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Thebes Troutman as Traveling Tween

Revising the Family Story

Margaret Steffler

take on the voices of others is part of a compulsive performance of trying on cultures, races, ethnicities, ages, and classes outside her own as she strives to reach beyond her identity and limitations as a “little white kid.” Thebes’s language is

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“Something Good Distracts Us from the Bad”

Girls Cultivating Disruption

Crystal Leigh Endsley

: “We may bend but we are never broken.” After her performance I probed, “What about Nola makes you proud to grow up here in spite of having to ‘bend’?” She attributed her survival techniques to growing up in her hometown, the same community that placed

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A Call to Action

Creativity and Black Girlhood

Crystal Leigh Endsley

the group, rendering the text itself as something of a performance space. Black girls are clearly the intended audience and readers. In this way, Brown presents performance as an action that honors the individual black girl's story at the same time as

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Heather Fitzsimmons Frey

she could not yet know like, for example, that her life trajectory would include a husband and five children, and I view her through analytical tools such as feminist theories, performance studies, contemporary ethnographic research, and discourse

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Miley, What’s Good?

Nicki Minaj’s Anaconda, Instagram Reproductions, and Viral Memetic Violence

Aria S. Halliday

appropriating Nicki Minaj’s Anaconda cover photo and her public responses to these memes, I explore how popular memetic culture—at the intersections of discourses on Black women’s bodies, feminism, sexuality, desire, and performance—positions these bodies as

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Michael R. M. Ward

and young men. Moving the focus toward schools, in our next article Victoria Cann examines the nuanced performances of masculinity enacted by a 14-year-old boy named “Tom.” In this UK-based case study, Cann shows how Tom, a boy of Filipino descent

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Who (the) Girls and Boys Are

Gender Nonconformity in Middle-Grade Fiction

Michele Byers

. Michelle Abate (2008) reads eight-year-old Georgia in Tomboy Trouble ( Wyeth 1998 ), as an active participant in her own gender performance, arguing that the book reveals that “gender is not something that is , but rather something that is continually

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How to Survive the Postfeminist Impasse

Grace Helbig’s Affective Aesthetics

Catherine McDermott

postfeminism. Instead, I argue that an affective approach is key to understanding how performances like Helbig’s work both with and against postfeminist cultural norms. For instance, Berlant’s coinage of the term “juxtapolitical” (2008: 10) opens up discussion

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I’m Not Loud, I’m Outspoken

Narratives of Four Jamaican Girls’ Identity and Academic Success

Rowena Linton and Lorna McLean

discussion of how these responses influenced their performance of what we call black womaness. Suffering Injustices at School The girls felt that injustices were present in their schools, classrooms, and society, as was evidence of discrimination, especially

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Queering Virginity

From Unruly Girls to Effeminate Boys

Eftihia Mihelakis

on virginity in non-Western cinema. In the eighth and final chapter, “The Policing of Viragos and Other ‘Fuckable’ Bodies: Virginity as Performance in Latin America,” Tracy Crowe Morey and Adriana Spahr begin “with the epistemological (or performed