Sexual assault among college students in the US has prompted debate about how to prevent and punish such crimes. Under Title IX and the 2011 Dear Colleague Letter from the Office for Civil Rights, universities are required to undertake the prevention, investigation, and punishment of sexually violent offenses on college campuses. However, the vast majority of victims do not report their assaults, whether on campus or to the police. The current study investigated the effect of victim reporting on perceptions of sexual assault. Two undergraduate samples, one from a small liberal arts college (n = 197) and another recruited using Amazon Mechanical Turk (n = 56), were randomly assigned to read a vignette of an alleged sexual assault including one of four reporting conditions: no reporting, reporting to on-campus administrators, reporting to law enforcement, or reporting both on campus and to law enforcement. Outcome measures included whether the participant believed an assault had taken place, measures of victim and perpetrator culpability, and scales measuring the extent to which the participant accepts rape myths (RMA) and believes in a just world (JWB). Results failed to demonstrate an effect of victim reporting type, but did find a significant effect of gender such that males blamed the victim more and were less likely to believe an assault had taken place than females. RMA also mediated this relationship, such that the effect of gender on perceptions was accounted for by differences in RMA. Implications and directions for future research are discussed.

A commonality in rape trials is that the legal system is colored by myths and norms – more specifically ‘rape myths’. These myths includes the perception of ‘men as more sex needing’, ‘rape victim brought the offense on themselves’ and so forth. A new law on sex crimes was introduced in 2005 in Sweden in order to create a stronger protection when it comes to rape and sexual assaults of different kinds – especially the removal of violence in child rape cases. Previous research conclude that rape myths are still routinely used at trial in adult rape and sexual assault cases. Rape myths in court often relates to a specific ‘rational’ behavior as the ‘normal’ or ‘right’ way to act, which relates to a masculinized view of reasoning colored by the patriarchal society. The overall purpose of this paper is to examine how rape myths appear in trials involving children; if children are viewed in the same way as adults according to these myths in rape cases – or differently, and how these myths are manifested. Also, a certain focus is on gender similarities and differences when it comes to rape myths. The paper is based upon 20 Swedish court cases from 2005 to 2017. Five cases within each group of victims: girls, boys, women and men. The thesis uses critical discourse analysis along with feminist studies to analyze these rape myths. This study shows that rape myths also are used in child rape cases, and thus, that children are no exception. Moreover, victimized females are often found in a disadvantaged position within court, as opposed to males. Girls seem to be most disadvantaged due to their position as both young and female. The results further indicates that legislation can be a useful tool to create rape myth busters.

MEDEIROS, Jonas Torres. Mito, símbolo e imaginação: um percurso a partir da hermenêutica de Paul Ricoeur. 2015. 134f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Filosofia, Fortaleza (CE), 2015. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-02-21T16:00:21Z No. of bitstreams: 1 2015_dis_jtmedeiros.pdf: 1036844 bytes, checksum: 9adcde4fa69db0f9dc0cfa2298dfb171 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-03-03T11:03:46Z (GMT) No. of bitstreams: 1 2015_dis_jtmedeiros.pdf: 1036844 bytes, checksum: 9adcde4fa69db0f9dc0cfa2298dfb171 (MD5) / Made available in DSpace on 2017-03-03T11:03:46Z (GMT). No. of bitstreams: 1 2015_dis_jtmedeiros.pdf: 1036844 bytes, checksum: 9adcde4fa69db0f9dc0cfa2298dfb171 (MD5) Previous issue date: 2015 / The guiding principle of this work is the relationship between myth, symbol and imagination in the philosophical hermeneutics of Paul Ricoeur. The consideration of these themes is supported by the major works of the philosopher published in the 1960's: La Symbolique du Mal (1960), De l'interprétation: essai sur Freud (1965) and Le conflit des interprétations: essais d'herméneutique (1969). The analysis of these works leads, from an interpretation of multiple symbols and myths of evil in various religions and cultural traditions, to a new understanding of imagination and subjectivity. The research aims to show how the philosophy proposed by the author refereed the different and sometimes conflicting