Titlebook: Reading Lena Dunham’s Girls; Feminism, postfemini Meredith Nash,Imelda Whelehan Book 2017 The Editor(s) (if applicable) and The Author(s) 2

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書目名稱Reading Lena Dunham’s Girls讀者反饋




書目名稱Reading Lena Dunham’s Girls讀者反饋學科排名

absorbed

Why , Why Now?,rst five seasons, and why it is the show many feminists love to hate. The feminist content of this and other media productions, its relationship to a ‘postfeminist sensibility’, and the celebrity feminism of Lena Dunham are brought to the fore. This chapter reviews key critical scholarship in the ar

PACT

水獺

Hating Hannah: Or Learning to Love (Post)Feminist Entitlemente of the most disliked characters on television’ by the Huffington Post, Hannah is hated by viewers and her friends alike. This chapter explores the complex character formation of Hannah Horvath and analyses our equally complex relationship to her. With the emphasis on female bonding and empathy in

Liability

Musculoskeletal

From , to ,: Paving the Way for ‘Post? Feminism’ argue that while both shows exemplify postfeminist culture, they are inflected differently in relation to the representation of sexualities, reproductive choice, and feminine embodiment, suggesting a shift towards a new kind of postfeminist narrative. Compared to . represents a novel approach to re

祖先

Mortar

‘, Voice of , Generation’: , and the Problem of Representationay’s multicultural world. Why . is seen as the ‘voice of a generation’ despite the creator Lena Dunham’s suggestion that she is merely ‘a’ voice is key to understanding the weight placed on representational politics in contemporary society. This chapter examines why we make demands about diverse rep

CRASS

HBO’s , and Twenty-First-Century Educationlic and private universities, . focuses on a particular sub-population of white, upper-middle-class students and graduates who remain blindly ignorant of the privileges they have been afforded by their race and class. The series’ timely exploration of how the value of tertiary education has shifted

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