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’ participation can truly flourish. 2 Our conclusion suggests necessary reforms. Julie’s Story Ever since I was a young girl, I’ve been an early adopter of online technology. I got my first e-mail address in 1995. Long before Tumblr and social media, I discovered

postings. GHS 10(2) will explore technologies of non-violence and, in so doing, recognize the politics of the world around us right now, commemorate Jackie Kirk and her activist agenda in seeking to combat violence, and consider what girlhood studies can

etiological puzzle in its historical contexts—factors that range from changing valuations of childhood, an evolving bio-medicalization notably of home and school environments, and advancing technologies, and interests, in weighing the probability of inner

information and guidance on matters relating to sexual health. She points out that the potential of such a revolutionary technology cannot be realized fully given the ways in which these “power dynamics and cultural norms” of Kenya operate to govern the

understand the HBO documentary, and the pageant itself, as technologies of national belonging, working to enfold certain subjectivities into the national imaginary. As Sarah Banet-Weiser reminds us, the cultural work that beauty pageants perform not only

we should educate girls in science, technology, engineering, and math to encourage them to develop an interest in STEM careers can be found in many articles, books, and conference presentations. We think of this as a modern idea, but, quite simply

adult constructions, scaling and demarcations of space in material and symbolic forms, and (re)appropriating materiality, space and technology to their own ends” ( Jones 2012: 141 ). Our adopting this perspective as researchers could lead us towards more

ideals projected onto everyday tasks on farms. Although girls have access to formal education in agro-technology (like Saúl’s sister), the main organizational tasks related to the crops were a male domain. Saúl was the one in charge of explaining the

of the film prefers, however, to accentuate its nostalgic, upbeat elements. The notion of a childhood devoid of modern technology—the kind designed to absent children, particularly boys, from an outdoor life—is most apparent in the selling of Son of

and circulated within and by way of Poynter’s channel. The affective exchanges in the Q&A comment section are a reminder that technology is “lived: it alters our subjectivity” ( Sobchack 2000: 138 ). In this article I characterize affect as an