Foreword: When Feminism Meets BDSM
At the end of the film, Secretary Li is sitting in the office of the boss, Gray, wearing a wedding dress, with his hands on the table, and waiting for the "master" to return. Many people come to dissuade him. One of the women suggested that Lee read "Women's Suffering." We seem to be able to hear her unspoken question: as a woman, instead of fighting for your rights, you are eager to be ruled and ordered by men - why don't you wake up?
Although some people continue to think that masochistic lovers are disgusting, some viewers will realize the inappropriateness of this question, and then defend the heroine: "BDSM is just a role-playing game, not abandoning one's personality to become a vassal! The Lord is voluntarily abused because of her fetishes, she is so cool! I don't think there is any problem!"
Although the criticism of "Women being m is against women's liberation" is rude and unacceptable, the issue of the collision between feminism and BDSM has a noteworthy background. "Secretary" is set in the 1970s and 1980s, when the American feminist movement was still in use. When women experience domestic violence, workplace discrimination, stigma, and sexual harassment without institutional protection—they don’t want to be silent anymore! The vigorous McKinnon anti-porn feminist movement made society the first legal torture of BDSM in the corner.
When people asked about the boundaries of women being abused and harmed in BDSM, the SSC (safe, sane and consensuαl. Safe, Reasonable, Consent) principle was introduced in the 1990s, which standardized the BDSM community code and handed over a temporary answer to the public. . In this way, female M can declare that she is not a victim, that their "coercion" is active, and that they have reached a contract with the abuser before the interrogation to carry out "informed consent transfer of power". However, anti-pornists still do not recognize the subjectivity of the abused: how do you prove that you maintain the will of the subject in a controlled state, thus maintaining the validity of this "empowerment"?
Even today, the network's attention and criticism of BDSM continues. The practice of BDSM among cisgender homosexuals is less subject to public questioning about gender oppression. The abuse of women and men and the practice of fourth love, which have gradually entered the public eye, are regarded as the subversion of the patriarchal order by the power of women. Female S/dom is often easy to be praised and accepted by women, but male M /sub will fall into the cultural shame of being "not like a man", so male switches often act as s/dom, but conceal their masochistic tendencies. In many BDSM relationships, male abusers and female abusers are often pushed to the cusp of suspected sexual violence because they push the pattern of male superiority to the extreme. Statements by women abused about their "volunteering" are often drowned out in a wave of "you're just going astray" criticism.
However, if the outside world continues to question female abusers with a condescending attitude, the answer they will get can only be ignorance-regardless of whether the public is contemptuous or not, BDSM activities happen every day. If researchers want to enter the field, they can only start from another path: we must first let female abusers speak for themselves and try to understand them, rather than rushing to judge their subjects are invalid - their BDSM practice itself is the subject's contribution to the normal society way of speaking. (Huang Yongmei, 2015) This point is especially agreed by the author.
From the perspective of a more metaphysical history of women, the issue of subjectivity is actually very simple: women are involved in this matter, and women are the subject. Women wrote the text themselves, and this is the voice of women. For researchers to record women's own logic, rather than fit her into someone else's interpretation template, this is to restore women's initiative. Of course, in specific research, we cannot think that what women say directly reflects their subject voice and needs, but need to pay attention to how social norms and power are embedded in the construction of such needs discourse. (Huang Yingying, 2017)
In addition, the author is thinking about whether women can take the initiative in masochistic practice, that is, whether the question of BDSM "who is pleasing to whom" can be understood as the interaction of discourse models in the drama script of masochistic fantasy.
