Cunt: A Cultural History of the C-Word The c-word, 'cunt', is perhaps the most offensive word in the English language, and consequently it has never been researched in depth. Hugh Rawson's Dictionary Of Invective contains the most detailed study of what he calls 'The most heavily tabooed of all English words' (1989), though his article is only five pages long. Cunt: A Cultural History Of The C-Word is therefore intended as the first comprehensive analysis of this ancient and powerful word. 'Cunt' has been succinctly defined as 'the bottom half of a woman or a very despicable person' (Pentti Olli, 1999). According to Francis Grose's scurrilous definition, it is 'a nasty name for a nasty thing' (1796). 'Cunt' is a synonym for 'vagina', though this is only its most familiar meaning. As a noun, 'cunt' has numerous other senses: a woman (viewed as a sexual object), sexual intercourse, a (foolish) person, an infuriating device, an ironically affectionate term of address, the mouth as a sexual organ, the anus as a sexual organ, the buttocks, prostitution, a vein used for drug-injection, a synonym for 'damn', an attractive woman, an object or place, the essence of someone, and a difficult task.
It can also be used as an adjective (to describe a foolish person), a verb (meaning both to physically abuse someone and to call a woman a cunt), and an exclamation (to signify frustration). Despite its semantic flexibility, however, 'cunt' remains our highest linguistic taboo: 'It has yet, if ever, to return to grace' (Jonathon Green, 2010). 'Cunt' is a short, monosyllabic word, though its brevity is deceptive. The word's etymology is surprisingly complex and contentious. Like many swear words, it has been incorrectly dismissed as merely Anglo-Saxon slang: 'friend, heed this warning, beware the affront Of aping a Saxon: don't call it a cunt!' In fact, the origins of 'cunt' can be traced back to the Proto-Indo-European 'cu', one of the oldest word-sounds in recorded language. 'Cu' is an expression quintessentially associated with femininity, and forms the basis of 'cow', 'queen', and 'cunt'.
The c-word's second most significant influence is the Latin term 'cuneus', meaning 'wedge'. The Old Dutch 'kunte' provides the plosive final consonant. The Oxford English Dictionary clarifies the word's commonest contexts as the two-fold 'female external genital organs' and 'term of vulgar abuse' (RW Burchfield, 1972). At the heart of this incongruity is our culture's negative attitude towards femininity. 'Cunt' is a primary example of the multitude of tabooed words and phrases relating to female sexuality, and of the misogyny inherent in sexual discourse. Kate Millett sums up the word's uniquely despised status: 'Somehow every indignity the female suffers ultimately comes to be symbolized in a sexuality that is held to be her responsibility, her shame.
It can be summarized in one four-letter word. And the word is not fuck, it's cunt. Our self-contempt originates in this: in knowing we are cunt' (1973). When used in a reductive, abusive context, female genital terms such as 'cunt' are notably more offensive than male equivalents such as 'dick'. This linguistic inequality is mirrored by a cultural imbalance that sees images of the vagina obliterated from contemporary visual culture: 'The vagina, according to many feminist writers, is so taboo as to be virtually invisible in Western culture' (Lynn Holden, 2000). Censorship of both the word 'cunt' and the organ to which it refers is symptomatic of a general fear of - and disgust for - the vagina itself. The most literal manifestation of this fear is the myth of the 'vagina dentata', symbolising the male fear that the vagina is a tool of castration (the femme castratrice, a more specific manifestation of the Film Noir femme fatale).
There have been attempts, however, to reappropriate 'cunt', investing it with a positive meaning and removing it from the lexicon of offence, similar in effect to the transvaluation of 'bad', 'sick', and 'wicked', whose colloquial meanings have also been changed from negative to positive - what Jonathon Green calls 'the bad equals good model' of oppositional slang (Jennifer Higgie, 1998). The same process took place in Mexico when the offensive term 'guey'/'buey' was 'co-opted by the cool, young set as a term of endearment' (Marc Lacey, 2009). The Cunt-Art movement used traditional 'feminine' arenas such as sewing and cheerleading as artistic contexts in which to relocate the word. A parallel 'cunt-power' ideology, seeking to reclaim the word more forcefully, was instigated by Germaine Greer - and later revived by Zoe Williams, who encouraged 'Cunt Warriors' to reclaim the word (2006), the latest of the 'various attempts over several hundred years of usage to 'resignify' cunt to resume its original, feminine-anatomical status' (Jacqueline Z Wilson, 2008b).
