By Catherine Driscoll
The Spice ladies, Tank woman comicbooks, Sailor Moon, Courtney Love, Grrl strength: do such issues relatively represent a distinct "girl culture?" Catherine Driscoll starts off by means of selecting a family tree of "girlhood" or "feminine adolescence," after which argues that either "girls" and "culture" as principles are too not easy to satisfy any worthwhile function in theorizing in regards to the emergence of female formative years in pop culture. She relates the expanding public visibility of ladies in western and westernized cultures to the evolution and enlargement of theories approximately female youth in fields equivalent to psychoanalysis, sociology, anthropology, background, and politics. providing her argument as a Foucauldian family tree, Driscoll discusses the ways that younger women were focused on the construction and intake of theories and representations of ladies, female early life, and the "girl market."
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Additional info for Girls: Feminine Adolescence in Popular Culture and Cultural Theory
Ben-Amos 4) The Girl of the Period Historians of the early modern period have subsequently questioned this abrupt transition thesis, which minimizes the importance and duration of “youth”: They have applied, or tacitly assumed, a model in which emphasis is placed on the longevity and extension of that stage in the life cycle. They all stress that in early modern English society full participation in adult life was retarded, and legal, social and economic rights and obligations were accorded to the young only many years after they had reached puberty.
But Romeo’s and Juliet’s parents are in fact enthusiastic about the imminent separation of their children from the family home, and they do not stand in the way of their child’s love—as in other Shakespearian plays, such as The Merchant of Venice—because they do not know about it. The substantive question when trying to align this narrative with contemporary models of adolescence is whether Juliet’s psychological development is an issue either in her desire to marry Romeo (and not Paris) or her parents’ desire that she marry Paris.
They were emblems of the continuity of Britishness in the private realm, the natural continuity of the empire in individual persons and families, and reinforced a home culture in the face of the colonial experience. As girls took on this role for the colonial center, the idea of the native girl also represented her culture—materializing an 35 36 BECOMING A GIRL image of those cultures, their capacity to be inculcated into British/Christian cultures, and the seductive threat of interracial desire.
Girls: Feminine Adolescence in Popular Culture and Cultural Theory by Catherine Driscoll