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A 15-year-old war orphan is abducted by an elderly woman and her spinster daughter, stripped, beaten and locked in an attic – or so she claims. The plot of the popular 1940s crime novel The Franchise Affair was based on an 18th-century case. Sarah Waters on an intriguing tale of class, fear and sexuality
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Considering this general representational practice, the rare cases in which Star Trek does not follow its own rule deserve particular attention. One such exception is that Star Trek addresses one, and only one, ethno-racial group directly—Native Americans. In his The White Man’s Indian: Images of the American Indian from Columbus to the Present,Robert Berkhofer’s proceeds from the premise that “Native Americans were and are real, but [that] the Indian was a White invention and still remains largely a White image, if not a stereotype.”5 to trace the trajectory of that image from the first colonial encounters to 20th century cultural productions. His analyses provides a frame of reference to judge how far Star Trek’s representational practices perpetuate or challenge a traditional image-making which, as Berkhofer outlines, has been heavily involved in the colonial business of dis-empowering the Other.
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I am a sex worker. I respect the integrity of my body. Those two statements are not in opposition to each other.
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However, just as women must be the primary voices in feminism and women's issues, sex workers must be the primary voices in sex workers rights, and in sex worker issues and legislation. It's as simple as that. If you're promoting the words of a non-sex worker whose work is constantly objected to by sex workers across this country (indeed, around the world) over the words and preferences of those actual sex workers, then yes, you are doing it wrong.
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[comments also very worth reading] Treating a disability as symbolic of a deeper spiritual or psychological state is another way of "othering" a person: they're not of this world, they're a "gift from the angels" (something you often see in television "human interest" stories about families caring for disabled children); they're not real people — they're metaphors for the "rest of us."