hermeneutics approaches around the problem of the symbol. Since the beginning of his itinerary, Ricoeur makes clear its link with two cultures that are, according to him, the first layer of our philosophical memory: the Greek and Jewish culture. More precisely, the meeting of the Jewish source with the Greek origin is the the fundamental intercession and founder of our culture. The Jewish source is the first other of philosophy, his closest other. Our investigation is motivated by the expression as soon as dense and emblematic coined by Ricoeur at the conclusion of La symbolique du mal (1960): “the symbol causes us to think”. With this maxim, explains the symbol as a means of access to a renewal of the reflective philosophy. This route becomes effective by a detour: in fact, the first truth of the philosophies of consciousness — I exist, I think — can only be achieved through a long detour, as far as the Cogito was objectivated: his works, actions, representations and institutions. The decipherment of this objectification reveals the understanding of the self. The research shows that a philosophy of reflection does not identify with a philosophy of consciousness, if by consciousness we understand the immediate consciousness of self. Hence the need for mediation, scope where the symbols are located. The conscience, then, wouldn't be a datum, but a task. The research proposal also tries to assess the confrontation between the critique of Freud and symbolic analysis of evil through a critical reading of the book De l'interprétation: essai sur Freud. This step leads to the point where the archaeology of Freudian Cogito, allied to a teleology of the self, provide a dialectical mediation to the conflict of two rivals hermeneutics: the hermeneutics of suspicion (or reduction) and the hermeneutics of restoration. Finally, evaluates the conception of imagination that emerges of the war of interpretations, assessing the role that a theory of the imagination can play as an element which reveals the articulation and coherence of the author's philosophical itinerary. / O fio condutor deste trabalho é a relação entre mito, símbolo e imaginação na hermenêutica filosófica de Paul Ricoeur. A reflexão sobre esses temas ampara-se nas principais obras do filósofo publicadas na década de 1960: La Symbolique du Mal (1960), De l'interprétation: essai sur Freud (1965) e Le conflit des interprétations: essais d'herméneutique (1969). A análise dessas obras conduz, a partir de uma interpretação dos múltiplos símbolos e mitos do mal em diversas religiões e tradições culturais, a uma nova compreensão de imaginação e de subjetividade. A pesquisa visa mostrar como a filosofia proposta pelo autor arbitrou as diferentes e por vezes conflitantes abordagens hermenêuticas em torno do problema do símbolo. Desde o início de seu itinerário, Ricoeur deixa claro seu vínculo com duas culturas que constituem, segundo ele, o primeiro estrato de nossa memória filosófica: a cultura grega e a judaica. Mais precisamente, o encontro da fonte judaica com a origem grega é a intercessão fundamental e fundadora de nossa cultura. A fonte judaica é o primeiro outro da filosofia, seu outro mais próximo. Nossa investigação é animada pela expressão tão breve quanto densa e emblemática cunhada por Ricoeur na conclusão de La symbolique du mal (1960): “o símbolo dá que pensar”. Com essa máxima, explicita-se o símbolo como via de acesso a uma renovação da filosofia reflexiva. Essa via se efetiva por um desvio: de fato, a primeira verdade das filosofias da consciência — existo, penso — só pode ser atingida através de uma via longa, um desvio, até onde o Cogito se objetivou: suas obras, ações, representações e instituições. A decifração dessa objetivação é que revela a compreensão do si. A pesquisa mostra, portanto, que uma filosofia da reflexão não se identifica com uma filosofia da consciência, se por consciência entendemos a consciência imediata de si mesmo. Daí a necessidade de mediação, âmbito onde se situam os símbolos. A consciência não seria, então, um dado, mas uma tarefa. A pesquisa proposta tenta, ainda, avaliar o confronto entre a crítica de Freud e a análise da simbólica do mal, através de uma leitura crítica do livro De l'interprétation: essai sur Freud. Essa etapa nos conduz ao ponto em que a arqueologia freudiana do Cogito, aliada a uma teleologia da consciência de si, fornecem uma mediação dialética para o conflito de duas hermenêuticas rivais: a da suspeita (ou redução) e a da restauração. Por fim, avalia-se que concepção de imaginação emerge dessa guerra das interpretações, discutindo o papel que uma teoria da imaginação pode desempenhar como elemento que revela a articulação e a coerência do itinerário filosófico do autor em estudo.

