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Girling the girl: Visual culture and Girl Studies.

机译：女孩的女孩：视觉文化和女孩研究。

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摘要

Caught between lipstick and a field hockey stick, girls invent tactics for assembling themselves as performative multiplicities, individual hordes of desire that mutate as often as they change shoes. This dissertation offers a research model for feminism that addresses girls as positive categories of possibility, that revalues the status of girls as to-be subjects, and that develops a synthesis between Visual Culture, Women's Studies, and the emerging field of Girl Studies. The analyses produced by this model are deliberately unhinged from the kind of psychological moorings that predetermine girl as a marker for woman-in-training. I explore and map the intensities of becoming-girl through performatives and events of gender as they appear in visual art, film, the Internet, school, home, and the street, in order to demonstrate the pervasive effects girls have on the same impermeable culture that is supposedly killing them.;Girl begins as someone in the middle, the consummate apprentice, a liminal figure crossbreeding the innocence of childhood with the pollutants of womanhood. She bears a mark of the feminine that is not biologically determined. Girl as a sociological category is relatively new, following the birth of childhood itself in the eighteenth century and coming to life in the mid-twentieth century as a breakaway subset of the "teenager." She occupies the odd position of being the most desirable of objects and being the most invisible of subjects. Girl is in fact not a Subject at all. She is locatable through the marks she makes. The girl marks with an X---whatever cultural signage that may be---and thus, a territory is established. This dissertation claims neither to define nor to transubstantiate girl as a modal Subject. Girl here functions as a conceptual persona, and as such is not necessarily a correlative or representative of actual girls. She coheres as a brand, a loose site of identity managed through others' desires. I argue that girls can and do actively manage their own brands, and that Brand X has more to teach us than we have to teach her.
机译：介于口红和曲棍球棒之间，女孩们发明了将自己组装成表演性多样性的策略，这些个体的欲望随着换鞋的次数而不断变化。本文为女权主义提供了一种研究模式，将女孩作为积极的可能性类别，重估了女孩作为未来主体的地位，并在视觉文化，妇女研究和新兴的女孩研究领域之间进行了综合。该模型所产生的分析是有意地脱离了预先确定女孩是接受培训的女性的那种心理停泊处的。我通过在视觉艺术，电影，互联网，学校，家庭和街道上出现的表演和性别事件来探索和描绘成为女孩的强度，以证明女孩对同一不可渗透文化的普遍影响女孩开始时是中间的人，是一个完善的学徒，这是一个边缘人物，将童年的纯真与女人味的污染物杂交。她带有女性特征的痕迹，该痕迹不是生物学确定的。女孩作为一种社会学类别相对较新，这是在十八世纪童年时代诞生之后，到二十世纪中叶作为“少年”的突破性子集而诞生的。她占据着一个奇怪的位置，它是最令人向往的物体，也是最隐蔽的物体。女孩实际上根本不是学科。她可以通过自己的标记来定位。女孩用X标记-可能是任何文化标志-从而确定了领土。本文主张既没有定义也没有怀疑女孩是模态主体。这里的女孩起着概念上的角色的作用，因此不一定是实际女孩的代表或代表。她作为一个品牌凝聚在一起，是一个通过他人的欲望进行管理的松散身份网站。我认为女孩可以并且确实可以积极地管理自己的品牌，而且品牌X教给我们的知识比教给她的知识还多。

著录项

  • 作者

    Jones, Leisha.;

  • 作者单位

    The Pennsylvania State University.;

  • 授予单位 The Pennsylvania State University.;
  • 学科 Womens studies.;Film studies.;Multimedia communications.;Art education.;Fine arts.
  • 学位 Ph.D.
  • 年度 2008
  • 页码 209 p.
  • 总页数 209
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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