who has heart eyes despite (or because of) her power and monstrosity.

There is no equivalent of Nosferatu with a female villain being gruesome yet intoxicating to her young man victim.

There is no equivalent of Lisa Frankenstein or otherwise romantic fairy tale between a scary bogeywoman and a handsome--dare we dream, pretty--gentleman.

It simply does not happen in the mainstream and rarely if ever in the niche indie efforts.

And I'd ask why, but like. We know why.

Who wants to see a frightening woman as the powerful villain?

Who wants to see a frightening woman as a romantic partner?

Who wants to see a frightening woman?

[cannibalcaprine]

@septicake i need you to understand how fucking much i adore the image of a Maid Exhibit at the zoo

a reproduction of their Natural Habitat, a victorian-era mansion, but with some of the walls replaced with glass so visitors can look into the exhibit

the zookeepers will occasionally come in to mess things up, unmake beds, shatter pots, so the Maids can have their enrichment for the day

the glass has little signs telling visitors not to Awawa at the maids, since it stresses them out like wolves