What 'cunt' has in common with most other contemporary swear words is its connection to bodily functions. Genital, scatological, and sexual terms (such as, respectively, 'cunt', 'shit', and 'fuck') are our most powerful taboos, though this was not always the case. Social taboos originally related to religion and ritual, and Philip Thody contrasts our contemporary bodily taboos with the ritual taboos of tribal cultures: 'In our society, that of the industrialised West, the word 'taboo' has lost almost all its magical and religious associations' (1997).
In Totem Und Tabu, Sigmund Freud's classic two-fold definition of 'taboo' encompasses both the sacred and the profane, both religion and defilement: 'The meaning of 'taboo', as we see it, diverges in two contrary directions. To us it means, on the one hand, 'sacred', 'consecrated', and on the other 'uncanny', 'dangerous', 'forbidden', 'unclean' (1912).
Taboos relating to language are most readily associated with the transgressive lexicon of swearing. William Shakespeare, writing at the cusp of the Reformation, demonstrated the reduced potency of blasphemy and, with his thinly veiled 'cunt' puns, slyly circumvented the newfound intolerance towards sexual language.
Later, John Wilmot would remove the veil altogether, writing 'some of the filthiest verses composed in English' (David Ward, 2003) with an astonishingly uninhibited sexual frankness and a blatant disregard for the prevailing Puritanism. Establishment 'prudery. in the sphere of sex', as documented by Peter Fryer (1963), continued until after the Victorian period, when sexually explicit language was prosecuted as obscene. It was not until the latter half of the 20th century, after the sensational acquittal of Lady Chatterley's Lover, that the tide finally turned, and sexual taboos - including that of 'cunt' - were challenged by the 'permissive society'. During the Lady Chatterley obscenity trial, the word 'cunt' became part of the national news agenda, and indeed the eventual publication of Lady Chatterley can be seen as something of a watershed for the word, marking the first widespread cultural dissemination of 'arguably the most emotionally laden taboo term' (Ruth Wajnryb, 2004). The word has since become increasingly prolific in the media, and its appearances can broadly be divided into two types: euphemism and repetition. Humorous, euphemistic references to 'cunt', punning on the word without actually using it in full, represent an attempt to undermine our taboo against it: by laughing at our inability to utter the word, we recognise the arcane nature of the taboo and begin to challenge it.
By contrast, the parallel trend towards repetitive usage of 'cunt' seeks to undermine the taboo through desensitisation. If 'cunt' is repeated ad infinitum, our sense of shock at initially encountering the word is rapidly dispelled. With other swear words (notably 'fuck') gradually losing their potency, 'cunt' is left as the last linguistic taboo, though even the c-word can now be found adorning badges, t-shirts, and book covers. Its normalisation is now only a matter of time.
'Cunt' is probably the most offensive and censored swear word in the English language: 'Of all the four-letter words, CUNT is easily the most offensive' (Ruth Wajnryb, 2004). Martin Samuel calls it 'one of the best words' (2007). Our taboo surrounding the word ensures that it is rarely discussed, though, when it is, the superlatives come thick and fast. Accordingly, Zoe Williams writes: 'It's the rudest word we've got, in the entire language' (2006), and Nick Ferrari is outraged by it: 'it's the worst word in the world. I think it's an utterly grotesque word. it's just a gutteral, ghastly, nasty word' (Pete Woods, 2007).
Jacqueline Z Wilson also writes in superlative terms: 'Cunt' is the most confronting word. probably in every major variety of English spoken anywhere and is the most offensive word in the English language' (2008a).
In her study of Australian prison graffiti, Wilson writes that 'cunt' is 'the most confronting word in mainstream Australian English, and perhaps in every major variety of English spoken anywhere' (2008b). Sarah Westland (2008) calls it 'the worst insult in the English language', 'the nastiest, dirtiest word', 'the greatest slur', and 'the most horrible word that someone can think of'. According to a front-page article in The Mail On Sunday, 'cunt' is 'the most offensive word in English' (Chris Hastings, 2011).
Peter A Neissa describes it as 'the most degrading epithet in English speaking culture' (2008). Sara Gwin (2008) calls it 'the most offensive word for women' and 'one of the most offensive words in the English language, if not the worst'. Specifically, she problematises the word's reductivism: 'It objectifies women by reducing them down to their body part that has been defined by male usage.
