The sexualization of the female body in contemporary media has created considerable anxiety about its impact on girls. Much of the resulting research focuses on the influence of visual media on body image and the flow-on effects for girls' health. Rather less attention is paid to the pedagogical role of popular romance fiction in teaching girls about their sexuality. Given the pronounced increase in eroticized fiction for girls over the past decade, this is a significant oversight. This article applies Hakim's (2010) concept of erotic capital to two chick lit novels for girls. The elements of erotic capital—assets additional to economic, cultural and social capital—are used to explore the lessons these novels teach about girl sexual subjectivities and sociality in a sexualized culture.
Sexual Self-Construction in Adolescent Internet Spaces
The teen-targeted website gURL. com is committed to providing educational information about sexuality and sexual health to young girls. In this article, I analyze girls' conversations posted on the site to explore how girls mediate the factual information presented, and how they challenge the borders of the scientific discourse on adolescent sexuality. Without overvaluing the freedom of online environments, I assume that the relatively unregulated space of the Internet encourages young women to create their narratives about sexuality and to imagine themselves as sexual beings. My assumptions are informed by the analyses of Susan Driver (2005), Barclay Barrios (2004) and Susannah Stern (2002): in contrast to the disempowering and alienating effects of institutional policies, I call for the recognition of less regulated sites, which imagine youth not as passive recipients but as active agents who strategically work on developing their understanding of sexuality, and on exploring their sexual selves.
Sexual Relations in the Collectivist Society of Tajikistan
Desire focuses on a particular object, while horniness stems from a generalized feeling of sexual arousal. In Tajikistan, people are discouraged from the former and are expected to experience their sexuality as the latter. The story of Rustam and the clashes with his father Malik over the choice of his bride serve to demonstrate the tensions between the two types of sexuality. Women have more difficulties experiencing desire than men, owing to the reification of the hymen and their expected subordination to their husbands. The conceptual differences between Rustam and his father are to some extent due to differences between collectivism and individualism. The concluding discussion suggests that Western culture may be less individualistic in this regard than is often believed.
Elaine J. O'Quinn
Younger, Beth. 2009. Learning Curves: Body Image and Female Sexuality in Young Adult Literature. Scarecrow Studies in Young Adult Literature, No. 35. Lanham, Maryland: The Scarecrow Press, Inc.
Same-Sex Attraction between Girls
Wendy L. Rouse
passionless and devoid of sexual desire, same-sex crushes were considered mostly harmless. By the early twentieth century, however, views of female sexuality began to change as sexologists confirmed the existence of the female sex-drive and concluded that
Controlling Women’s Sexuality in the Ukrainian Nationalist Underground
of research on women in the nationalist underground, this work remains limited. The questions of gender relations and female sexuality in particular are in need of further in-depth research. In the existing historiography, some attention has been paid
The New Wave of Finnish Girls' Literature
This article examines four works of contemporary Finnish girls' literature. The main focus is on the analysis of various aspects of sexuality represented in the novels in relation to these two questions: How do they depict adolescent female sexuality in comparison to the generic conventions and the history of girls' literature? Do the representations expand, change, preserve and/or challenge the genre? The noticeable change is that the desire and love depicted in contemporary Finnish girls' literature can be lesbian and bisexual. However, although these representations of sexuality challenge some generic limits, the genre characteristics of girls' literature seem to have remained relatively unchanged.
'New' Female Sexualities, 1870–1930
In her study of the relationship between sex, gender, and social change in Britain since 1880, Lesley Hall justifies her starting date by pointing out that ‘recent historians of the nineteenth century have perceived a definite change in sexual attitudes, and in ways of talking about and dealing with sexual issues, around 1880’. She suggests that this marks the beginnings of ‘certain ways of thinking about sex which are essentially “modern”’. This special edition, which focuses on readings of texts published from the 1870s to the late 1920s, examines these ‘modern’ ways of conceptualising sex in relation to the dangerous figure of the sexually active woman and to female sexuality in general. It takes its impetus from such recent developments in the historicizing of sexuality that have designated the fin de siècle and early twentieth century as particularly important for understanding the early formation of ‘new’ female sexual identities. At this time the new science of sexology, the development of psychoanalysis, the social purity movement, the rise of the New Woman and the proliferation of more sexually explicit texts all contributed to increased public debates about the nature of female sexuality. As Frank Mort has argued, this was a period when social purists and feminists increasingly felt compelled to ‘speak out about sex’ and ‘to confront the conspiracy of silence and shame which surrounded the subject’, a confrontation which also took place in New Woman fiction.
Commentators in the popular media of Weimar Germany paid great attention to questions of women's sport, athleticism, and physicality. Their concerns were not restricted to women's reproductive capacities—rather, women's physical emancipation was increasingly interpreted within the framework of larger cultural discourses surrounding the "masculinization" and political emancipation of the modern woman. This article examines such representations of the "masculinized" female athlete, arguing that female athleticism provided an important focus for broader concerns about changing gender relations, female sexuality, and acceptable female life trajectories at this period. Although the perceived threat to traditional male dominance symbolized by the female athlete prompted some commentators to denounce women's physical activity and emphasize traditional gender roles, the article also examines less conventional contemporary responses to women's athleticism, in particular, how a female body "steeled by sport" was reclaimed as an aesthetic ideal within the female homosexual subculture of interwar Berlin.
This article examines the quotations of Elizabeth I’s iconic portraiture as Virgin Queen in Shekhar Kapur’s Elizabeth (1998) and Elizabeth: The Golden Age (2007), and their effect on our a posteriori conceptualization of the depicted body of the female sovereign. Using Mieke Bal’s concept of preposterous history, I argue that Kapur’s transposition of Virgin Queen iconography onto celluloid results in a “(complex) text” that “is both a material object and an effect” (1999: 14). Bal acknowledges that the complexity that lies in the material results of the artistic quotation is not necessarily subversive, as it is dependent on the quoting artist’s ideological premise. Indeed, Kapur’s intermedial quotation of Elizabethan portraiture imbues the highly complex body of the female ruler with contemporary heteronormative notions of female sexuality, thereby reducing it to an object for the male gaze.