Personal complex and diverse life experiences and fantasies, if you want to rise to a text with context through the language carrier, you must go through the process of being abstracted and summarized and the focus of the narrative. As a result, people stand in different perspectives, and their understanding of BDSM has formed various discourse models, promoting their dissemination and recognition. However, there is no necessary reason for shared identity between these models. Deleuze, for example, analyzes the connection between the story motifs of the widely influential Saddism ("120 Days of Sodom") and Masochism ("Venus in a Fur Coat"), arguing that they are entirely Two separate sets of stories and aesthetics developed by the two abusers/masochists. (Huang Yongmei, 2015)
Thus, it is easy to understand that if one were to formulate a set of "ideal" orthodoxy for the development of the BDSM community, there would be a competitive relationship between these discourse models. So, would the BDSM stories fantasised by female abusers have a different textual structure than those admired by men?
For example, the author of the original "Secretary" novel wrote another short story, "Romantic Weekend," about an abused woman seeking a playmate. The expectation in her mind about BDSM is to "lie between blue pom-poms and flowers", to try things that have never been done before in love, to be cared, connected and safe in being in control discourse. However, her fantasies do not match male playmates' penchant for "language humiliation" and "holy water." So the arrogant and rude counterpart picks up on her "manly" hairstyle and demeanor, and scolds her for not being a real masochist - real BDSM is what he claims to be.
Here, the author does not advocate that women do not have intense sexual fantasies, but wants to point out that women's voices need to be understood and heard. If you want to find the subjectivity of heterosexual female abusers in BDSM, you can cut in from here - refusing to let the discourse model of male perspective monopolize and discipline the fantasy and practice of the community - this is what I think is the response of feminism . This is of course not to say that male S can't implement fantasies and can only act as a "serving department" tool, but don't arrogantly take women's different needs as an affront to his authority. (Aren't you in the habit of offending women enough?)
Of course, as far as this article is concerned, the author did not enter the field of the BDSM community, but only observed the "sketching assignments" handed over by popular film and television stations to the BDSM subculture from the perspective of outsiders. The "Secretary" film portrays a heterosexual female abuser through a woman's first point of view. Next, we will hold the purpose of finding subjectivity and examine how effective it is in its implementation. Have women made their voices heard, and how does the ship of women's sexual fantasies sail in the vast ocean of patriarchal culture?
Occupation, Predicament and Sexual Desires——Walking out of the Symbolic Feminine Care
If we only look at the title of the film, and this hot poster with long legs and buttocks, the impression the "Secretary" movie gives us is that it is a third-rate film about office romance. However, its original novel is a feminist story. This makes the author think that it is necessary for us to carry out a layer of de-symbolization work before starting other discussions.
Our audience is so familiar with the red lips, OL dress, silk socks, high heels of female secretaries... The secretaries in the film and television are often young, beautiful, attentive and considerate women, as assistants and confidantes of the men in power. "Secretaries", like "Sister Kong", "Front Desk" and "Nurse", are tacitly regarded by the patriarchal culture as a profession suitable for femininity, and bear the lustful fantasies of countless men, as if they were born to be stared at. Sensation symbol. But when the women stared at you look directly into your eyes one by one, you can know their pain - how the professional identity of "secretary" is linked to the history of women being discriminated against in the workplace.
If we take a time machine and go to 19th century America, we can find the origin of the female secretary profession here. During the Civil War, the U.S. government had to hire women to fill the labor gap because of the large numbers of literate male clerks who participated in the war. Rural cottage industries and individual farmers have been eliminated by large-scale industries, and more women have left their homes and entered the cities, and then into the office work. However, these women face not only opportunities for development, but also invisible rules that cannot be escaped.
One is that women are paid less for equal work and have more limited career development space than men. We can see the typing training the heroine received in the "Secretary" movie, and her declaration that she likes boring work. American society in the early 20th century employed women primarily for shorthand and typing jobs, as well as secretaries, because women were perceived to be more tolerant of boring, non-creative jobs and careers that were difficult to advance. In the "Secretary" movie, we can also see women suffering from job-seeking obstacles: when Li went to apply for a secretary, Gray's first question came up, "Are you pregnant? Are you planning to become pregnant? Are you married?" These are the Workplace gender discrimination.