Marianne Faithfull Broken English Torrent
there is a whole history of misogyny packed in to that one-syllable word'. She cautiously acknowledges the potential for feminist reclamation: 'Women have every right to reclaim the word for themselves or for a particular group. However, there has to be the acknowledgement that this word is still incredibly insulting to many and we have to respect that'. 'Cunt' is 'one of the most foul and insulting words in the English language' (Megan Goudey and Ashley Newton, 2004) and 'a word so hateful it can scarcely be uttered' (Jennifer Baumgardner and Amy Richards, 2000). Naomi Wolf's book Vagina (2012) includes a chapter on the c-word titled The Worst Word There Is, in which she calls 'cunt' 'the word considered to be the most derogatory, the most violent, the most abusive'. M Hunt no relation calls it 'the most taboo word in the English language' (2006).
Peter Silverton (2009) describes it as 'the most unacceptable word in the language', 'the worst word in the language', and 'a hate word of unparalelled force'. Zoe Heller calls it 'the worst of bad words' (2012). Libby Brooks views it as 'the most shocking word in the English language. the grossest insult you can use' (2008). Andrew Goldman calls 'cunt' 'the mother of all nasty words' and 'the most controversial word of all' (1999). Victoria Coren calls it 'the word which is still considered the most offensive in the language' (Deborah Lee, 2006). Alex Games sees it as 'still the ultimate taboo utterance' (2006).
Geoffrey Hughes calls it 'the most seriously taboo word in English' (2006). For Tom Aldridge, it is 'unarguably the most obscene and most forbidden word in English', 'the ultimate obscenity', and 'the nastiest four-letter word' (2001). In her article The C Word: How One Four-Letter Word Holds So Much Power (2011), Christina Caldwell calls 'cunt' the 'nastiest of nasty words'. Jack Holland notes that 'the word 'cunt' expresses the worst form of contempt one person could feel for another' (2006).
John Doran describes it as 'The most offensive word in the world', 'the worst word that anyone has ever been able to think of', and 'the most terrible of terrible words' (2002). It is, according to Sue Clark, 'far and away the most offensive word for the British public. If it is used aggressively towards women it is absolutely the last word in swearing' (Anthony Barnes, 2006).
Beatrix Campbell calls it 'a radioactive word. impregnated with hostility'. It is Michael Madsen's favourite word: 'I just lke it because it's really mean and at the same time it's really lyrical and colourful and imaginative' (Chris Hewitt, 2008). It is also Elton John's favourite word: 'It is the best word in the English language' (Peter Silverton, 2009). Rankin, who wore a mask with an 'I'm a cunt' slogan in 2006, describes it as 'an amazing word'.
Deborah Orr provides a neat summary of the word's central functions, invective and empowerment: 'Attitudes to this powerful expression, especially among women, are changing. For many centuries now, the word has been elaborately veiled under the weird and heavy drapes of a disapproval so strong that it has become pre-eminent among forbidden words.
'Cunt' remains, for the vast majority of people, pretty much the worst, the ugliest, the most barbaric, crude and filthy English word there is. For others, though, its use is a mark of worldly and liberal sophistication' (2006).
In her article Why The C Word Is Losing Its Bite (2009), Kathleen Deveny calls 'cunt' 'the rudest, crudest, most taboo term in the English language, the superstar of four-letter words'. Further attitudes towards 'cunt' were included in the BBC3 television documentary The C-Word: How We Came To Swear By It (Pete Woods, 2007). The programme, presented by Will Smith, acknowledged the omnipresence of 'cunt' in contemporary life and culture: 'every language needs its single, ultimate taboo swear word, and 'cunt' has become ours. But for how much longer? You see, the more you hear it, the more you become immune to its power'.
