Titlebook: Bad Girls and Transgressive Women in Popular Television, Fiction, and Film; Julie A. Chappell,Mallory Young Book 2017 The Editor(s) (if ap

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Vera Caspary’s ,: Murder as a Domestic Art, or Lethal Home Economicscklash of rigid conformity that follows the social gains of the 1930s and 1940s. The novel traces the reasons Caspary’s titular bad girl—described on the book’s cover as “the wickedest girl who ever loved”—still shocks today.

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Bad Girls in Outer Space: Brian K. Vaughan and Fiona Staples’ , and the Graphic Representation of Su Furthermore, through its use of genres such as the romance, the soap opera, and the superhero story, . unveils the subversive potential of popular culture that can hide behind its escapist dimension to promote non-mainstream values.

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Reading Kathleen Mallory: Trauma and Survival in the Detective Fiction of Carol O’Connell. By refusing this ending, O’Connell, through Mallory, posits the necessity of an accounting of, as opposed to simple empathy with, the violence done by those deemed expendable by the rich and powerful. It is this demand for an accounting that forms the basis of her critique of violence against women and children.

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Bad Girls and Transgressive Women in Popular Television, Fiction, and Film978-3-319-47259-1

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Introduction: Bad Girls in Popular Culture,n into western cultural narrative coincides with the introduction of transgressive women: those who challenge, ignore, or cross over the patriarchal limits intended to circumscribe them. The essays included in this volume focus on the representation of transgressive girls and women in television, po