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Representations, Positions, and Views

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In “‘This Is My Story’: The Reclaiming of Girls’ Education Discourses in Malala Yousafzai’s Autobiography,” Rosie Walters covers the implications of just just how women’s that are“young girls’ training activists represent themselves” in relation to “the manner in which [Malala] Yousafzai negotiates and challenges discourses around women, Pakistan, and Islam.” Walters comes into the conclusion that “a truly emancipatory knowledge of girls’ legal rights would look to not ever the language and policies of effective businesses but, instead, to women on their own.”

Fiona Nelson, in “The Girl: Dead,” expresses her anxiety about exactly exactly what she calls the “dead woman genre of Young Adult (YA) literature”—books that she defines to be “artifacts of a tradition which allows small to no intimate agency or subjectivity for (living) teenaged girls and women.” She observes “that dead has arrived become promoted as being a viable sexual topic place for women” and concerns that these novels “might really nurture a tradition of bullying and suicide.”

Inside her article, “Girl Constructed in Two Nonfiction Texts: intimate topic? Desired Object?”

Mary Ann Harlan continues the conversation of a kind of social determinism in her own research for the ways two nonfiction that is popular build girls “as intimate topics and desired things.” She tips into the dissonance between exactly just what both of these authors say about girls and just just what girls on their own need to state about how precisely they “navigate society’s objectives and constructions of those as intimate topics.”

Wendy L. Rouse, in “Perfect Love in a much better World: Same-Sex Attraction between Girls,” explores the “impact of shifting social norms” from the life of lesbian girls amongst the nineteenth plus the very very early 20th century. Because of the “growing anxiety in regards to the possible sexual undertones of female friendships” as sexologists started initially to give attention to homosexuality as pathology, the literary works being produced and consumed by grownups resulted in “tragic consequences for [girls] who resisted efforts to comply with heteronormative objectives regarding their future.”

In the 1st of four articles on modern texts, Tehmina Pirzada, in “Narrating Muslim Girlhood when you look at the Pakistani Cityscape of Graphic Narratives” focuses on two visual novels to look at “the empowering portrayal of Muslim girlhood why these works provide as well as advocating for the liberties of Muslim girls.” Pirzada is thinking about the way they rework the “western superhero trope to foreground [the] everyday heroism among these protagonists.” Additionally, she contends why these writers help their protagonists to “navigate … Pakistani cities as familiar places instead of as othered areas.”

In “Confronting Girl-bullying and Gaining Voice in Two Novels by Nicholasa Mohr,” Barbara Roche Rico examines the representation of bullying in two novels by Mohr. She explores the way the protagonist’s “involvement with art enables her to go from the part of item to that particular of subject” and exactly how this “brings [her] to a much much deeper knowledge of her culture and by by herself.” Rico covers Mohr’s reengagment because of the episodes that are“bullying these novels in a memoir” as a means of “writing back again to the tween whose experiences inspired her work.”

Roxanne Harde’s article, “‘Like Alice, I became Brave’: the lady within the Text in Olemaun’s household School Narratives” traces the journey for the eponymous native woman who wished to develop into a pupil in a residential school so that she could find the literacy that will allow her to learn Alice in Wonderland. Through her “determination, courage, and resilience … [she] draws on … her tradition” and [on this] British novel [in purchase to find] her own types of resisting colonial oppressions and asserting native agency.”

Ana Puchau de Lecea’s focus in “Girl, Interrupted and Continued: Rethinking the impact of Elena Fortún’s Celia” is on “the ways that Fortún, through her moving characterization of Celia as increasingly subversive presented by herself as being a feminine writer offering alternative different types of femininity to her visitors through the smoothness Celia therefore the social context regarding the show.” This woman is enthusiastic about how “Fortún’s ideological influence on female authors” helped ensure the narrative continuity of Spanish literature following the Civil War.

Michele Meek’s point of departure in “Lolita Speaks: Disrupting Nabokov’s ‘Aesthetic Bliss’,” is the fact that “a contemporary analytical shift from valuing the looks to an option of this ethics of [Lolita] has led to limited critical readings” of the novel. Her concern has been Lolita’s victimization that, on her, disrupts Nabokov’s “aesthetic bliss.” Meek talks about three revisionary texts, all authored by feminine authors, that “give sound to your ex into the text” in acknowledgement of [her] “sexual desire and agency.”

In “Hope Chest: Demythologizing Girlhood in Kate Bernheimer’s Trilogy,” Catriona McAra, “invoking and describing the relevance of literary theories linked to caskets,” makes use of the metaphor for the hope chest “as both a doll and a cultural repository” that she locates “at the center of the trilogy of story book novels.” She utilizes the hope upper body to talk about the social change in these novels associated with the “child-woman—a hinge-like cultural figure who Bernheimer represents metaphorically through containers of accoutrements containing memories and prophecies.”

Moving forward towards the electronic, Akane Kanai, in “The Girl when you look at the GIF: Reading the personal into Girlfriendship,” explores “the training of reading as a kind of social involvement in girlhood in electronic areas.” As girls through telephone calls to typical feeling. on her behalf, “readers’ aesthetic and social involvement” within the blood circulation of blog sites that “use GIFs (looping, animated images) and captions to articulate emotions and responses associated with everyday situations … is vital to the forming of electronic publics for which visitors come to recognize themselves”

Paula MacDowell, in “Girls’ Perspectives on (Mis)Representations of Girlhood in Hegemonic Media Texts,” discusses her work with “10 woman co-researchers (aged between 10 and 13) to investigate news as texts with taken-for-granted definitions that require to be recognized, questioned, interrupted, and changed.” She states from the manufacturing by these girls of the “Public Service Announcement (PSA) to express exactly exactly how girls and girlhood are (mis)represented in well-established and hegemonic news discourses.” On her behalf, the sound for the woman into the text has to be heard.

In Teresa Strong-Wilson’s review, “Keeping her Feet on a lawn: A audience, her Texts, as well as the World,” Margaret Mackey’s One Child Reading: My Auto-Bibliography (2016) comes alive, us to delight in “this story of reading told from the inside out as it were, as this reviewer invites.”

We conclude this volume with overview of Jonathan A. Allan, Christina Santos, and Adriana Spahr’s Virgin Envy: The Cultural (In)significance associated with the Hymen (2016). Eftihia Mihelakis, in “Queering Virginity: From Unruly Girls to Effeminate Boys,” provides us a reading according to “its profound and investigation that is complex the original boundaries of girlhood and boyhood.”


Dangarembga , Tsitsi . 1988 . Stressed Conditions. A Novel . London : The Women’s Press .

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