Etymology: The Origin Of The Word The etymology of 'cunt' is actually considerably more complex than is generally supposed. The word's etymology is highly contentious, as Alex Games explains: 'Language scholars have been speculating for years about the etymological origins of the 'c-word' (2006). A consensus has not yet been reached, as Ruth Wajnryb admits in A Cunt Of A Word (a chapter in Language Most Foul): 'Etymologists are unlikely to come to an agreement about the origins of CUNT any time soon' (2004), and Mark Morton is even more despairing: 'no-one really knows the ulterior origin of cunt' (2003). In Cunt, a chapter from the anthology Dirty Words, Jonathan Wilson notes the word's etymological convolution: 'The precise etymology of cunt, yet unresolved, continues to engender the most arcane and complex disputes' (2008). Greek Macedonian terms for 'woman' - 'guda', 'gune', and 'gyne' - have been suggested as the word's sources, as have the Anglo-Saxon 'cynd' and the Latin 'cutis' ('skin'), though these theories are not widely supported. Jay Griffiths (2006), for example, links 'cunt', 'germinate', 'genital', 'kindle', and 'kind' to the Old English 'ge-cynde' and Anglo-Saxon 'ge-cynd' (extended to 'ge-cynd-lim', meaning 'womb'); to this list, Peter Silverton adds 'generate', 'gonards', and 'genetics', derived from the Proto-Indo-European 'gen' or 'gon'. Perhaps the clearest method of structuring the complex etymology of 'cunt' is to approach it letter by letter, and this is the approach I have taken here.
I have examined the Indo-European, Latin, Greek, Celtic, and Dutch linguistic influences on 'cunt', and also discussed the wide variety of the word's contemporary manifestations. The prefix 'cu' is an expression of 'quintessential femineity' (Eric Partridge, 1961), confirming 'cunt' as a truly feminine term. The synonymy between 'cu' and femininity was in place even before the development of written language: 'in the unwritten prehistoric Indo-European.
languages 'cu' or 'koo' was a word base expressing 'feminine', 'fecund' and associated notions' (Tony Thorne, 1990). The Proto-Indo-European 'cu' is also cognate with other feminine/vaginal terms, such as the Hebrew 'cus'; the Arabic 'cush', 'kush', and 'khunt'; the Nostratic 'kuni' ('woman'); and the Irish 'cuint' ('cunt').
Mark Morton suggests that the Indo-European 'skeu' ('to conceal') is also related. Thus, 'cu' and 'koo', both pronounced 'coo', were ancient monosyllabic sounds implying femininity. 'Coo' and 'cou' are modern slang terms for vagina, based on these ancient sounds. Other vaginal slang words, such as 'cooch', 'coot', 'cooter' (inspiring the Bizarre headline Cooter Couture in 2010), 'cooz', 'cooze', 'coozie', 'coozy', 'cookie', 'choochy', 'chocha', 'cootch', and 'coochie snorcher' are extensions of them.
'Coochie snorcher', as in The Little Coochie Snorcher That Could from The Vagina Monologues, is a childish euphemism for 'cunt' that has generated the following (often elaborate) variants:. 'hooch'. 'hoochie'. 'hoochy'.
'hootchy'. 'hoochy-coochy'. 'hootchy-kootchy'. 'hootchie-kootchie'.
'hootchie-cootchie'. 'hootchy-cootchy'. 'hoochie-coocher'. 'hoochie-coochie'. 'ootchimagootchi'.
'ouchimagooga' The phrase also inspired the song titles Itchycoo Park (The Small Faces, 1967), Rock And Roll Hoochie Koo (Rick Derringer, 1974), and (I'm Your) Hoochie Coochie Man (Muddy Waters, 1954). Hoochie Coochie Men was also the name of Long John Baldry's backing band during the 1960s. Also, heterosexual pornographic films are known as 'cooch reels'.
The feminine 'cu' word-base is also the source of the modern 'cow', applied to female animals, one of the earliest recorded forms of which is the Old Frisian 'ku', indicating the link with 'cu'. Other early forms include the Old Saxon 'ko', the Dutch 'koe', the Old Higher German 'kuo' and 'chuo', the German 'kuhe' and 'kuh', the Old Norse 'kyr', the Germanic 'kouz', the Old English 'cy' (also 'cua' and 'cyna'), and the Middle English 'kine' and 'kye'.
The prefix has also been linked to elliptical (thus, perhaps, metaphorically vaginal) terms such as 'gud' (Indo-European, 'enclosure'), 'cucuteni' ('womb-shaped Roman vase'), 'cod' ('bag'), 'cubby-hole' ('snug place'), 'cove' ('concave chamber'), and 'keel' ('convex ridge'). The Italian 'guanto' ('glove') and the Irish 'cuan' ('harbour') may also be related, as they share with 'vagina' the literal meaning 'receptacle'. 'Quality', and even 'cudgel', have been suggested as further links, though a cudgel seems more like a cock than a cunt, and indeed none of these terms have the demonstrably feminine associations of 'cunt' or 'cow'.
