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“Loving and Cruel, All at the Same Time”

Girlhood Identity in The Craft

Emily Chandler

banding together, their strength once they form a group, and Sarah’s vulnerability following her exile, The Craft gives dimension to this fear. This is arguably where a key relevance of the film for girl audiences lies: The Craft is literally a horror

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Freak Temporality

Female Adolescence in the Novels of Carson McCullers

Alison Sperling

specifically associated with the adolescent fear of out-of-control growth that threatens to expose the girls’ underlying sense of their own queerness and to render them undesirable in the future. McCullers’s formulation of girlish adolescence, where growth and

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Sexy Health Carnival

One Small Part of Indigenous Herstory

Alexa Lesperance

breaking down barriers of fear, stigma, and shame. And so I felt it was important to provide as much information, and support, for issues we face like suicide, HIV and AIDS, sexually transmitted infections (STIs), and shame related to sexuality, so that we

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Claudia Mitchell

“ The Craft ’s relevance to girls arises from its subversion of teen film tropes” in its exploration of “girls’ fear of isolation.” Bernice Loh, in “Beyond the Discourse of Sexualization: An Inquiry into the Adultification of Tween Girls’ Dressing in

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Diederik F. Janssen

European notions of boyhood and childhood in Yucatán, while in Mexico City, Christian fear of divine judgment reigned as key pedagogical experts’ recommended vehicle in promoting obedience. In “‘Be Prepared!’ (But Not Too Prepared): Scouting, Soldiering

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Sami Schalk

discomforted around disabled people. McKenna’s lack of ease is depicted as part of her own internal fears and uncertainty—her emotions are not represented as part of the oppression of people with disabilities. Instead, her discomfort is naturalized as a normal

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Smart Girl Identity

Possibilities and Implications

Bernice Loh

experiences as unfair or sexist for fear of earning “the potentially socially damaging label [of feminist]” (99). For them, calling out “sexist behaviour might cause [them] to appear unattractive or ugly to boys, as well as to other girls” (99). In

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Christianity and Sexuality

Girls and Women Forge New Paths

Sharon Woodill

the fear of and taboos against women’s sexuality untethered from the gendered social/moral obligations typically embedded in Christian theologies and sexual ethics. Using the good girl/bad girl framework of secular media as the instrument for reading

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Tehmina Pirzada

, Butt Bahee’s comment is significant because Nazar portrays him as Gogi’s potential suitor and friend whom she later rejects. Right behind Butt Bahee we see an amused Gogi laughing at his fear of feminism. Gogi’s carefree body language and spatial

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Jasmyn Galley

demonstrates the men’s “fear and horror of the female body, the fear of being swallowed up by the mother, her power to give or withhold human life, and so on” ( 2003: 371 ). Therefore, while the women’s hockey team is seen as empowering for its players, it is a