The Bust Guide To The New Girl Order

Both a literary magazine and a chronicle of girl culture, Bust was born in 1993. With contributors who are funny, fierce, and too smart to be anything but feminist, Bust is the original grrrl zine, with a base of loyal female fans--all those women who know that Glamour is garbage, Vogue is vapid, and Cosmo is clueless.The Bust Guide to the New Girl Order contains brand new, funny, sharp, trenchant essays along with some of the best writings from the magazine: Courtney Love's (unsolicited) piece on Bad Girls; the already immortal "Dont's For Boys"; an interview with girl-hero Judy Blume; and lots of other shocking, titillating, truthful articles. A kind of Our Bodies, Ourselves for Generation XX, The Bust Guide to the New Girl Order is destined to become required reading for today's hip urban girl and her admirers.

Both a literary magazine and a chronicle of girl culture, BustThe Bust Guide to the New Girl OrderCourtney Love.

BUST, the original grrrl zine, offers brand new, funny, sharp, trenchant essays with some of its best writings, including Courtney Love on Bad Girls; the already immmortal Don'ts For Boys; and an interview with girl-hero Judy Blume. On-air radio giveaways.

This revised and expanded edition, new in paperback, provides a definitive collection on the current period in feminism known by many as the 'third wave'. Three sections - genealogies and generations, locales and locations, politics and popular culture - interrogate the wave metaphor and, through questioning the generational account of feminism, indicate possible future trajectories for the feminist movement. New to this edition are an interview with Luce Irigaray, a foreword by Imelda Whelehan as well as newly commissioned chapters.

From "Wonder Woman" to Buffy Summers, Emma Peel to Sydney Bristow, "Charlie's Angels" to "The Powerpuff Girls", Superwomen are more than just love interests or sidekicks who stand by their Supermen. In her new book, Stuller shows how the female hero in modern mythology has broken through the boy's club barrier of tradition and reveals the pivotal role of high-heeled crime fighters in popular culture.Featuring spies and sexuality, daddy's girls and super-mothers, this is a comprehensive, engaging and thought-provoking guide to female detectives, meta-humans and action heroines, as well as their creators, directors, performers, and consumers. The book also includes a glossary of modern mythic women, from Aeon to Zoe, as well as a foreword by acclaimed cultural commentator Roz Kaveney, author of "Superheroes! Capes and Crusaders in Comics and Films" (published by I.B. Tauris, April 2008).

Never before has so much popular culture been produced about what it means to be a girl in today's society. From the first appearance of Nancy Drew in 1930, to Seventeen magazine in 1944 to the emergence of Bratz dolls in 2001, girl culture has been increasingly linked to popular culture and an escalating of commodities directed towards girls of all ages. Editors Claudia A. Mitchell and Jacqueline Reid-Walsh investigate the increasingly complex relationships, struggles, obsessions, and idols of American tween and teen girls who are growing up faster today than ever before. From pre-school to high school and beyond, Girl Culture tackles numerous hot-button issues, including the recent barrage of advertising geared toward very young girls emphasizing sexuality and extreme thinness. Nothing is off-limits: body image, peer pressure, cliques, gangs, and plastic surgery are among the over 250 in-depth entries highlighted. Comprehensive in its coverage of the twenty and twenty-first century trendsetters, fashion, literature, film, in-group rituals and hot-button issues that shape—and are shaped by—girl culture, this two-volume resource offers a wealth of information to help students, educators, and interested readers better understand the ongoing interplay between girls and mainstream culture.

Feminism and Power: the Need for Critical Theory is a six-chapter manuscript which offers an important critique of “power feminism.” The latter, having produced such spinoffs as “grrrl power,” “choice,” “babe,” “lipstick,” and “stiletto” feminisms, encourages women to be strong, self-sufficient, feisty, and independent. While I have no argument with much of that tough-minded ideal, I ask whether this “brave new girl” doesn’t too readily acquiesce in a neo-liberal ideology whose underlying tenets derive from American rugged individualism. At its worst, this strain within Third Wave feminism contains no critique of capitalism, no distance on neoliberal theory, no effort to address the injustices contained in globalization’s asymmetries and the industrialized North’s exploitation of developing countries. Feminism and Power: the Need for Critical Theory therefore argues that the critical theories of Theodor Adorno and Jacques Derrida have much to offer feminism, and a feminist understanding of female empowerment. Its pages rely on Adorno’s assertion that it is only by allowing the sufferer to speak that we can unveil social truth rather than be duped by the bravado of victory culture. Similarly, it demonstrates how Derrida’s insistence on the trace, as well as the asymmetries of friendship and hospitality, lead feminism away from the perils of contented triumphalism. The book promotes listening as a paradigmatic feminist gesture, rather than always speaking up and out.

Teenage girls and the new right -- Women and children? Sexual speech and sexual harm -- Explicit content: cultures of girlhood -- The third wave and the third way -- Medicine, education, and sexualization -- Epilogue: girlhood sexualities in the contemporary culture wars.