The second is that when women enter the office, they are scrutinized by sexual eyes and alienated as "others" in the occupational field dominated by men for a long time. When the recession and stagnant wages hit slow-moving male clerks, women can earn their own money and get exposed to men of higher status, undermining their courtship confidence. People create images of "gold rush girls" who use beauty to seduce their bosses and climb upwards, stigmatizing women in the workplace. They also glorified the offensive harassment in the office with fairy tales of female secretaries marrying their bosses, trying to argue that female secretaries' regrets in career advancement could be compensated through marriage. With the changes of the times, the career space of women has been greatly expanded, and the love story of the boss and the secretary is not easy to cause disgust. In the subsequent development of commercial film and television, it was classified into the popular routine of Cinderella and Prince Charming.
However, it should be pointed out that, although the film "Secretary" shows a romantic encounter, its story blueprint is beyond our expectations, telling a negative story of the boss sexually harassing the secretary.
The original novel of the same name is from the short story collection Bad BehАViour (Bad BehАViour, 1988) by the American feminist writer Mary Gaitskill. The collection of stories depicts a number of women experimenting with unconventional behavior. "Secretary" begins with a woman looking for a job. The heroine Debbie has no mental illness, but she was unable to break free from the repression and indifference of her family and work environment from beginning to end. After vague sexual contact/harassment by her employer's lawyer, she tolerated it silently, fantasized about developing a loving relationship with her in the future, and developed post-masochistic sexual impulses. However, the lawyer exacerbated her uncomfortable behavior, and she finally realized that the other party had no caring heart, and only regarded herself as the target of harassment. The previous sexual contact was clearly classified as sexual assault, and she felt annoyed that her dignity was being trampled on. Cold heart. As a result, the boss who punished the heroine for typing mistakes not only failed to become the heroine's partner, but also ended up with a negative image of moral corruption and being reported.
However, the novel does not simply denounce men's sympathy for women, but does a more meaningful work of desymbolization. It discards the practice of viewing female masochism within the dualistic framework of trauma or pleasure, acknowledging the complexities of female eroticism. Gateskill has criticized feminist "victim" discourses, arguing that they ignore the distance between actual personal experience and the principle of sexual consent. Debbie's persistent ambiguity about her relationship with her lawyer may be the antidote to what Gateskill sees as an oversimplification. (Estelle Noonan, 2010) Therefore, the concern of "de-symbolization" we discuss is not only to declare that women are not objects that can ignore their will and be objectified, but also to recognize that women are active subjects in sexual relations, rather than There are only powerless and vulnerable identities.
In contrast, the film adaptation is positive, romantic, warm, with fairy tales and utopias. Unlike Getskill's story - the identity of the "masochist" is loose and unformed, and women with desire are always in an incomprehensible loneliness. In the relationship shown in the film, Lee feels Gray's strong The attention and love of her heart, they formed a close bond. The secretary's work opens up Li's closed and empty spiritual world and enters into a colorful fantasy. Lee's magnificent masturbation scene connecting himself to the orchid is such a manifestation.
The male protagonist pollinates the orchid, and there is a clear sexual implication here. In American culture, orchids represent images of cherishing rare, elegant and delicate. For example, "The Great Gatsby" associates the heroine with orchids. For someone who has lived in a mental sanatorium for a long time and has a very low self-evaluation, this feeling of being cherished makes her happy and satisfied. We know very well that the heroine submits to Gray's sexual domination because she knows she enjoys being with this man. So despite her subsequent rejection, she tried to find another mate, but was ultimately determined to return to Gray.
However, under the setting that the male and female protagonists are "born as a couple", they still face challenges - this is the social and cultural examination of the BDSM relationship. The core involved is the discussion of whether BDSM is pathological.
Does Masochism Need Healing - The Secretary's Mainstreaming Reinvention of BDSM
In 2013, when the world-wide Diagnostic and Statistical Manual of Mental Disorders (DBDSM-V) removed BDSM tendencies — BDSM enthusiasts were finally no longer seen as deviant. However, for a long time, BDSM was discussed as a disease. People talk about sadism, masochism, like a mad bull running on the street, like a beggar in the dark who needs to be saved by the sun.
