In this article I explore how mythopoeic Young Adult (YA) fantasy offers examples of living and being an adolescent female body that challenge the dominant, hegemonic discourses dictating the adolescent girl's appearance in the West's imagesaturated culture. I begin by establishing the features of mythopoeic YA fantasy, before looking at Daine in Tamora Pierce's Immortals quartet and Cinder(ella) in Marissa Meyer's The Lunar Chronicles. Daine's shape-shifting body and Cinder's cybernetic one offer bodily change as an integral part of the (adolescent female) body, as opposed to the fixed perfection required by the fantasy femininity on offer in popular culture, including print, televisual, and social media. Employing a reading of touch in order to explore the multiplicity that is available on, and through, these bodies, I question the representational economy dominating the hegemonic discursive construction of the adolescent girl.
The Adolescent Female Body in YA Fantasy
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.
A Muslim Perspective
For those who are not familiar with the Harry Potter series I apologize; however, I think that a very fine point about fear was made in the third book of the series, The Prisoner of Azkhaban. Harry is about to come up against a Boggart – a creature which has no shape of its own, it is a shape shifter. It takes on the shape of what you fear the most. Harry’s teacher, Professor Lupin, does not allow Harry to confront the Boggart and Harry is upset about this, concerned that Professor Lupin had thought him inadequate in the face of the challenge. However, Lupin assures Harry that he had just been concerned that Lord Voldemort – the Dark Lord – would appear in the classroom. Harry, however, says no – he was not afraid of Lord Voldemort, rather he was afraid of the Dementors, who drain away all happiness from living things. ‘Ah,’ says Lupin, ‘it seems that the thing you fear, is fear itself. Very wise Harry!’ Indeed, very wise Harry. Fear is a crippling emotion.
Sarah James, Marion McCready, and Graham Holderness
layers of real glitter. Corners lifted, drifted, then settled into the mud-glue of earth’s shape-shift mosaic. Hour by hour, small tweaks, twists…and destroying feet. He wonders again at man’s brittleness in that pattern – the best minds of a generation
The Generative Power of Political Emotions
Mette-Louise Johansen, Therese Sandrup, and Nerina Weiss
being than the opaque, shape-shifting Other. Finally, an effect of moral outrage is the socially and/or politically enforced positioning of the people, practices, or organizations—states and nonstates—that are constructed and defined as outrageous. In
A Study of Mortuary Ritual as Sacrifice among the Siberian Chukchi
Jeanette Lykkegård and Rane Willerslev
detect a constant underlying anxiety about provoking the anger of the deceased or the ancestors, who may take revenge for any kind of mistreatment. The shape-shifting of the participants is therefore partly a way of disguising themselves from any
Donald H. Holly Jr.
attends he sees human faces shape-shift into animals, butterflies transform into people, and a child rapidly age into an adult. He then follows a female figure into the desert until, as he puts it, she “engulfed me, staring through me, bringing forth the
Victorian Metropolitan Confluence in Penny Dreadful
Sinan Akilli and Seda Öz
female, whom he brings back from the dead. His second male creature, Proteus, who is introduced to the audience before the first one, seems to represent the erratic, changeable, and helpless nature of man just like the shape-shifting sea god he is named
Abhishek Choudhary, Rhys Machold, Ricardo Cardoso, Andreas Hackl, Martha Lagace, and Carly Machado
chronotope looks at the shape-shifting sobel , a figure Sierra Leoneans have assumed to be both soldier and rebel, a concern she previously addressed briefly (e.g., Ferme 2001: 225–226 ). In Out of War , she places people's anxieties about sobel s in the
Tricksters in Cuban and Brazilian Spirit Mediumship Practices
Diana Espírito Santo
Wastell . London : Routledge . Praet , Istvan . 2009 . “ Shamanism and Ritual in South America: An Inquiry into Amerindian Shape-Shifting .” Journal of the Royal Anthropological Institute 15 , no. 4 : 737 – 754 . 10.1111/j.1467-9655.2009.01582.x