'Cu' also has associations with knowledge: 'can' and 'ken' (both 'to know') evolved from the 'cu'/'ku' prefix, as, perhaps did 'cognition' and its derivatives. RF Rattray highlights the connection between femininity and knowledge: 'The root cu appears in countless words from cowrie, Cypris, down to cow; the root cun has two lines of descent, the one emphasising the mother and the other knowledge: Cynthia and. cunt, on the one hand, and cunning, on the other' (1961). Indeed, there is a significant linguistic connection between sex and knowledge: one can 'conceive' both an idea and a baby, and 'ken' means both 'know' and 'give birth'.
'Ken' shares a genealogical meaning with 'kin' and 'kind', from the Old English 'cyn' and the Gothic 'kuni'. It also has vaginal connotations: 'kin' meant not only matrilineal blood relations but also a cleft or crevice, the Goddess's genital opening' (Barbara G Walker, 1983).
The Latin 'cognoscere', related to 'cognate', may indeed be cognate with the sexual organ 'cunt'. Knowledge-related words such as 'connote', 'canny', and 'cunning' may also be etymologically related to it, though such a connection is admittedly tenuous. Less debatable is the connection between 'cunctipotent' and 'cunt': both are derived from the Latin 'cunnus'. Geoffrey Chaucer's 'cunt'-inspired term 'queynte' is yet another link between sex and knowledge, as he uses it to mean both 'vagina' and 'cunning'.
In Celtic and modern Welsh, 'cu' is rendered as 'cw', a similarly feminine prefix influencing the Old English 'cwithe' ('womb'), from the Welsh 'cwtch'. Interestingly, 'cwtch' (also 'cwtch', with modern forms 'cwts' and 'cwtsh') means 'hollow place' as a noun (and is thus another vaginal metaphor) and 'hide' as a verb. Giovanni Boccaccio's term 'val cava' makes a similar association, as he used it to mean both 'cunt' and 'valley' (as Jonathon Green notes in From Gropecuntelane To Val Cava, part of the 'cunt' chapter in his Getting Off At Gateshead). The 'cw' prefix can be traced back to the Indo-European 'gwen', which also influenced the Greek 'gune' and 'gunaikos', the Sumerian 'gagu', and the feminine/vaginal prefix 'gyn'. Gender: Repression And Reappropriation 'Cunt' may be the most offensive word in the English language, though there have been many attempts to reappropriate it.
This ideology, which was originally termed cunt-power, sought to invert the word's injurious potential - to prevent men using it as a misogynist insult, women assertively employed it themselves: 'The old cunt was patriarchal, misogynist. The new cunt would be matriarchal, feminist' (Peter Silverton, 2009). The feminist Cunt-Art movement incorporated the word into paintings and performances, and several female writers have campaigned for its transvaluation. In my evaluation of the ideology of cunt-power, I discuss the extent of its practicality, popularity, and longevity.
Words As Weapons Children are taught this traditional mantra: 'Sticks and stones May break my bones But words can never hurt me'. However, words do hurt us, and they can be used as weapons. Walter Kirn has called 'cunt' 'the A-bomb of the English language. my verbal fragmentation bomb' (2005), Lucas M McWilliams calls it 'the c-bomb' (2006), Nick de Semlyen calls it a 'C-shell' (2010), and Germaine Greer sees it as a word that 'men throw at one another. you can use it like a torpedo' (Deborah Lee, 2006).
Verbal weapons cause intense emotional pain. GQ has noted that 'No word is more hurtful or destructive than the C-word' (2005). Catherine MacKinnon cites numerous examples of abusive language provoking distress and resulting in litigation. Asserting that 'A woman worker who was referred to by a presumed male co-worker as a 'cunt' could present a strong case for sexual harassment' (1994), she quotes 'Cavern Cunt', 'stupid cunt', 'fucking cunt', and 'repeated use of the word 'cunt' as phrases resulting in convictions for sexual harassment. Just as 'cunt' can be a violent word, its use can also have violent repercussions: it is 'a word so offensive that it would earn you a slap if you called someone it in a bar' (Adam Renton, 2008).