The "Secretary" movie, released in 2002, stood in the public's position, trying to prescribe a prescription, "cure" masochism with love, and create a mainstream and normalized narrative for BDSM practitioners to integrate into society.
First of all, "Secretary" adopts the "romantic comedy" type of film narrative, making the BDSM partner move towards an inevitable marriage. This discourse structure gives privilege to the role of "couple", indicating that couples within heterosexual marriages practice "good BDSM"; conversely, personal, masochistic BDSM behavior becomes "bad BDSM." (Walters, 2012) The film uses a "healing" narrative to show how Lee moved from isolation to society, forging career and love. It attempts to show that social institutions play a huge role in the recovery of mentally ill people. The perverse nature of Lee's sadomasochistic relationship with Gray was assimilated and purified through the institutional ritual of marriage. (Ruth Mcphee, 2014) However, some scholars believe that the film does not follow a single-line one-sided narrative. In the high tide of the film's "Food at the Table" plot, we can say that Lee bravely pursues love and tries to get Gray's love by eating absolutely nothing. Approval of love; it can also be said that Lee obeyed the orders of the ruler Gray in a fiercely masochistic way, showing his loyalty - thus, different narratives of a female biography coexist in the same time and space, It gives us a different perspective into it. (Estelle Noonan, 2010)
But, in reality, people in the BDSM community tend to have a different narrative about the relationship between BDSM and love. They don't feel that playing BDSM is a morbid deficiency, because the BDSM relationship itself is complete and dynamic enough to not need love to fill the gap that doesn't exist. Although a small number of people meet attractive objects in all aspects and move towards the superposition and balance of master-slave and couple/couple identities, they are not the mainstream situation after all. Many people believe that the pursuit of "pampering" love will damage the sense of pleasure that maintains the dignity of the master and slave; on the contrary, the sadism and control of BDSM will threaten the equal communication and harmonious support that a relationship requires. If a marriage with the BDSM partner is possible, then they will also give up the original master-slave relationship. Furthermore, they regard the search for a BDSM relationship as a free way of life, and they regard "resigning from the circle" and entering marriage and family after a certain age as a helpless compromise to reality.
Secondly, "Secretary" attempts to show how the abuser leads the abused person out of the psychological barrier and returns to the mainstream track of socialization. The premise of this design is that the masochistic fantasy has a pathological cause by default. We rarely see the screen portraying a daily positive and healthy ordinary woman to have BDSM masochistic fantasies and practices, and it seems that every battered person has childhood shadows - although sociological investigations prove this to be unfounded. In the film, we see Lee give up his self-mutilation habit at Gray's advice in favor of spanking that appears to hurt manageable. Subsequently, BDSM in the protagonist's love relationship is clearly expressed as a healthier alternative to self-mutilation. (Barker, Gupta and Iantaffi, 2007)
Thus, the film caters to the "healthy"/"harmful" binary that dominates medical discourse, thereby excluding BDSM practices that are radical and inconsistent with "normalization" issues, eschewing the Defined self-disability presents a similar situation. (Walters, 2012) However, from the perspective of self-injured individuals, they have a completely different understanding of the nature of wound-making. For example, a self-injured person sees the wound as a personal expression of relief, patience, or punishment, and does not want to be seen by others. The abused person may wear these visible marks as "badges of honor" and cherish them as reminders of desire. (Ani Ritchie)
In addition, some scholars have pointed out that the film also attempts to show a narrative of growth and progress, allowing Li to transform from an autistic and naive adult in a family to a confident professional girl in society. Afterwards, she gave up the childish genital masturbation and masturbation, and moved towards mature sexual love and masochism combining male and female genitalia. (Walters, 2012) The author agrees with the idea of discussing socialized growth, but she tries to apply Freud's theory to explain that the film shows that "vaginal intercourse is better than vaginal masturbation", the author disagrees very much. First, it's hard to explain Lee's lack of taste for vaginal sex with her boyfriend, Pete. Second, the sexual arousal mechanism of BDSM-inclined individuals should be considered differently. Li's fantasies were not originally centered on the "insertion" of vanilla sex: the order to eat Pacman for dinner, the superposition of secretary and obedient identities, slapping and reprimanding, all brought her sexual pleasure. The special thing about sexual intercourse is that it means that she is "used" to satisfy her master's desires and can prove her worth, which is an honorable reward. Thirdly, from the perspective of love, she can interpret her desire for vaginal sex as being able to have each other more intimately and unreservedly, but this does not mean that she will give up genital masturbation in the future.
