and, therefore, with social class. In the last section of this chapter, Higginbotham discusses female children as consumers of and participants in English drama, citing the royal performance of Robert White’s Cupid’s Banishment (1617) by the students
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A Literacy Landscape Unresolved
Beyond the Boy Crisis and into Superhero Fiction
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that the “reductionist comparative measures of gender performance have re-ignited constructions of boys as victims … and supported a re-engagement in conservative or recuperative masculinity politics” (2010: 2). The subtext for much of the response in
My Words, My Literacy
Tracking of and Teaching through the On-Field Language Practices of Australian Indigenous Boys
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related to the educational performance and literacy practices of boys. In their seminal Australian study, Nola Alloway and Pam Gilbert (1997) demonstrated that boys consistently underachieved in formal, standardized literacy tasks compared with girls of
Ambivalent Sexualities in a Transnational Context
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contradictory for me to speculate about their “true” sexuality. More importantly, however, the very distinction between the authentic and “fake” performances of sexuality seems problematic to me, because it rests upon an understanding that there can be only one
The Girl in the GIF
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described as postfeminist ( Gill 2007 ; Projansky 2007 ), requiring both the performance of feminine capacity and empowerment but under narrow, intertwined conditions of beauty, heterosexuality, and neoliberal success in education and employment ( McRobbie
Tehmina Pirzada
athletic actions such as flying, running, and kickboxing. Her performance is further complicated by her rejection of the hypersexualization that is mostly imposed on Western female superheroes like “big breasts and unrealistically accentuated bodies
Networked Technologies as Sites and Means of Nonviolence
Interdisciplinary Perspectives
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which their technologically-mediated society operates. The primer incorporates illustrated, multimedia, and animation components, drama and actors (performance), gameplay, imagined scenarios and female role models. Similar contemporary technologies that
Cynthia Maurer
’s culture as media is integrated into conversation and performance. Conclusion: Friendship Work in Action Tween television is almost exclusively aimed at girls between the ages of seven and eleven who want to be viewed as separate from young children and is
Anastasia Todd
” (2012:188). In this new capitalist structure emotions, affective orientations, and emotional performances have market value, and a literal example can be found in the service sector—a premium is placed on customer service, which consists of appearing
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Girls’ Voices and Civic Engagement in Student Journalism
Piotr S. Bobkowski and Genelle I. Belmas
flag, “southern pride” 1 4 Teachers acting inappropriately, discip. action 2 3 Gender, gender inequality, feminism, sexism 1 3 Vandalism 2 3 Poor athletic performance 2 3 School policies 2 3 Private/personal issues 2 3 Policy on Santa Claus, Halloween