NUNES, Bruna Fontenele. O escritor numa casca de noz: Lima Barreto e Osman Lins nas trincheiras do campo literário. 2017. 135f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-10-05T11:42:53Z No. of bitstreams: 1 2017_dis_bfnunes.pdf: 944922 bytes, checksum: 0724d9219a76b81c3973524cd9fbe5b2 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-10-05T14:46:50Z (GMT) No. of bitstreams: 1 2017_dis_bfnunes.pdf: 944922 bytes, checksum: 0724d9219a76b81c3973524cd9fbe5b2 (MD5) / Made available in DSpace on 2017-10-05T14:46:50Z (GMT). No. of bitstreams: 1 2017_dis_bfnunes.pdf: 944922 bytes, checksum: 0724d9219a76b81c3973524cd9fbe5b2 (MD5) Previous issue date: 2017 / The reader can find on Guerra sem testemunhas (1969) the lines that compose Osman Lins´ writing. Those lines seem to indicate a simulated truth, inside the Avalovara (1973) author´s literary project, which is, the irreparable loneliness that comes from those who express themselves through the word. The inability to communicate becomes, then, necessary condition in the writing business. Similarly to what Foucault tell us about the insane speech, the writer´s speech needs to find itself disassociated from that language which reins the immediate life, that legitimate the consecutive actions directed to useful means, and employ a battle which only glory is, maybe, keeping the dignity. About this choice, there is an incontestable similarity between the moral imperatives that justify two fictionists, apparently radically different from each other: Osman Lins e Lima Barreto. This work has as its goal to analyze the congruencies between those two authors´ writing on which they seemed to meet, without leaving at side those aspects that last and shine in each writing. To achieve this goal, we arm ourselves with the reflections that come from philosophers and literary critics that came before us, such as: Jean-Paul Sartre, Pierre Bourdieu, Antonio Candido, Roland Barthes, Gaëtan Picon, Michel Foucault, Étienne de La Boétie, José Murilo de Carvalho, Nicolau Sevcenko, Leyla Perrone-Moisés, and many others. The first chapter of this dissertation presents a brief debate about the motivations and the discussions between those authors inside the literary field, having as background the argumentative lines from the Guerra sem testemunhas author, Osman Lins. At this stage, we observe the literary field´s peculiarities, in relation to other fields of power, to, shortly thereafter, investigate the Brazilian literary field. From the understanding of the rules of the “field”, exhaustively acquired by Pierre Bourdieu, on his As regras da arte (1992), we question the position occupied by some notable writers from the begins of the last century, to identify Lima Barreto e Osman Lins´ trenches. The second chapter reacquires the Sartre´s concept of negativity to clarify how Lima Barreto´s option for an engaged language directed him to an irreversible loneliness, transmuted in his fiction. Before realizing the hermeneutic job of Vida e morte de M.J. Gonzaga de Sá (1919), we concede to the reader a scenery that makes it possible to see the carioca fictionist´s literary project essentials. Through the acknowledgment of those pieces, we take the reasons that made Barro´s writing a representation of the contradictions of his time. The third chapter is dedicated to the meeting between those authors. As we did in the second chapter, we evaluate and debate Osman Lins´ literary project, at his phase before Nove, Novena (1966), work that signs his break from the traditional narratives, highlighting how the personal mythologies from the Pernambuco´s author helped to build his writing. The romance, which is the object of our studying and interpretation, is O fiel e a pedra (1961). About this narrative, Bernardo Cedro fights against Nestor´s tirany, similarly to Osman Lins, who, at many opportunities, refused to give in to the resources enjoyed by those inside and outside the literary power. Our main goal is to survey the unsuspected similarities between Osman Lins e Lima Barreto. / Em Guerra sem testemunhas (1969), o leitor poderá encontrar os fios que tecem a escritura de Osman Lins. Essas linhas parecem direcionar-se para uma verdade simulada, no interior do projeto literário do autor de Avalovara (1973), qual seja, a solidão irreparável daquele que se exprime pela palavra. A incomunicabilidade se torna, portanto, condição necessária no ofício de escrever. À semelhança do que nos diz Foucault a respeito do discurso do louco, o discurso do escritor precisa achar-se