The controversies triggered by the Netflix adaptation of Jay Asher’s young adult novel Thirteen Reasons Why (2007) have focused on suicide and downplayed discussions of rape as a central plot device. Making use of stereotypical characters (such as the cheerleader and the jock) and archetypal setting (including the high school), 13 Reasons Why delves into the reassuring world of the suburban town; it deals ambiguously with the entwined notions of gender and power encapsulated in the teenpic genre. A detailed analysis of the series indeed reveals that its causative narrative reinforces the rape myth by putting the blame on girls for events that happen to them. In this article I explore the tensions of a TV series that endorses the rape myth through the entertaining frame of the teenpic.
Agency, Representation, and Neoliberal Jewish Girlhood
The focus of the essay is the well known (and worn) stereotype of the Jewish American Princess or JAP. Spoiled, frigid, loud, defiant, the JAP refuses to behave in civilized ways even as she constantly transgresses the boundaries of civilized social spaces. Both an intimate insider, and an eternal outsider, the JAP is a boundary figure whose presence draws and redraws myths of assimilative ideals and citizenship rights in American culture. The complexity of these social relations, their apparent contradictions, and the possibilities they may offer for agency and resistance in both 'real' and fictive contexts are explored through close examinations of four high profile JAPS—Cher Horowitz of the film Clueless, Monica Lewinsky, Jessica Stein of the film Kissing Jessica Stein, and Lizzie Grubman.
violence. Instead, she chooses peace, love, logic, and reason as viable tactics to overcome her enemies. These tactics are particularly significant because they not only subvert the platitudinous stereotype about the Muslim community, especially Muslim men
Weaknesses in Corporate and Law Enforcement Responses to Cyberviolence against Girls
Suzanne Dunn, Julie S. Lalonde, and Jane Bailey
2015 ). When girls either assert their rights or express themselves outside the bounds of stereotypically white heterosexual femininity online ( Regan and Sweet 2015 ), their expression is often policed by other users ( Senft and Baym 2015 ; Steeves
A Critical Analysis of Media Representations of Gender, Youth, and MySpace.com in International News Discourses
This article raises issues related to the gendered representation in the print media, particularly English-language newspapers, of girls who use MySpace as foolish innocents who invite sexual predation. It examines the ways in which the stereotyped representation of girls and boys promotes the hegemonic discourses that construct girlhood as a time of helplessness and lack of control, and that blame the technology itself, in this case MySpace, for a multitude of cultural problems. Ultimately, these discourses portray MySpace as a dangerous place where adolescent girls flaunt sexuality, where sexual predators lurk, and where boys commit violence, thus creating and reinforcing a moral panic and extending stereotypes about girls and boys, and about technology.
This article explores the development of girl characters in works for children and young adults during Perestroika. First, it examines established heroines from the Soviet era, such as Elli in Volkov's Volshebnik izumrudnogo goroda [The wizard of the emerald city], and then goes on to examine the depiction of female protagonists and characters in works written during the late 1980s and early 1990s. The conclusion is that although there was a clear demand for new heroines and a new role model for girls, writers did not succeed in providing strong, independent female characters with a sense of agency. Instead, the Soviet preference for male protagonists continued, with females often being portrayed stereotypically as weak and ineffectual.
Medical Discourse on Girls in Sweden c. 1880-1930
The sick girl was a popular stereotype in Swedish medical discourse around 1900. It was established by medical authorities at the time that a substantial number of Swedish girls suffered from various diseases and ailments. However, at the beginning of the twentieth century, at a time when the welfare state was gradually evolving in the Nordic countries, the scientific opinion of girls changed. The new girl was represented as healthy and active. This article examines the medical discourse on girls, and their activity and health in Sweden during circa 1880 to 1930. It reveals patterns of the medicalization of girls as well as categorizations and constructions of girlhood that corresponded with contemporaneous notions of gender. It reveals a recurring, if inconstant, problematization of girls' illness and lack of adequate physical activity. In this article I will show how the discussions about girls around 1900 share several similarities with current ones.
How a Girl Saved Camelot, and why it Matters
The Warner Brothers animated film Quest for Camelot (1998), which is set in the age of King Arthur, tells the story of Kayley, a brave, resolute, intelligent and peaceful teenage girl who rescues Camelot and is rewarded for her heroism by being made a Knight of the Round Table. The film presents viewers with a feminist hero, but does so without apology or self-congratulation. Kayley carves out a new space for girl heroes in mainstream film production in which a girl can become a hero without being weighed down by expectations of stereotyped gendered behavior and without virilizing herself by narrowly defining a hero as an aggressive warrior. She escapes the sexual pressures that complicate Buffy the Vampire Slayer's life and the submissive acceptance of the violent warrior ethic that defines Mulan. Kayley is an unusual girl hero who celebrates Girl Power as an uncommonly innocent and positive character.
Reading Muslim Masculinities through Muslim Femininities in Ms. Marvel
Shenila S. Khoja-Moolji and Alyssa D. Niccolini
In this article we examine the production and operation of the character, Kamala Khan, a Muslim American-Pakistani superheroine of the Ms. Marvel comic series, to glean what this reveals about Islam and Muslims, with particular attention to representations of Muslim masculinities. We argue that Ms. Marvel's invitation to visualize Muslim girls as superheroes is framed by a desire to interrupt rampant Islamophobia and xenophobia, yet, in order to produce such a disruption it relies on, and (re)produces, stereotypical conceptualizations of Muslim masculinities as mirrored in men who are conservative, prone to irrational rage, pre-modern, anachronistic, and even bestial. However, as the series progresses we notice the emergence of representations of complex and complicated Muslim masculinities that cast doubt on these tired, hackneyed ones, thus making way for a comic to undertake the pedagogical work of resistance. We see this graphic novel, like the shape-shifting Kamala herself, as wielding potentially dynamic and transformative power in social imaginaries.
What Comes After Girl Power?
Marnina Gonick, Emma Renold, Jessica Ringrose, and Lisa Weems
With the current proliferation of images and narratives of girls and girlhood in popular culture, many ‘truths’ about girls circulate with certainty. Amongst the aims of this Special Issue is to examine critically these ‘confi dent characterizations’ (Trinh 1989), to trace the social conditions which produce these ‘truths’ along with the public fascination with girls and to analyze critically the eff ects of these ‘truths’ in the lives of young girls. Th e concepts of resistance and agency have been critical to the field of youth studies, sociology of education and school ethnographies (Hall and Jeff erson 1976; McRobbie 1978; Willis 1978) for conceptualizing the relationships between young people and their social worlds. Ground breaking scholarship by McRobbie (2000) challenges the gendered assumptions of political agency articulated in previous theories of subcultures developed in the 1970s and 80s. While feminist poststructuralist work in the 1990s has re-conceptualized agency in ways that are markedly diff erent to humanist notions of rational actors with free-will (Butler 2006; Davies 2000), feminist researchers have also shown the importance of a classed, raced and sexed analysis of agency. For example, scholarship by feminists of color have shown how girls of color challenge and defy dominant stereotypes of girlhood in culturally specifi c ways such as participating in spokenword contests, rap and hip hop, and ‘beauty contests’ (Hernandez and Rehman 2002; Gaunt 2006). In the changing social, economic, political and globalizing context of the new millennium, where ‘girl power’ has become a marketing tool and a branding (Klein 2000) of girlhood, it is important to look anew at the relations between girlhood, power, agency and resistance.