Whipped
Nux asinus mulier verbere opus habent.
© 2013, Andrew Conway. All rights reserved.
Nose Ring
“Do not move,” commanded the leather worker.
I felt the back of the claws of the punch enter my nostrils, distending them. There was a tiny, sharp click. Tears burst into my eyes. I felt acute pain for an instant, and then a prolonged, burning, stinging sensation.
Everything went black, but I did not faint, held in position by the guards.
When I opened my eyes, blinded with tears, I saw the leather worker approaching my face with a tiny, steel ring, partly opened, and a pair of pliers.
As I was held he inserted the ring in my nose. It was painful. Then, with the pliers, he closed the ring, and turned it, so that its opening, where the closed edges met, was concealed within, at the side of the septum.
I began sobbing with pain, with misery and degradation.
John Norman, Captive of Gor
© 2013, Andrew Conway. All rights reserved.
Puppet Master
Every time you look at me
I’m as helpless as can be
I become a puppet on a string
You can do ‘most anything with me
All you do is touch my hand
And your wish is my command
I become a puppet on a string
You can do ‘most anything with me
© 2013, Andrew Conway. All rights reserved.
Hanging Hogtie
Yes, it’s uncomfortable, but it sure is cute.
© 2013, Andrew Conway. All rights reserved.
Tiptoe
Just a little contact with the ground left, and soon that will be gone, too.
© 2013, Andrew Conway. All rights reserved.
Object
Objectification is a notion central to feminist theory. It can be roughly defined as the seeing and/or treating a person, usually a woman, as an object. In this entry, the focus is primarily on sexual objectification, objectification occurring in the sexual realm. Martha Nussbaum has identified seven features that are involved in the idea of treating a person as an object:
- instrumentality: the treatment of a person as a tool for the objectifier’s purposes;
- denial of autonomy: the treatment of a person as lacking in autonomy and self-determination;
- inertness: the treatment of a person as lacking in agency, and perhaps also in activity;
- fungibility: the treatment of a person as interchangeable with other objects;
- violability: the treatment of a person as lacking in boundary-integrity;
- ownership: the treatment of a person as something that is owned by another (can be bought or sold);
- denial of subjectivity: the treatment of a person as something whose experiences and feelings (if any) need not be taken into account.
Rae Langton (2009, 228–229) has added three more features to Nussbaum’s list:
- reduction to body: the treatment of a person as identified with their body, or body parts;
- reduction to appearance: the treatment of a person primarily in terms of how they look, or how they appear to the senses;
- silencing: the treatment of a person as if they are silent, lacking the capacity to speak.
© 2012, Andrew Conway. All rights reserved.
The Inn Sign
There was the Sign of the Bear and the Sign of the Anchor, and the Sign of the Crossed Swords, but by far the most magnificent was the gilded Sign of the Lion, hanging high over a vast carriageway and under three stories of deeply cut leaded windows. But the most startling detail of all was the body of a naked Princess swaying beneath the sign, bound with her ankles and her wrists together on a leather chain, so that she hung like ripe fruit from the shingle, her naked red sex painfully exposed.
It was exactly the way that Princes and Princesses had been tethered in the Punishment Hall at the castle, a position Beauty had never suffered and that she dreaded most of all. The Princess’s face was fixed between her legs only inches above her swollen and mercilessly revealed sex, and her eyes were almost closed. When she saw Mistress Lockley she moaned and wriggled on the chain, straining forward in supplication, just as the punished Princes and Princesses had done in the Hall of Punishments.
Ann Rice, Beauty’s Punishment
© 2012, Andrew Conway. All rights reserved.