dissociado daquela linguagem regente da vida imediata, que legitima a consecução das ações destinadas a fins úteis, e empreender uma batalha cuja única glória é, talvez, a conservação de sua dignidade. Há, nessa escolha, uma similitude inconteste entre os imperativos morais que justificam a obra de dois ficcionistas, em aparência de todo dessemelhantes: Osman Lins e Lima Barreto. Este trabalho tem por objetivo analisar as confluências entre as escrituras destes autores, nas circunstâncias em que eles se observavam imiscuídos, sem, contudo, deixar de resguardar aquilo que perdura e reluz em cada escritura. Para tanto, nós nos valemos da contribuição reflexiva de filósofos e de críticos literários que nos antecederam, são eles: Jean-Paul Sartre, Pierre Bourdieu, Antonio Candido, Roland Barthes, Gaëtan Picon, Michel Foucault, Étienne de La Boétie, José Murilo de Carvalho, Nicolau Sevcenko, Leyla Perrone-Moisés, entre outros nomes. O primeiro capítulo da dissertação apresenta um breve debate acerca das motivações e dos embates dos escritores dentro do campo literário, tomando por base algumas das linhas argumentativas delineadas por Osman Lins em Guerra sem testemunhas. Nesse estágio, observamos as particularidades do campo literário em relação aos outros campos de poder, para, em seguida, analisarmos o campo literário brasileiro. A partir do entendimento das regras do “campo”, exaustivamente perquiridas por Pierre Bourdieu, em As regras da arte (1992), nós questionamos as posições ocupadas por alguns escritores notáveis do início do século passado, a fim de localizar as trincheiras de Lima Barreto e Osman Lins. O segundo capítulo retoma o conceito sartreano de negatividade com o propósito de esclarecer como a opção de Lima Barreto por uma literatura engajada o conduziu a um isolamento irreversível, transmudado em sua ficção. Antes de realizar o trabalho hermenêutico de Vida e morte de M.J. Gonzaga de Sá (1919), concedemos ao leitor um cenário que lhe possibilita avistar o essencial do projeto literário do ficcionista carioca. Por intermédio do conhecimento dessas peças, depreendemos algumas das razões que fizeram da escritura barretiana uma representação das contradições de seu tempo. O terceiro capítulo é dedicado ao encontro entre os ficcionistas. Assim como fizemos no segundo capítulo, avaliamos e discutimos o projeto literário de Osman Lins, em sua fase anterior a Nove, Novena (1966), obra que assinala seu rompimento com as narrativas tradicionais, destacando de que maneira as mitologias pessoais do escritor pernambucano contribuíram para forjar sua escritura. O romance, objeto de nossa análise e interpretação, é O fiel e a pedra (1961). Na narrativa, Bernardo Cedro se insurge contra a tirania de Nestor, de maneira similar a Osman Lins, que, em diversas oportunidades, se recusou a ceder às facilidades de quem comunga com o poder dentro e fora do campo literário. Nosso intento fundamental é perscrutar a similitude insuspeita entre Osman Lins e Lima Barreto.

This study is an investigation of how exposure to different media content influences self-objectification, body image, and rape myths acceptance (RMA) in female college students. The purpose of this study was to further explore the effects of immediate media exposure on body image, self-objectification, and RMA, as well as address the gap in the literature regarding the relationship between these variables (Dakanalis et al., 2015; Fox et al., 2015). One hundred and one students that identified as female were randomly assigned to three experimental conditions using a partially blind design. The students watched a short video pertaining to the condition they were assigned (i.e. sexualized content, consent content, control content) and then completed a survey, which included measures of self-objectification, negative body image, positive body image, rape myths acceptance, and demographic variables. Results indicate here was no difference between self-objectification, body image, and RMA scores among participants that were assigned to different experimental conditions. Body image was found to be directly related to RMA, and there was a difference in RMA scores among participants that remembered the university training and those who did not. The present study’s finding expands the knowledge of body image and RMA, and supports the need for interventions targeting attitudes and beliefs regarding rape and consent in college female students. Key words: media, self-objectification, body image, rape myths acceptance, college students.

