In 1988, Michelle Fine explored the ways in which damaging patriarchal discourses about sexuality affect adolescent girls, and hinder their development of sexual desire, subjectivities, and responsibility. In this article, I emphasize the durability and pliability of those discourses three decades later. While they have endured, they shift depending on context and the intersections of girls’ race, class, and gender identities. Calling on ethnographic research, I analyze the intersectional nuances in these sexual lessons for Latina girls in one (New) Latinx Diaspora town.
(Queer) Girls’ Adolescence, Risk, and Subjectivity in Blue is the Warmest Color
Sexual Subjectivity When risk is regarded as wholly negative, as it so often is, it is only rational to attempt to mitigate it. But what would it look like to theorize about risk outside of an impulse to say no to it ( Berlant and Edelman 2014 ); to read
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.
Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott and Kristen Sollée
1970s, the fight to claim female sexual subjectivity has been intimately tied to debates about pornography. Anti-porn feminists have suggested that the misogyny inherent in mainstream pornography promotes rape and sexism and that it should be stopped at
Girlhood Studies at 10
contemporary women.” Michelle Miller, in her article, “Theorizing “The Plunge”: [Queer] Girls’ Adolescence, Risk, and Subjectivity in Blue is the Warmest Color ,” proposes that if we are “to honor girls’ sexual subjectivity, we must treat romantic risk
own effort and talent, and it disseminates the message that girls today have access to power, money, social status, beauty, confidence, and even sexual subjectivity ( Harris 2004 ; Gill 2008 ). When girls become a part of the assemblage, they assign
Sexual Subject? Desired Object?
Mary Ann Harlan
object is a feminist act. This is evident in Orenstein’s and Sales’s text as girls use the language of choice and empowerment in speaking about their sexual subjectivity, and in recognizing their position as objects. Sexual Subjects, Desired Objects
Disrupting Nabokov’s “Aesthetic Bliss”
line between persuasion and coercion for the girl. Conclusion: The Ambiguity of Lolita’s Ethics Consciously or not, these writers have written girls’ sexual subjectivity into the text of Lolita . If these novels espouse a moral it might be that to
Exploring the CBBC Television Tween
Media Studies 13 ( 2 ): 228 – 244 . http://dx.doi.org/10.1080/14680777.2012.708511 Jackson , Sue , and Tina Vares . 2011 . “Media ‘Sluts’: ‘Tween’ Girls’ Negotiations of Postfeminist Sexual Subjectivities in Popular Culture.” In New
Tween Girls, Intimacy, and Subjectivities
Consent . Champaign : University of Illinois Press . Jackson , Sue , and Tiina Vares . 2011 . “Media ‘Sluts’: Girls’ Negotiation of Sexual Subjectivities in ‘Tween’ Popular Culture.” In New Femininities. Postfeminism, Neoliberalism and