In short, our heroine cannot escape heterosexual romance and the end of marriage, and the patriarchal narrative of being led to maturity by men. The narrative of healing the abused puts BDSM into an outdated pathological examination as a way of "fighting poison with poison" for self-mutilation. Today, we need to selectively embrace the "progressive" narrative presented by The Secretary, with outdated values defining what is good and what should be achieved in BDSM, while excluding the diverse and inclusive components of BDSM.
Deconstructing the Patriarchal Template with Femininity - A Metamorphosis of the Abuser/Badjudger Role
Although the film "Secretary" contains many stereotyped gender disciplines, it also reveals a certain sense of non-cooperation with the patriarchal tradition, which is prominently reflected in the de-templated relationship between the heroine Lee and the abuser Gray. .
Opening up popular film and television productions, we find that abusers are often portrayed as heterosexual male elites. These people have power, wealth, fame, tall and strong looks, tough characters. At the same time, they are still in full control of women in their sexual life. The logic of the film often assumes that the first few conditions lead to the last result. As a result, the film defines the abuser as a strong person with perfect "masculinity" in the context of gender, and believes that the female abuser's kneeling to them is a form of possession by the strong. Thus, the image of male abusers has evolved into a replica of the leadership role they are expected to assume by society. The domination of men in social life and the domination of sexual life form a superposition of symbols, and women fall into the identity trap of patriarchal appendages again.
We will find that such domineering president-style BDSM films always try to show the charm of the male protagonist several levels higher than the ordinary female protagonist, shining like a god. But in "Secretary," even though Gray is Lee's employer and seems to have given him a position of power over her, he is also portrayed as a fragmented and eccentric character no less than the heroine Lee.
We observed the first meeting of the protagonist. Gray bowed his head and combed the top of his head because he was nervous about his image. This funny scene was seen by Li who entered the door. This comedy conflict dissolved the serious hierarchy between lawyers and employees. . There are also a few occasions when Gray sneaks a peek into Lee and her boyfriend Pitt in the corner, which is filled with absurdity, and Gray's hidden body makes him seem small and anxious in the larger space of the screen. And, when Gray's ex-wife comes to the office, he hides in a cabinet and leaves Lee to work it out, giving her power while he appears childish and submissive. The self-confidence and cowardice, dominance and resignation, division and integrity of Lee and Gray at different times reveal the balance of power between them. (Ruth Mcphee, 2014)
Gray is obviously not a perfect big man, but he is an attractive abuser to women. Spader's reasonable interpretation makes Gray's withdrawn and dull, not good at dealing with intimacy, not only does not make him appear wretched, but adds to the attraction of fragility that traditional "masculine" characters do not have, and can make the audience empathize. This is in contrast to his strong, stern, and lust-filled aura after he immersed himself in the role of an abuser. It can be said to be a contrast. In order to restrain his desire for the heroine, he clumsily and breathlessly relieved through exercise, the audience gave a knowing smile - this poor fellow who is trapped by love!