A presente pesquisa investiga atravÃs de uma perspectiva hermenÃutica de vertente comparatista a elaboraÃÃo discursiva das memÃrias da infÃncia presentes na novela ÃrfÃos do Eldorado (2008) de Milton Hatoum. Nessa novela, as imagens dos mitos amazÃnicos surgem em meio a uma estruturaÃÃo narrativa que remete ao relato oral e dessa forma configura uma obra ficcional em que a forma e o conteÃdo tornam-se um binÃmio indissociÃvel e harmÃnico. A intertextualidade tambÃm se expressa no nÃvel formal quando os sentidos implÃcitos Ãs narrativas mÃticas sÃo referendados no relato confessional da infÃncia da personagem Arminto Cordovil que conta sua histÃria, reconstrÃi sua memÃria e, logo, elabora uma face de sua identidade. Quando a memÃria se transforma em relato, surge o pacto com cada leitor que toma seu lugar e escuta a trajetÃria da personagem, delineada na velocidade e na ambivalÃncia permitidas pela lembranÃa, a qual reconstrÃi a infÃncia que marca a importÃncia da origem do tempo primordial. O diÃlogo entre os mitos e o cotidiano e entre a oralidade e a escritura revela que a busca pelo Eldorado se re-configura na eterna busca humana pela legitimaÃÃo de seus desejos e sonhos, sonhos estes voltados à transcendÃncia da realidade comum para alcanÃar o paraÃso perdido. Em meio à multiplicidade Ãtnica de Manaus o tempo dos mitos e o tempo histÃrico se conjugam em sua essÃncia formal e temÃtica e dessa forma observamos o surgimento dessa Cidade Encantada de Milton Hatoum. O mito particularizado à ao mesmo tempo universal e uma vez rearticulado no texto contemporÃneo torna-se tradutor de conflitos humanos modernos e atemporais

Magie, monstres, vampires, héros, les images de l’extraordinaire sont omniprésentes et fascinent le grand public. Des librairies qui ouvrent à minuit pour la sortie du dernier Harry Potter, des cinémas bondés pour le dernier volet du Hobbit, des manifestations culturelles de plus en plus importantes, une forte expansion des jeux de rôles, ne sont autre que les indices sociétaux d’une évolution des nouvelles manières de vivre la quotidienneté, le présent. En constante mutation, ces « genres fictionnels de l’imaginaire », comme nous les nommons, ont pénétré de multiples sphères de la vie des individus. Dans cette perspective, nous nous attacherons à analyser et comprendre l’intérêt des publics pour ces genres, ce qu’ils suscitent, tant au niveau individuel que collectif. Nous nous positionnerons dans le cadre d’une sociologie compréhensive et utiliserons certains éléments de compréhension fournis par la sociologie de l’imaginaire notamment dans ce qu’elle apporte à l’étude du présentéisme et de l’être ensemble. / Magic, monsters, vampires, heroes, the representations of the extraordinary are pervasive and fascinate the crowd. Bookshops that open at midnight for the release of the last Harry Potter, crowded cinemas for the last movie of the Hobbit trilogy, growing cultural manifestations, role playing games and more, are only symptoms of a societal evolution of new ways to live in our era. In constant mutation, these “fictional literary genres of the imaginary”, as we call them, have penetrated many spheres of people’s lives. In this perspective, we will try to analyze and understand people’s interest for these genres, what they evoke in people’s minds at an individual level and at collective one. We will study this topic in a comprehensive sociology and will use some comprehension elements supplied by the imaginary sociology especially in what it brings to the study of presenteeism.

Rape is a highly prevalent crime, and it is one of the most severe traumatic events experienced by women. Previous researchers have found that, unlike other crimes, blame attribution in rape cases is inconsistent and influenced by many external elements (Bieneck & Krahe, 2011; Grubb & Turner, 2012; Masser, Lee, & McKimmie, 2010; Stewart & Jacquin, 2010). In this study, the influence of willing substance use and race on attribution of blame from a sample of 316 undergraduate students attending a large, Southeastern, public, urban university was examined. More specifically, results from this investigation described how the type of substance (alcohol, marijuana, and heroin) consumed by female survivors and survivors’ race/ethnicity (Black, Hispanic, and White) influenced the level of blame assigned to them. Additionally, the researcher explored the interactive effect of the drug type and survivors’ race. The results of the analysis of variance (ANOVA) revealed that both survivors’ substance use and race significantly influenced blame attribution. Survivors who consumed alcohol prior to the assault were blamed more than survivors who used heroin or marijuana and survivors who did not consume any substances. Regarding the influence of survivors’ race/ethnicity, White female survivors were attributed significantly higher levels of blame than Black and Hispanic female survivors. In addition to the examined conditions of substance use and race/ethnicity, the results of this study indicated that observers’ demographic characteristics influenced blame attribution as well. Observers’ gender, race, and knowledge of a person who has survived rape were all significant factors effecting attribution of blame.

