Six studies regarding forgiveness are presented. The Heartland Forgiveness Scale (HFS), a self-report measure of dispositional forgiveness (with subscales to assess forgiveness of self, others, and situations) was developed and demonstrated good psychometric properties. Forgiveness correlated positively with cognitive flexibility, positive affect, and distraction; it correlated negatively with rumination, vengeance, and hostility. Forgiveness predicted four components of psychological well-being (anger, anxiety, depression, and satisfaction with life); forgiveness of situations accounted for unique variance in these components of psychological well-being. Forgiveness and hostility demonstrated equivalent, inverse associations with relationship duration, and forgiveness accounted for unique variance in relationship satisfaction, even when controlling for trust. Forgiveness level correlated positively with decreased negativity in statements written about transgressions in the present versus the past tense.

On Instagram, the accounts Bye Felipe and Tinder Nightmares feature screen-grabbed messages of sexist abuse and harassment women have received from men on dating apps. This paper presents a discursive analysis of 526 posts from these Instagrams. Utilising a psychosocial and feminist poststructuralist perspective, it examines how harassing messages reproduce certain gendered discourses and (hetero)sexual scripts, and analyses how harassers attempt to position themselves and the feminine subject in interaction. The analysis presents two themes, termed the ''not hot enough'' discourse and the ''missing discourse of consent'', which are unpacked to reveal a patriarchal logic in which a woman's constructed ''worth'' in the online sexual marketplace resides in her beauty and sexual propriety. Occurring in response to women's exercise of choice and to (real or imagined) sexual rejection, it is argued these are disciplinary discourses that attempt to (re)position women and femininity as sexually subordinate to masculinity and men. This paper makes a novel contribution to a growing body of feminist work on online harassment and misogyny. It also considers the implications for feminist theorising on the link between postfeminism and contemporary forms of sexism, and ends with some reflections on strategies of feminist resistance.

The overwhelming conclusion to be drawn from this research is that Indigenous children in urban areas need ongoing recognition of both their agency and resilience in the face of adversity, within a wider context of historical and contemporary racialisation and racism.

Once a quiet concept that captured the attention of few scholars, forgiveness now is being studied by a variety of researchers. As the exploration of forgiveness has grown, measures have been designed to assess forgiveness in several ways. Some measures assess nondispositional forgiveness such as the (a) forgiveness of another person for a specific transgression (e.g.,

In recent years, an explicitly sexualised style of femininity has become more visible in Western media and societies, accompanied by the idea that women can freely choose to self-sexualise to signify their empowerment. In addition to these celebratory interpretations, self-sexualisation among young women has been subject to more patronising readings; in particular, the view that women are duped into engaging in thinly disguised sexual self-exploitation, to which they are made vulnerable by low self-esteem. This paper presents a discursive analysis of multi-session focus groups with seventeen Australian undergraduate women, in which they discussed their own and other young women's engagements with sexualised culture. Participants saw sexualised self-presentations as a legitimate choice for women to make, citing enjoyment and heightened confidence as the main benefits to be had. However, they also put forward the view that seeking sexualised male attention is often motivated by low self-esteem, in which case such behaviour would not lead to lasting boosts to confidence, but rather would engage women in a downward spiral of objectification and decreasing self esteem. These competing constructions of the role of sexualised attention in both promoting and threatening confidence and self-esteem for young women highlight how young women's engagement in sexualised culture is simultaneously open to empowering and disempowering readings. In the long-running U.S. television comedy show Arrested Development, the video series Girls Gone Wild is the subject of a recurring parody in the form of a series entitled Girls With Low Self-Esteem. The parody is achieved simply by the retitling of the series; no explanations are needed in order for the audience to "get the joke". This neatly captures a paradox presented by the sexualisation of culture: on the one hand engaging in a raunchy, overtly sexualised form of selfpresentation is offered as a means of increasing confidence and feeling empowered by "wildly" transgressing conventional boundaries that restrict feminine sexuality, while on the other, engagement in these practices can often result in patronising and pathologising judgements concerning the allegedly low self-esteem of women who seek male attention in this way.The phrase "sexualisation of culture" has come to stand in for a set of related phenomena in western cultures involving a marked (re)sexualisation of young women's bodies in the media and society more broadly. These phenomena include the dramatic increase in the prevalence of sexually explicit images in the media (see Hatton & Trautner, 2012), the mainstreaming of pornography, and changes in sexual mores (Attwood, 2006;McNair, 2002;Yost & McCarthy, 2012). Within this broad context there has been a great deal of interest in what has become known as "self-sexualisation" --the adoption of an overtly sexual style of self-presentation (particularly among young women), features of which include the wearing of revealing clothing to go clubbing, sexually suggesti...