Further, Gray's performance of "no one" under the camera makes it impossible for him to be the kind of dom who pretends to be superior in the BDSM relationship and is unwilling to admit that he is an ordinary person. Just like in the dialogue where Li gave up self-mutilation and found himself, Gray did not show off his ability to guide others, but admitted that he was very shy, but worked hard to overcome this to meet the requirements of social work. In this context, his advice to Lee may also be some of his own experience following uncomfortable growth setbacks. If this plot is regarded as DS's admonition, then Gray's performance as a dom can be said to be sincere, helpful, and close to people.
And when we focus on Lee as a battered person, we find that "Secretary" contains the masochistic desires that are so active in the same kind of films that depict female masochism. (Ruth Mcphee, 2014)
When pornography has always been regarded as a male-dominated field, produced by males, consumed by males and satisfied by males, with female body, male sexuality, and male gaze as the main image symbols (Lin Fangmei, 2006) However, women cannot When it comes to sex, no access to pornography, women who transgress are seen as lewd, shameful and impure. These are just products of cultural discourse and power structures, historical gender rules, not the essence of gender attributes. (Chen Yawen)
However, in the film, we can see a lot of sexual fantasies about Li. In the shot of "Secretary", the woman seeking sexual pleasure is not a beast, but a woman with a sense of self-confidence. In contrast, the 50 Shades of Grey shot more than ten years later did not positively recognize the attitude of women to enjoy pleasure, but tried to explain: this girl was originally pure and was not interested in BDSM, but because she loved the male protagonist. In keeping with his propensity for change, he was tortured. Thus, female audiences can offset their own sexual shame when they are substituted. In "Secretary", Li is not such a passive recipient. She and Gray use a sexually abusive role-playing scene to deconstruct and recreate the relationship between the "boss-secretary", making the office a field of pleasure. .
As the plot progresses, Lee's active role in developing this BDSM relationship gradually emerges. For example, she read the "bubble boy" advice provided by fashion magazines, took the initiative to pose as punishment, created all kinds of tricks to get Gray to pay attention to herself and lust, put earthworms in letters, and threw cockroaches on the bed. It can be said that Li's masochistic preference has a brat side, causing punishment by breaking the rules and causing trouble, like a child who gets his parents' attention by being mischievous. We can't help but applaud her for taking the initiative - she's about to get the man!
Rather than lacking reasonable spiritual sparks, women quickly fall in love with domineering presidents because of their superior conditions and strong doting, and then endure physical pain for them/become slaves of desire, Lee and Gray's "weird meet," The hit-it-yourself model is more persuasive for intimacy development, as well as a natural intimacy.
Although the female subject presentation of the film "Secretary" is not perfect, it is enlightening enough in showing female initiative. The author's point of view is that when BDSM film and television is threatened by the patriarchal order, what feminism needs to do is not to condemn the rationality of creating female abuse stories, but to get out of the templated female-centered stories.
Epilogue
BDSM is a dramatic game about the order of power. In public life, whether it's parents beating children, teachers training students, prisoners, the physical pain and the spiritual are the tools of social machine punishment to maintain an order that is higher than individual will. (Li Yinhe, 1998) BDSM activities simulate the social punishment mechanism, in which the control of power over sexuality is achieved through the management of pleasure. (Foucault) Centered on human reproduction, sex should be the interaction between the genitals, and the cover of clothing and the taboos of language etiquette were generated around the genitals. However, BDSM incorporates non-sexual organs and even symbols of various fetishes into love. Emotions that are not routinely monitored make this kind of activity a "transformation behavior" that makes people panic.
However, BDSM activities that seem to be able to break the order cannot be separated from the soil of social culture. Even if women participate with a positive attitude of mastering physical autonomy, they cannot avoid the influence of patriarchy. You think BDSM is just a matter of playmates, and it is the master who adjusts the dress, words and deeds of slaves and slaves. However, the social culture is constantly telling your master what a woman should be like. For example, pornographic culture will exaggerate how women have "natural servility", repressed and pure, waiting to be "exploited" and "guided" to the perfect state of lust. (Huang Yongmei, 2015) Thus, a female abused person with rich experience and exploratory vigor becomes a "not obedient" monster in their eyes. Female subjectivity has become an invisible existence.
