Drawing on letters and essays written by teenage girls in the 1970s and early 1980s, and building on my historical research on same-sex desiring girls and girlhoods in the postwar United States, I ask how teenage girls in the 1970s and early 1980s pursued answers to questions about their feelings, practices, and identities and expressed their subjectivities as young lesbian feminists. These young writers, I argue, recognized that they benefitted from more resources and role models than did earlier generations, but they objected to what they saw as adult lesbians’ ageism, caution, and neglect. In reaching out to sympathetic straight and lesbian public figures and publications, girls found new ways to combat the persistent isolation and oppression faced by youth whose autonomy remained severely restricted by familial, educational, and legal structures.
Queer Girls’ Voices in the Liberation Era
Amanda H. Littauer
Intergenerational Remembrance in Post-communist Romania
Codruta Alina Pohrib
1970s and 1980s, and Elev în Comunism , 6 which comprises first person narratives by teenagers imagining their lives as pupils in communist Romania. By looking at these artifacts, I aim to address several questions. How is childhood nostalgia
Brandt's Ostpolitik, the German-Polish History Textbook Commission, and Conservative Reaction
Prior to the late 1960s, German history textbooks lacked coverage of Poland and depicted Germany's eastern neighbor with negative images. The 1970s and 1980s, however, witnessed positive changes to the contents of German school textbooks—particularly with respect to their descriptions of Poland and German-Polish relations. How and why did Germany promote a more reflective view of history and correct negative descriptions of the Poles in German history textbooks between the 1970s and 1980s? This article addresses this question by focusing on the influence of Brandt's Ostpolitik and on the activities of the German-Polish History Textbook Commission. The article also shows how contemporary conservative reaction was not powerful enough to reverse these positive changes to German history textbooks.
In this article, I explore the dominant narratives about Islam in German history textbooks from the eighteenth century until the present day. I thereby deconstruct a longue durée script with a rather curious pattern. Until the 1980s, textbook narratives about Islam were rooted exclusively in people's historical imagination. Only when the children of Turkish workers entered the classroom did textbook authors try to accommodate knowledge based on real encounters. By addressing the di erent stages of this longue durée script, I enquire into the functions of narratives as they underpinned a German and European "we."
1980s, 1990s, and the Present Day
Béchir Oueslati, Marie McAndrew, and Denise Helly
This article examines the evolution of the representation of Islam and Muslim cultures in textbooks in Quebec. Results indicate signicant improvements in the new secondary school history textbooks, both quantitatively (for they contain more information about pillars, key concepts, and relations with Christianity and Judaism) and qualitatively (on account of their depth of coverage, fewer negative views than in the 1980s, and fewer factual errors than in the 1990s). The positive role played by Muslim scientists in preserving old knowledge and enriching is also recognized. However, textbooks still view Islam as a religion of submission, proscriptions, and forced conversion, failing to recognize the diversity within Islam and Muslim cultures.
Lyn Mikel Brown
Lyn Mikel Brown gives an autobiographical account of her shift in focus from studying girls and theorizing girls and girlhood to working as an activist and advocate for and with girls. Specifically she describes the Maine-based nonprofit organization called Hardy Girls Healthy Women (www.hghw.org) that she founded in 2000. She situates her current praxis historically in the light of her groundbreaking work with Carol Gilligan at the Harvard Project on Women's Psychology and Girls' Development in the 1980s and early 1990s. This work did indeed put the "girls" into Girls' Studies.
The discursive shift during the twenty-first century from “no means no” to “yes means yes” clearly had an impact on contemporary American teen films. While teen films of the 1970s and 1980s often epitomized rape culture, teen films of the 2010s and later adopted consent culture actively. Such films now routinely highlight how obtaining a girl’s “yes” is equally important to respecting her “no.” However, the framework of affirmative consent is not without its flaws. In this article, I highlight how recent teen movies expose some of these shortcomings, in particular how affirmative consent remains a highly gendered discourse that prioritizes verbal consent over desire.
Claudia Mitchell and Jacqueline Reid-Walsh
It has been forty years since the feminist classic on women’s health and sexuality, Our Bodies, Our Selves was published. Available first in 1971 and then produced commercially in 1973 (revised, re-issued and, as of October 2011, in its ninth printing), Our Bodies, Our Selves, published by the Boston Women’s Collective, was regarded by many girls and women in the 1970s and 1980s as the book that changed their relationship to their own bodies and to their own health. And indeed, it set the stage for a revisioning of the questions: “Whose bodies?” and “Whose voices?” in health research, and could be regarded as a precursor to such works as Sandra Harding’s (1991) Whose Science? Whose Knowledge? Thinking from Women’s Lives.
Screening Narratives of Girl Killers
The term girl heroine is an ambiguous signifier in discourses surrounding action-adventure cinema. Film scholars occasionally refer to adult action heroines as girls, while adolescent warriors remain largely overlooked in the literature. Research on women warriors focuses primarily on “musculinity” films of the 1980s or on more recent “action babe” movies featuring adult women. However, movies like Kick-Ass, Hanna, Violet & Daisy, Hard Candy, True Grit, and The Hunger Games demonstrate that films with adolescent action heroines are increasingly popular. This article argues that contemporary depictions of girl warriors emerge as a result of recent shifts in cultural attitudes towards girlhood sexuality and girlhood aggression. It also argues that the rise of the adolescent action heroine points to anxieties about changes in nuclear family structures, and that contemporary action films imply that young girls should be responsible for maintaining moral order. Ultimately, such films thus contain regressive as well as progressive messages.
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.