La peinture de Rubens est hantée par la mythologie, et parmi les légendes les plus récurrentes figurent celles qui mêlent l'œil au désir, à la jouissance. Alors la peinture propose au spectateur, avec la puissance de l'esthétique baroque et les reliquats de la renaissance italienne, une image qui relève de la pulsion scopique, c'est-à-dire une image forte et séductrice, dans laquelle le regard du peintre et celui du spectateur sont habilement mis en abîme par les récits, et absorbés par les dispositifs picturaux. Les regards, dont il est question dans le mythe comme face au tableau, se posent toujours sur des corps nus ou interdits, comme attirés sans pouvoir résister à l'appel érotique. Et cet appel érotique du corps joue dans les sphères baroques, oscillant toujours entre la jouissance de voir l'interdit et le prix à payer pour cette transgression cannibale. Tous les tableaux mythologiques de Rubens parlent de cette ambivalence du regard: Narcisse, Vénus, Méduse, Orphée, Psyché, Actéon entre autres, métaphorisent la pulsion scopique dans ses différentes modalités, pulsion ressentie par tout être fait de chair et de sang dont font partie, bien sûr, Rubens et le spectateur de son œuvre. C'est le principe de sa peinture: montrer, voiler, métamorphoser et susciter la curiosité érotico-esthétique. Alors les pôles du baroque se définissent entre Eros et Thanatos, entre pulsion de vie et de mort: tout concourt à exalter la puissance du regard désirant, la force érotique et picturale d'un corps, ses effluves funèbres ou lumineux, à l'image d'Apollon et Dionysos. L'analyse esthétique de ces questions se fait sous l'éclairage de l'observation plastique des toiles de Rubens, de l'apport littéraire, poétique, psychanalytique, sous le regard d'auteurs, d'artistes classiques et contemporains qui portent ou préfigurent les traces subtiles de la peinture scopique de Rubens. / The Rubens’s paintings are haunted by myths and allegories linked with the eye and the urge. In all these fantastical stories, the male desiring eye is a recurrent motif ; the woman’s nudity is most of the time the main actress, exuberant or hidden, made of light or dark side. Authorized women or forbidden fantasy, sister of Apollon or Dionysos. The baroque eye fathers that kind of look, between these two poles, two twin visions, hesitating between an extreme pleasure to see and an extreme pain to have seen. Yes the erotic is often a secret body, sweet, quiet or a forbidden sight which teach us that the death is prowling around the voyeurs. Narcissus and his reflection ; Orpheus in the darkness of the underworld, desperatly looking for Eurydice ; Venus, Diana or Bethseba and their cohort of lovers ; Acteon, his erotic vision and his macabre metamorphosis ; Medusa, the horrifying goddess and her petrifying eye ; Pan, Cyclope and their cannibal look ; the satyr and his eye full of concupiscence ; Psyche and her sweet vision ; the quiet and nude nymph, watched by her timid lover… All those myths incarnate the ambivalence of the eye, the metamorphosis of the artist’s look, the ambiguity of your own eye, of course, in front of the painted image. The aesthetic analysis of the desiring eye in Rubens’s works needs differents approaches, like complementary visions : pictorial, historic, poetic, literary, psychoanalytical, with, when it is powerfull and fertile, the intrusions of others painters and poets, from the italian renaissance to the modern and contemporary aesthetic.

There is a problem with attitudes that blame the victim of sexual assault: these attitudes are widespread and show popular adhesion to assumptions about rape that have been criticized and combatted by feminists. These assumptions are known as “rape myths.” It is important to look at the role newspapers play in contemporary discourse around rape and the extent to which they reproduce rape myths or, alternatively, incorporate a feminist critique. This research examines how sexual assault is constructed in three English-language newspapers, The Toronto Star, The Globe and Mail, and The National Post in the year 2012. Using qualitative content analysis, themes of rape myths and the presence of feminist discourse are categorized. The power of language when describing rape in the media is recognized and a description of rape-supportive culture, within a feminist theoretical framework, is provided. The ultimate aim of this research is to identify and challenge myths and stereotypes surrounding rape as well as identify possible feminist discourse on rape in print news media in Canada.