But when we return to the fascinating diversity of BDSM fantasies, there are many possibilities for the image of the female battered. They can be sexually active "conformers" and patriarchal "offenders" at the same time. If you shoot some BDSM films like this: a female executive would rather be beaten by a handsome male college student with a broken clothes rack in the dormitory, and then divorce her domineering male CEO husband; an ordinary female white-collar worker is busy working overtime and has no time to fall in love, so she and Friends make an appointment with a paying male S to solve sexual needs; the only child in the dentist’s family is an unmarried woman, inheriting the family’s property, and forming a BDSM partner with a poor worker; the female knight does not compete in martial arts and is embraced by Qiqi’s male protagonist Going home, but indulging in being tied up by a sickly, handsome, long-haired "girly" painter with nail polish...Let the conservative audience shout "What a mess! A bunch of promiscuous women! It's just the way of the world. Nothing!", wouldn't it be more interesting?
There is still a lot of room for research on feminism's care for female abusers, and it is worth paying attention to the latest research trends. It is important to carry out research on living human bodies and passions, qualitative research methods in sociology and anthropology, and especially empirical research on everyday life. Researchers need to more constructively stimulate the voice of the "subject" to understand the logic of everyday life and the people who live daily. (Huang Yingying, 2017)
【references】
[1] Nikhil Saval: "Cubicle: The Evolution of Office", translated by Lu Yujun, Guilin: Guangxi Normal University Press, 2018.
[2] Aaron Johnson: "Gender Knots: Demolition and Elimination of Patriarchal Illegal Buildings", translated by Cheng Lingfang, Wang Yuxiuyun, You Meihui, etc., Taipei: Qunxue Publishing Co., Ltd., 2008.
[3] Chizuru Ueno: Misogyny: Female Disgust in Japan, translated by Wang Lan, Shanghai: Shanghai Sanlian Publishing, 2015.
[4] Miller: "Foucault's Life and Death, Love and Desire," translated by Gao Yi, Shanghai: Shanghai People's Publishing House, 2005.
[5] Li Yinhe: Sadomasochism Subculture, Hohhot: Inner Mongolia University Press, 2009.
[6] Huang Yingying: "Women's Body and Emotions: Methods and Ethics in the Study of Daily Life", "Exploration and Contention", No. 1, 2017, pp. 97-103.
[7] Huang Yongmei: "Welcome to our masochistic universe", "Paper of the 1st International Symposium on Sexual Desire and Culture in the Asia-Pacific Region", 2015.
[8] Chen Yawen: "Women's Sexual Desire Reappearance and Gender Subversion: Analysis and Interpretation of Women's Pornography". (The pdf downloaded from the book list, the source of the journal was not found)
[9] Barker M, Gupta C. and Iantaffi, A. “The power of play: The potentials and pitfalls in healing narratives of BDSM, in Safe, Sane, and Consensuαl: Contemporary Perspectives on Sadomasochism”, 2007, 197–241.
[10] PalgrАVe Macmillan, Vivien Burr, Jeff Hearn, “sеx, violence and the body: the erotics of wounding”, Newyork: PalgrАVe Macmillan, 2008.
[11]Estelle Noonan, "Towards an S & M Quotidienne? Rethinking 'Bad BehАVior' in Secretary , "Women: a cultural review", 2010, 135-152.
[12] Caroline Jessica Walters, “Discourses of Heterosеxual Female Masochism and Submission from the 1880s to the Present Day”, a thesis for the degree of Doctor of Philosophy in sеxuality and Gender Studies, the University of Exeter, Exeter, March 2012.
[13] Ruth Mcphee, “Female Masochism in Film: sеxuality, Ethics and Aesthetics”, Aldershot: Ashgate Publishing, 2014.
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