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Men typically commit more violent crime than women which has led to the concept that it is a male offence. Consequently, there is a tendency to suggest that female offenders are so atypical and abnormal that they require explanation, rather than accepting that all genders are capable of violent behaviour. Women who kill tend to challenge conceptualisations of normative femininity. Accordingly, in an attempt to understand female violence, historians and criminologists have placed women who kill into explanatory categories. Female murderers have often been portrayed as ‘mad’, ‘bad’ or ‘sad.’ This framework is responsible for the infantilisation, monsterisation and victimisation of violent women. It has also led to womanhood being put on trial: women are not only condemned for their crimes but also for failing to live up to feminine ideals. Nevertheless, the ‘mad’, ‘bad’ or ‘sad’ framework can be useful to historians as it is often the only narrative that survives. However, it needs to be recognised that while this framework allows historical perceptions of women's violence to be studied, women's narratives are often absent, distorted or overlooked.

The criminal justice system uses oversimplified stock narratives that place women who kill into limiting categories of ‘bad’, ‘mad’ and/or ‘victim’. These narratives deny women's agency by portraying their actions as lacking humanity, rationality and/or intentionality. Many feminist scholars argue that new narratives are needed to recognise women who kill as fully human, volitional subjects. This chapter uses the case of Maria Barberi to examine why and how defences founded on a victim-based agency fail. In 1895, Barberi killed Domenico Cataldo in a Manhattan barroom after enduring months of psychological, physical and sexual abuse. Her defence was grounded in the unwritten law – a widely held belief that people had the right to avenge their honour (when impugned by infidelity, seduction or sexual assault) with lethal violence. The case went through four stages: the initial trial, resulting in a murder conviction and death sentence; a nation-wide clemency campaign; an appeal; and a retrial, resulting in an acquittal. Throughout this process, Barberi's agency was undermined by negative stereotypes of gender and ethnicity, the political goals of women's rights activists, and Barberi's own self-interests. Ultimately, this case demonstrates that agency-based narratives are both difficult to deploy and desperately needed.

Historically, counter-terrorism's attitude towards women has been complicated, partly because both counter-terrorism and terrorism were for many years considered almost exclusively a male business. This approach has also been reflected in the media's sensationalised representation of women involved in political violence. This chapter explores how women's participation in non-state political violence is still largely explained through traditional conservative notions of sexual difference that characterise women as irrational and highly influenceable, eliminating the possibility of any informed discussion. Focusing on the British case, the chapter shows how the actions of female militants are still bound to gendered narratives and limited to specific frames that generally portray violent women as highly sexualised and pathologised. Depictions of female terrorists and ‘radicalised’ women are based on stereotypes that reinforce the image of women as weak, easily influenced, naïve, driven by romantic emotions, deceitful and in constant need of protection and supervision. From an intersectional perspective, the chapter also explores the orientalist imaginaries of Muslim women who are seen as victims and as individuals lacking empowerment and agency. The discussion highlights ultimately that explanations of women's violence must go beyond myths that explain women's involvement in political violence via a wide range of personal and emotional factors, to examine political motivations and consideration of the complexity of their decisions, and the wider context.

Infanticide stands out as a crime which, in England and Wales, has been marked for at least 200 years by deep-rooted continuities in its representation and treatment by both the criminal justice system and the media, despite the massive political, economic, social, legislative and cultural changes that occurred over this period. Particularly remarkable about this long-standing discourse is its routine emphasis that the guilty mother is also a victim of tragic circumstances that led to the crime and deserving of sympathetic treatment. It also invariably sets infanticide apart as a ‘special case’ which does not necessarily fit with either medical or legal definitions of diminished criminal responsibility. Perhaps surprisingly, this framing of women who commit infanticide stresses not only their ‘normality’ prior to the offence but also their ‘respectability’, a sharp contrast to the sometimes overtly misogynistic representation of other types of women offenders. This chapter argues that it is above all ‘respectability’ that profoundly shaped the cultural script relating to infanticide in England and Wales between 1800 and 2000, and that this continues to exert a powerful legacy on the relatively small number of cases that now comes before the courts in the twenty-first century.

Representations of female perpetrators of political violence contribute to society's thinking about women, gender, violence and agency. Analysis of this discourse is vital to understand its influence on society's knowledge of women and violence. The study investigates how gendered narratives are used to frame female ex-combatants in Nationalist and Unionist newspapers in the post-conflict society of Northern Ireland. The media is a central agent in the construction of knowledge; and this is significant for women who have perpetrated crimes or (political) violence. The existing research found that violent women are narrated and interpreted through gendered discursive frameworks to dismiss or make sense of their violence. However, in the Northern Irish case, although the women are constructed within gendered frames, this does not deny their agency in past political violence.

This chapter focuses on women's descriptions of their own violence in nineteenth-century Ireland, as revealed in prisoner petitions held in the National Archives of Ireland. It uses the case files of women imprisoned or sentenced to death for violent crimes such as infanticide, manslaughter, murder, wounding and assault. This chapter takes an empirical approach and considers the ways that women explained and rationalised their violent acts. An analysis of the petitions offers an insight into women's views of their own violence, gendered attitudes at the time, and women's sense of the factors that might lead to a commutation of sentence. The accuracy or truthfulness of the petitions is not important in this study; instead, the chapter explores the self-image that women wanted to portray and the tactics that they opted to use to seek a reduction in their sentences. As shown in this chapter, most women emphasised their passivity: they typically claimed to be innocent, coerced or provoked into violence.

This chapter offers feminist perspectives on the violence exercised by female avengers in popular audiovisual products about narcotrafficking from Mexico and Colombia. Through the case studies of the narcotelenovela Rosario Tijeras (RCN Televisión, 2010) and the B movie Sanguinarios del M1 (Alonso Ortiz Lara, 2011), we explore how recent Latin American narco-narratives rearticulate the ‘rape-revenge’ film. Following Valencia's conceptualisation of necroempowerment (2012), we argue that female characters respond to rape with ruthless methods in an effort to regain agency. We combine existing literature in feminist film studies with postcolonial readings of the specificities of rape-revenge in the narco-universe where the violence these heroines use as retaliation is already the norm for their male counterparts. A close reading of revenge sequences underscores how vengeance can constitute a cathartic outlet for enraged female characters, challenging stereotypes of feminine passiveness and subverting gender hierarchies. However, it also perpetuates a patriarchal order based on toxic ideals of individual power achieved through bloody methods. We examine how empowerment can entrap female protagonists and serve to differentiate the types of violence that each gender has access to, and we discuss the problematic representation of rape as a transformative moment necessary for women to later become powerful.