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Disability, Girlhood, and Vulnerability in Transnational Contexts

Nirmala Erevelles and Xuan Thuy Nguyen

and Lennard Davis . Houndmills : Palgrave Macmillan . 10.1057/9781137023001_17 Gannon , Susanne , and Marnina Gonick ( 2014 ). “ ‘Choir Practice’ in Three Movements: Analyzing a Story of Girlhood through Deleuze, Butler, and Foucault .” Pp

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Lolita Speaks

Disrupting Nabokov’s “Aesthetic Bliss”

Michele Meek

: a Memoir in Books .” Women’s Studies 43 ( 1 ): 52 – 72 . . 10.1080/00497878.2014.852422 Hocquenghem , Guy , Michel Foucault , and Jean Danet . 1988 . “ Sexual Morality and the Law .” In

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Negotiating the Nation in History

The Swedish State Approval Scheme for Textbooks and Teaching Aids from 1945 to 1983

Henrik Åström Elmersjö

definition is attributed to Michel Foucault, History of Sexuality (London: Penguin, 1981). 17 Michael Apple, Official Knowledge: Democratic Education in a Conservative Age (London: Routledge, 2000). 18 See, for example, Zander, “Från nationell”. 19 See

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“Undoing” Gender

Nexus of Complicity and Acts of Subversion in The Piano Teacher and Black Swan

Neha Arora and Stephan Resch

Michael Haneke’s The Piano Teacher (2001) and Darren Aronofsky’s Black Swan (2010) are films about women directed by men. Both films unorthodoxly chart women artists’ struggle with the discipline imposed on them by the arts and by their live-in mothers. By portraying mothers as their daughters’ oppressors, both films disturb the naïve “women = victims and men = perpetrators” binary. Simultaneously, they deploy audiovisual violence to exhibit the violence of society’s gender and sexuality policy norms and use gender-coded romance narratives to subvert the same gender codes from within this gender discourse. Using Judith Butler’s and Michael Foucault’s theories, we argue that Haneke and Aronofsky “do” feminism unconventionally by exposing the nexus of women’s complicity with omnipresent societal power structures that safeguard gender norms. These films showcase women concurrently as victim-products and complicit partisans of socially constructed gender ideology to emphasize that this ideology can be destabilized only when women “do” their gender and sexuality differently through acts of subversion.

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Guiding Girls

Neoliberal Governance and Government Educational Resource Manuals in Canada

Lisa Smith and Stephanie Paterson

-being, and overall lifestyle are both valued and encouraged ( Lupton 1995 ; Rose 1990 ). Thus, girl power is part of a more general move towards the cultivation of subjects who, according to Michel Foucault (1991) , internalize surveillance and govern

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Pain and the Cinesthetic Subject in Black Swan

Steen Ledet Christiansen

problematic to separate the two bodies; our lived experience of being-in-the-world is always shaped by Foucauldian biopower. Foucault defines biopower as the “numerous and diverse techniques for achieving the subjugation of bodies” (2012: 140). These

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The Discourse of Drama

Regulating Girls in an Icelandic School

Bergljót Thrastardóttir, Steinunn Helga Lárusdóttir, and Ingólfur Ásgeir Jóhannesson

role in the construction of gender identities. These practices position girls and boys as essentially different as well as defining what counts as normal and legitimate gender performativity ( Butler 2004 ; Foucault 1982 , 1998 ). In order to

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Miles away from Screwing?

Queer Gothic Girlhood in John Harding's Florence and Giles

Robyn Ollett

approach to gender and sexuality that takes difference seriously … runs the risk of perpetuating precisely the problems intersectionality had hoped to alleviate” (18). To help salve rifts, Huffer calls upon Foucault's notions of ethics and genealogy, using

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“Banal Apocalypse”

An Interview with Author Ta-wei Chi on the New Translation of The Membranes

Jane Chi Hyun Park and Ta-wei Chi

“science fiction written in jargon.” Honestly, even in the 2010s most of the books by Julia Kristeva, Foucault, and Judith Butler remain untranslated in Chinese or remain inaccurately translated and unreadable in Chinese. I believe my students might tend

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The Politics of Revenge (Pornography)

Emma Celeste Bedor

Internet sties is not the classical male gaze but a post–third wave feminist punishing gaze because revenge pornography is not about sex but about revenge and humiliation. As a result, revenge pornography fits neither Foucault’s (1978) framework of a