By contrast, however, a more recent case was dismissed when it was ruled that the word 'cunt' did not constitute sexual harassment: the court concluded that the word, while being 'one of the most derogatory terms for a woman', could also be regarded as complementary (Kevin Vaughan, 2004). A female student at Colorado University had alleged that another student called her a 'cunt'. Meanwhile, the University's President, Betsy Hoffman, citing Geoffrey Chaucer, defended the word as 'a term of endearment' (John C Ensslin, 2004). Hoffman was ridiculed by the press, not least because the name of her university is commonly abbreviated to 'CU': 'In CU President Betsy Hoffman's world. CU is halfway to CU., which is just so CUte' (Mike Littwin, 2004; the article was headlined To Hoffman CU Halfway To A New Meaning). When men use the word 'cunt' to insult women, courts have deemed the act to be unlawful.
When men use it to insult other men, as Julia Penelope demonstrates, their usage is still inherently insulting to women: 'words used by men to insult other men, motherfucker, son-of-a-bitch, bastard, sissy, and cunt insult men because they're female words' (1990). 'Cunt' insults men because it acts as a verbal castration, removing their masculinity by denying them their penis, implying that having a cunt is inferior to having a cock: Signe Hammer explained that to call a man a 'cunt' 'is to call him a woman: castrated' (1977).
The other male insults cited by Penelope are also tangential insults to women: to call a man a 'motherfucker' implicates both him and his mother, 'bastard' implies a man's mother is a slut, 'sissy' insults a man by likening him to a woman, and 'son-of-a-bitch' can be seen as an indirect insult to a man though a direct insult to his mother. Walter Kirn wrote The Forbidden Word (2005), a lengthy article for GQ exploring the emotional impact of 'cunt'. He calls it 'the four-letter word a man can use to destroy everything with a woman. and possibly the last word in the English language that keeps on hurting even after it's spoken'.
Kirn explains the offensiveness of 'cunt' with reference to its plosive phonetics and its semantic reductionism: 'The word is an ugly sonic package, as compact as a stone. The word obliterates individuality. It strips away any aura of uniqueness'.
(A character in the Hungarian film Taxidermia also notes the ugliness of the word, or rather its Hungarian equivalent.) Somewhat insensitively, Kirn feels that women over-react to the word when it is used against them: 'It doesn't bruise. It doesn't leave a mark. Yet women treat its deployment as tantamount to an act of nonphysical domestic violence'.
He also ignores the word's feminist reclamation, stating incorrectly: 'you'll never hear someone call herself a cunt, let alone call another woman one. The only time it's acceptable for a woman to speak such vileness is when she's quoting a man and seeking empathy for the wounds he has caused her'.
Essentially, Kirn's article is a macho defence of what he sees as the male privilege to call women cunts: 'I'm grateful for the C-bomb, and thankful that women have nothing with which to match it. When a man has already lost the argument and his girl is headed out the door we have one last, lethal grenade to throw'. Unsurprisingly, women wrote to GQ to take issue with Kirn's article. Kim Andrew stressed that Kirn's definition of 'cunt' as 'the A-bomb of the English language' does not apply to the UK, where it is used more freely than in America: 'The word cunt is only an 'A-bomb' in American English. My many British friends and I toss the word around so frequently that our American friends have begun to use it in the same silly fashion' (2005).
M Restrepo's reaction was that, provided 'cunt' is not used insultingly (as Kirn employs it), it should not be tabooed: 'What era is Walter Kirn living in? Cunt is no longer taboo. Perhaps his woman is insulted not at being called a cunt but at the thought that he would deem it such an insult' (2005). In welcome contrast to Kirn's article, Jonathon Green criticises the inherent patriarchy of the slang lexicon: 'Slang is the essence of 'man-made language', created by men and largely spoken by him too' (1993).
This is a trend which has noticeably increased over time, as Germaine Greer explains: 'The more body-hatred grows, so that the sexual function is hated and feared by those unable to renounce it, the more abusive terms we find in the language' (1970a). Specifically, the status and deployment of 'cunt' as 'The worst name anyone can be called and the most degrading epithet' (Germaine Greer, 1970a), and especially as the worst name a woman can be called, serves to reinforce the tradition of cultural patriarchy, as Jane Mills points out: 'the use of 'cunt' as the worst swear word that anyone can think of says a gre.
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