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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“I Hope Nobody Feels Harassed”
Teacher Complicity in Gender Inequality in a Middle School
Susan McCullough
“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
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
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
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
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
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
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
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
“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