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Buffeted by Political Winds

Children’s Literature in Communist Romania

Adrian Solomon

early 1960s; a “soft” phase with a more liberal, “human face” made possible by a change of course in politics, spanning the 1960s and the 1970s; and another reversal of the trend, this time toward national Communism, terminated by the 1989 uprising that

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Thatcher’s Sons?

1980s Boyhood in British Cinema, 2005–2010

Andy Pope

, represents the last bastion of traditional masculinity. These 1980s-set films 1 indicate that contemporary men have considerable difficulty reconciling the decade’s socio-political and cultural ambiguities. Films such as Is Anybody There? (2008) and The

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Emily Bent

Turkey. The 2019 GSO underscored girls’ political leadership on addressing contemporary human rights issues including climate change, immigration and forced migration, Indigenous rights, gender equality in schools, menstrual equity, and gender

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Sarah E. Whitney

(predominately white) tween hero, Winston emphasizes the continuous progression of her protagonist’s skills over the transition from elementary to junior high school, and adds supportive adult female mentors. By offering a politics of continuity rather than

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Personal, Powerful, Political

Activist Networks by, for, and with Girls and Young Women

Catherine Vanner and Anuradha Dugal

constraining them. It recognizes that girl activists often operate within girl-led and/or intergenerational activism networks that are characterized by complicated power dynamics ( Brown 2016 ). While there is increasing recognition of girls as political

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Jasmyn Galley

analogous to the cultural, political, and social oppression of Aboriginal Peoples throughout history at the hands of colonialists as well as at those of contemporary Canadians. I will discuss how Highway’s play also implies hopeful potential for change in

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Claudia Mitchell

Gesa Kirsch, in her book, Ethical Dilemmas in Feminist Research: The Politics of Location, Interpretation and Publication ( 1999 ) posed these same questions in relation to feminist research with women. Kirsch raises concerns, applicable, I think, to

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Jess Dorrance

goes, how she is seen or used, and with whom she affiliates. In response, she blames herself. This article thinks with and about Boudry and Lorenz's film and accompanying installation Toxic in order to reflect upon the politics of racialized queer

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Emma Celeste Bedor

of apathy, cynicism, and malaise as they relate to media exposure overwhelmingly examine these questions as they relate to political figures, their campaigns, and news coverage (Ansolabehere and Iyengar 1995 ; Bennett et al. 1999 ; Cappella and

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Carrie A. Rentschler

Young feminists use social media in order to respond to rape culture and to hold accountable the purveyors of its practices and ways of thinking when mainstream news media, police and school authorities do not. This article analyzes how social networks identified with young feminists take shape via social media responses to sexual violence, and how those networks are organized around the conceptual framework of rape culture. Drawing on the concept of response-ability, the article analyzes how recent social media responses to rape culture evidence the affective and technocultural nature of current feminist network building and the ways this online criticism re-imagines the position of feminist witnesses to rape culture.