Much previous scholarly work has noted the gendered nature of humor and the notion that women use comedy in a different way than do their male peers. Drawing on prior work on gender and humor, and my ethnographic work on teen girl cultures, I explore in this article how young women utilize popular cultural texts as well as everyday and staged comedy as part of a gendered resource that provides potential sites for sex-gender transgression and conformity. Through a series of vignettes, I explore how girls do funny and provide a backdrop to perform youthful gendered identities, as well as establish, maintain, and transgress cultural and social boundaries. Moving on to explore young women and stand-up I question the potential in mobilizing humor as an educational resource and a site in which to explore sex-gender norms with young people.
Assessing the Impacts of Biology and Navigational Experience
Mariah G. Schug
seemed to be more visible in the community and might, therefore, engage in more spatial thinking through navigating outside their homes. This experience, the Munroes thought, might explain boys’ better performance on spatial tasks. With their curiosity
Revising the Family Story
take on the voices of others is part of a compulsive performance of trying on cultures, races, ethnicities, ages, and classes outside her own as she strives to reach beyond her identity and limitations as a “little white kid.” Thebes’s language is
Social and Emotional Experiences of the Clothed Body
Drawing on ethnographic research with a diverse group of teen girls, this article asks how play with style is understood and enacted. By positioning girls' everyday transactions with style beside their engagement with style in media, this article demonstrates that girls live with a cultural discordance between the girl power media discourse of style as choice, power, and resistance, and the reality of their own, often disempowered, experiences with style. Bound by the promise of upward social mobility, the fear of losing status, and the risk of remaining in the low income and middle class communities in which they were raised, the girls in this study feel regulated and, at times, hurt by the required performance of the clothed body.
In this article I examine the performances of black girlhood in two texts by Ntozake Shange—the choreopoem “for colored girls who have considered suicide when the rainbow is enuf” (1977) and the novel Sassafras, Cypress and Indigo (1982). The black girls whom Shange portrays navigate anti-black racism in their communities, domestic violence in their homes, and explore their connections with spirit worlds. In both these works, Shange stages black girls who make decisions based on their understanding of the spheres of influence that their race, gender, and age afford them in an anti-black patriarchal world dominated by adults. I draw, too, from Patricia Hill Collins’s work on feminist standpoint theory and black feminist thought to introduce the term black girl thought as a theoretical framework to offer insights into the complex lives of black girls who live in the post-civil rights era in the United States.
Michael C. Reichert and Richard Hawley
In a large-scale survey of effective teaching practices with boys conducted in 2008 across 18 schools in 6 different English-speaking countries, we collected lessons in a wide variety of subject areas (math, literature, science, art) shaped to fit boys’ particular learning needs and preferences. At a time of widely-published claims about boys’ relative failure to thrive in contemporary school settings, we surveyed schools dedicated to boys in particular—boys’ schools—in hopes of discovering the outlines of a pedagogy that might have broader relevance for boys everywhere. Nearly 1,000 teachers responded with detailed descriptions of teaching approaches that succeeded in engaging boys. Boys themselves—1,500 of them, aged 12-19—corroborated the features of effective instruction reported by their teachers. We suggest that the practices identified were “chafed” into being by sustained interactions between teachers and their male students. In this mutually-attuned, coordinated interaction between boy learner and adult instructor, we found qualities of responsiveness and connection echoing regulatory communication commonly associated with earlier periods in child development. Given current concerns about widespread gaps in many boys’ school performance, these stories affirming educational relationships could point the way to a clearer understanding of how best to engage boys in scholastic endeavor.
Bullying, Privilege and the Schooling of Hegemonic Masculinity
Brett G. Stoudt
In order to better understand the socialization and (re)production of privilege, most especially gendered privilege, within elite independent schools it is important to examine the masculine performances of its students enacted through bullying as well as the masculine environments in which these enactments are produced. This paper will begin explicating the messages received and the representations shaped by Rockport’s hegemonic masculine curriculum and the embodiment of these dynamics through research on bullying conducted with students and faculty at an elite, single-sex independent boys school, Rockport. The data revealed that bullying between boys at Rockport helped to discipline and reproduce hegemonic masculine boundaries; it was as much an expression of Rockport’s culture as it was a vehicle for policing and reproducing its culture. However, not only were the boys within Rockport gendered, the faculty and even the institution itself was gendered. In this way, it was systemic, both students and faculty acted within this institutional culture and held and managed expectations about their gender.
Rethinking Girls' Resistance and Agency in Postcolonial Contexts
In this article I explore the performance art of international hip-hop artist M.I.A. to interrogate the problematic of girls' resistance and agency within a global youthscape. Using a feminist transnational framework, I analyze how her music and celebrity persona may be considered gendered post-colonial cultural productions that highlight issues of inequality, violence and domination. I argue that M.I.A.'s cultural productions serve as pedagogical symbolic resources for theorizing girlhood in post-colonial contexts specifically around issues of sexuality. As a symbolic resource, M.I.A.'s work is pedagogical in the larger global youthscape as well as in scholarship on girls in post-colonial contexts. Specifically, M.I.A. (in her music and interviews) openly wrestles with the embodied tensions between complicity and possibility in post-colonial girlhood. Consistent with a feminist transnational framework, I argue that the identities of “Third World” girls are discursively produced as innocent yet hypersexualized exotic Others in the service and/or mercy of “First World” colonial men and women. However, M.I.A. makes explicit that within the context of globalization, the cultural politics of gender and sexuality take place on/through/with brown female bodies—whether it is in the battlefield, the street or in the bedroom. A close analysis M.I.A.'s song 10 Dollar illustrates how Third World girls exercise resistance and agency in negotiating imperialist and nationalist heteropatriarchy.
Teen Girls Negotiating Discourses of Competitive, Heterosexualized Aggression
In this paper I explore the themes of heterosexualized competition and aggression in Avril Lavigne's music video Girlfriend (2007) as representative of the violent heterosexualized politics within which girls are incited to compete in contemporary schooling and popular culture. I argue that psycho-educational discourses attempting to explain girls' aggression and bullying fail to account for the heterosexualized, classed or racialized power dynamics of social competition that organize heteronormative femininity. Then I elaborate a psychosocial approach using psychoanalytic concepts to trace how teen girls negotiate contemporary discourses of sexual aggression and competition. Drawing on findings from a study with racially and economically marginalized girls aged thirteen to fourteen attending an innercity school in South Wales, I suggest that the girls enact regulatory, classed discourses like slut to manage performances of heterosexualized aggression. However, alongside their demonstration of the impetus toward sexual regulation of one another, I show how the girls in my study are also attempting to challenge heteronormative formations of performing sexy-aggressive. Moments of critical resistance in their narratives, when they refuse to pathologize aggressive girls as mean and/or bullies, and in their fantasies, when they reject heterosexual relationships like marriage are explored.
Girls Cultivating Disruption
Crystal Leigh Endsley
: “We may bend but we are never broken.” After her performance I probed, “What about Nola makes you proud to grow up here in spite of having to ‘bend’?” She attributed her survival techniques to growing up in her hometown, the same community that placed