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These words are all composed of individual letters cut out and individually stitched to the blanket or another fabric appliquéd onto the blanket. A small white felt dove accompanies them. Below the flag and the word ‘enzine’, a misspelling of ‘ensign’, are the words ‘GUESS WHAT/ THE WORSE I COULD DO IS BETRAYE / ROT IN HELL’ in salmon, fluorescent pink, black and red felt. These are balanced on the right by the words ‘I HATE WOMEN LIKE YOU/ ONE DAY YOU WILL ASK YOURSELF WHAT HAVE I DONE TO LATE’ in turquoise, mustard and pale pink felt on blue green and orange floral fabrics. On the left side of the blanket are the words ‘YOU CRUEL HEARTLESS BITCH/ YOU HAVE NO IDEA OF FAITH’ in blue and red felt on sections of pink and blue floral fabric. Individual flowers cut out from floral print fabrics are appliquéd across the flag and the blanket behind.
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An English flag incorporating the Union Jack in one corner bisects these words on the upper half of the blanket and trails a section of rope terminating in a metal clip. The work is dominated by the words, ‘PERMISSION TO FIRE/ ENZINE’ in large black capitals. Emin used an old pink wool blanket, cut in two and intersected with a cotton extension in the same shade of pink, as the basis for a landscape of text. and English handling of rape cases.This is a textile-based work which hangs on the wall. From these insights, I make suggestions for rape law reform and adumbrate constitutional challenges to U.S. Her artistic critique, which includes audacious acts of what I deem worldbuilding and imaginary justice, adds much needed insight into problems of the Rape Trauma Syndrome model. Emin's art demonstrates that she harbors suspicions of the state, a skepticism based in part on her failure to correspond to "real rape" victim stereotypes. Through my study of her art, I show how the complexities of Emin's reactions to rape challenge the simplistic and often confusing stories that prosecutors, experts, and courts tell about victims during trials. Expanding and innovating upon the work of law and humanities scholars, I apply the insights found in art-or, what I describe as artifacts, with a deliberate play on words-to rape law. Emin is an English-Turkish artist who suffered an unreported rape at the age of thirteen and who has been commenting on that rape through her art ever since. In this Essay, I respond to feminist critics by studying the work of Tracey Emin. Furthermore, they object to its condescending, sexist, and colonial construction of rape victims and their emotions. But feminist critics of Rape Trauma Syndrome evidence posit that the syndrome is based on incomplete evidence because most rapes are unreported. Courts and experts, in instructions and testimony, usually describe victim reticence as a product of shame or trauma. Prosecutors use rape trauma syndrome evidence at rape trials to explain victims' "counterintuitive" behaviors and demeanors, such as their late reporting, rape denials, returns to the scenes of their attacks, and lack of emotional affect.