"An original, liberating interpretation . . . should become a standard of cultural and psychoanalytical studies."
--"The Guardian"

The aura of passivity that has for centuries surrounded female sexuality in popular culture, psychology, and literature has, in recent years, dissipated. And yet fetishism, one of the most intriguing and mysterious forms of sexual expression, is still cast as an almost exclusively male domain. Most psychoanalytic thought, for instance, excludes the very possibility of female fetishism.

The first book on the subject, "Female Fetishism" engagingly documents women's involvement in this form of sexuality. Lorraine Gamman and Merja Makinen describe a wide array of female fetishisms, from the obsessional behavior of pop fans (and pop performers such as Madonna) to fetishism in advertising to women's involvement in the world of dress clubs and fetish magazines. The authors provide provocative evidence of food fetishism among women, arguing that many eating disorders are best understood from this perspective.
A latter portion of the book includes a discussion of how feminists have treated the political and cultural significance of female fetishism.

"An original, liberating interpretation . . . should become a standard of cultural and psychoanalytical studies."
--"The Guardian"

The aura of passivity that has for centuries surrounded female sexuality in popular culture, psychology, and literature has, in recent years, dissipated. And yet fetishism, one of the most intriguing and mysterious forms of sexual expression, is still cast as an almost exclusively male domain. Most psychoanalytic thought, for instance, excludes the very possibility of female fetishism.

The first book on the subject, "Female Fetishism" engagingly documents women's involvement in this form of sexuality. Lorraine Gamman and Merja Makinen describe a wide array of female fetishisms, from the obsessional behavior of pop fans (and pop performers such as Madonna) to fetishism in advertising to women's involvement in the world of dress clubs and fetish magazines. The authors provide provocative evidence of food fetishism among women, arguing that many eating disorders are best understood from this perspective.
A latter portion of the book includes a discussion of how feminists have treated the political and cultural significance of female fetishism.

Tricky Design responds to the burgeoning of scholarly interest in the cultural meanings of objects, by addressing the moral complexity of certain designed objects and systems. The volume brings together leading international designers, scholars and critics to explore some of the ways in which the practice of design and its outcomes can have a dark side, even when the intention is to design for the public good. Considering a range of designed objects and relationships, including guns, eyewear, assisted suicide kits, anti-rape devices, passports and prisons, the contributors offer a view of design as both progressive and problematic, able to propose new material and human relationships, yet also constrained by social norms and ideology. This contradictory, tricky quality of design is explored in the editors' introduction, which positions the objects, systems, services and 'things' discussed in the book in relation to the idea of the trickster that occurs in anthropological literature, as well as in classical thought, discussing design interventions that have positive and negative ethical consequences. These will include objects, both material and 'immaterial', systems with both local and global scope, and also different processes of designing. This important new volume brings a fresh perspective to the complex nature of 'things', and makes a truly original contribution to debates in design ethics, design philosophy and material culture.

In recent years, the Freudian construction of a passive, female sexuality has been severely criticised by feminists. This book tackles the question of female fetishism and documents women's engagement in this form of sexuality. Most psychoanalytic theory excludes the very possibility of the existence of female fetishism. In the face of the wealth of evidence gathered in this book, covering a range of fetishistic practices, the authors suggest that Freudian phallocentrism has prevented analysts from seeing the evidence before their eyes. "Female Fetishism" provides a theoretical context for understanding the subject, and also collects together case material from food and advertising fetishism to the obsessional behaviour of pop fans - collecting pop paraphernalia and locks of idols' hair - and women's involvement in the world of fetish magazines and dress clubs.

Tricky Design responds to the burgeoning of scholarly interest in the cultural meanings of objects, by addressing the moral complexity of certain designed objects and systems. The volume brings together leading international designers, scholars and critics to explore some of the ways in which the practice of design and its outcomes can have a dark side, even when the intention is to design for the public good. Considering a range of designed objects and relationships, including guns, eyewear, assisted suicide kits, anti-rape devices, passports and prisons, the contributors offer a view of design as both progressive and problematic, able to propose new material and human relationships, yet also constrained by social norms and ideology. This contradictory, tricky quality of design is explored in the editors' introduction, which positions the objects, systems, services and 'things' discussed in the book in relation to the idea of the trickster that occurs in anthropological literature, as well as in classical thought, discussing design interventions that have positive and negative ethical consequences. These will include objects, both material and 'immaterial', systems with both local and global scope, and also different processes of designing. This important new volume brings a fresh perspective to the complex nature of 'things', and makes an original contribution to debates in design ethics, design philosophy and material culture.

Voted one of The Guardian's top 10 best crime books of all time and one of the best true crime books ever written according to Stylist Shirley Pitts, the eldest of six children was born upside down on 24 November 1934. Her 'career' began by thieving bread off doorsteps and coal from coal carts. Her father's bungled attempts at black marketeering and her dipsomaniac mother's inadequacies made Shirley resolve not only to be a first-class thief but also the best mother her six children could wish for. Before she died Shirley told her story to Lorraine - the story of a generous, brave and beautiful woman with a huge sense of fun and a love of life.