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“I Hope Nobody Feels Harassed”

Teacher Complicity in Gender Inequality in a Middle School

Susan McCullough

stereotypically western gender roles with girls being feminine, emotional, and what is known as soft, and boys being masculine, aggressive, and tough, and that they were policing one another’s performance of these roles. Although both sexes were engaged in this

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“For Girls to Feel Safe”

Community Engineering for Sexual Assault Prevention

Day Greenberg and Angela Calabrese Barton

against violence, proof of STEM expertise, and fully functioning apparel that was informed by and supported peer efforts to achieve social belonging through fashion performance. The girls met complex peer needs for a secret protection plan that does not

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Reading Production and Culture

UK Teen Girl Comics from 1955 to 1960

Joan Ormrod

performances in which the star functions like the shaman in taking the fans to an altered state of existence ( Rojek 2007 ). Underpinning promotional tropes, in many cases, were elements of the ordinary/extraordinary, and of fantasy, reality, and religion

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Sami Schalk

disability .” http://www.hlntv.com/article/2014/01/10/american-girl-disability-melissa-yingying-shang (accessed 19 September 2015 ). Bernstein , Robin M. 2011 . “ Children’s Books, Dolls, and the Performance of Race; or, The Possibility of Children

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Technologies of Nonviolence

Ethical Participatory Visual Research with Girls

Astrid Treffry-Goatley, Lisa Wiebesiek, Naydene de Lange, and Relebohile Moletsane

104 ( 9 ): 1606 – 1614 . doi:10.2105/AJPH.2013.301310 . 10.2105/AJPH.2013.301310 Johnson , Ginger , Anne Pfister , and Cecilia Vindrola-Padros . 2012 . “ Drawings, Photos, and Performances: Using Visual Methods with Children .” Visual

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Naughtiest Girls, Go Girls, and Glitterbombs

Exploding Schoolgirl Fictions

Lucinda McKnight

contemplates how curriculum design occurs in the context of broader media culture and involves the performance of gendered identities—coercively gendered yet with this very coercion providing opportunities for speaking back, as Judith Butler (1997) suggests

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Emily Bent

similar pattern of blending girl activist agendas with theatrical performance based on girls’ creative submissions each year. Girl advocates from WGG moderate the event, introducing high-level respondents and girl activists, providing content overviews

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Sarah E. Whitney

omnipotence of sparkle in clothes, cosmetics, social media, and more can be pleasurable. It subversively draws, Kearney points out, both from hip-hop’s visual optics of bling and queer camp’s glittery performances of femininity. Yet Kearney is cautious that

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Contemporary Girls Studies

Reflections on the Inaugural International Girls Studies Association Conference

Victoria Cann, Sarah Godfrey, and Helen Warner

disability awareness, but, on the other, they serve to (re)construct or reconfigure Poynter’s so-called disabledness through what Todd describes as a post-feminist and ablenationalist lens. In so doing, Poynter’s performance of disabled girlhood is coded as

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“Like Alice, I was Brave”

The Girl in the Text in Olemaun’s Residential School Narratives

Roxanne Harde

. In dedicating the second volume to northern First Peoples, the TRC delineates differences dictated by cultures and geographies; these differences are the focus of Keavy Martin’s (2011) study of Inuit writing, storytelling, and performance as an