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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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Brenda Austin-Smith, Matthew Cipa, and Temenuga Trifonova

aesthetic merits of film (the rhythms of tap-dancing, say) are superficial, but no less significant for that which a single-minded concern with meaning can obscure. Other merit qualities, such as those of performance or texture or tone or mood, can be

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Authenticity and Aspiration

Exploring the CBBC Television Tween

Sarah Godfrey

uncharacteristic desire to complete homework and other tasks pertaining to their project. While this is, initially, at least, a performance aimed at winning Polly’s romantic attention, as opposed to a genuine desire to take his schoolwork seriously, over the course

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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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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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Where to from Here?

Emerging Conversations on Girls’ Literature and Girlhood

Dawn Sardella-Ayres and Ashley N. Reese

also provide points of interrogation for what gender means as a whole. Exploring not only the absences and silences, but the subversive potentials in girls’ gendered performances in these contexts opens up possibilities for a more diverse analysis of

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From Selfies to Sexting

Tween Girls, Intimacy, and Subjectivities

Antonio García-Gómez

or not tween girls are susceptible to being influenced by sexualized media representations, but also to uncover whether or not social media as well as celebrities’ hypersexualized performances have pushed girls into early sexual behaviour ( Jackson

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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