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Libros sobre el tema "Girls"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 9 de marzo de 2023

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1

ill, Straus Laura, ed. Girls, girls, girls. Kansas City, MO: Andrews McMeel Publishing, 2001.

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2

Girls, Girls, Girls. New York: HarperCollins, 2001.

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3

Scholl, Charley. Girls! Girls! Girls! Marshfield, WI: C. Scholl Productions, 1996.

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4

Black, Jonah. Girls, girls, girls. New York: Avon Books, 2001.

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5

Sinclair, Jay. No girly-girls allowed! New York: Disney Press, 2000.

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6

Sinclair, Jay. No girly-girls allowed! New York: Disney Press, 2000.

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7

Sinclair, Jay. No girly-girls allowed! New York: Disney Press, 2000.

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8

M, Kelly Deirdre y Pomerantz Shauna, eds. Girl power: Girls reinventing girlhood. New York: Peter Lang, 2009.

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9

Judy, Schoenberg y Girl Scout Research Institute, eds. The ten emerging truths: New directions for girls 11-17 : executive summary. New York, N.Y: Girl Scouts of the USA, 2002.

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10

Tierra, Tatiana De la. Girls gotta be girls. Alexandria, VA: Alexander Street Press, 2005.

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11

Maryann, Cocca-Leffler. Girls Will Be Girls. New York: Grosset & Dunlap, 2003.

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12

Sarah, Cooper, ed. Girls! Girls! Girls!: Essays on women and music. New York: New York University Press, 1996.

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13

Sarah, Cooper, ed. Girls! Girls! Girls!: Essays on women and music. London: Cassell, 1995.

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14

Wurf, Nicholas y Carolyn Setlow. The meaning of the Girl Scout experience for girls: A survey. New York: Louis Harris and Associates, 1989.

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15

Leon-Guerrero, Dana. Go ask a girl: A decade of findings from the Girl Scout Research Institute : 2010. New York: Girl Scouts of the United States of America, 2010.

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16

Snyder, Gail. Jealous girl?: Girls dealing with feelings. Berkeley Heights, NJ: Jasmine Health an imprint of Enslow Publishers, Inc., 2014.

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17

Lonely girl?: Girls dealing with feelings. Berkeley Heights, NJ: Jasmine Health, an imprint of Enslow Publishers, Inc., 2014.

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18

Hassled girl?: Girls dealing with feelings. Berkeley Heights, NJ: Jasmine Health, an imprint of Enslow Publishers, Inc., 2014.

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19

Snyder, Gail. Angry girl?: Girls dealing with feelings. Berkeley Heights, NJ: Jasmine Health, an imprint of Enslow Publishers, Inc., 2014.

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20

Pfeiffer, Julie. Transforming Girls. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496836267.001.0001.

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Transforming Girls: The Power of Nineteenth-Century Adolescence refocuses the history of the girls’ book and female adolescence through a comparative analysis of forgotten bestsellers aimed at adolescent girls in the United States and Germany. While these stories rely on gender binaries and suggest that girls must accommodate and support a patriarchal framework to be happy, they also provide access to imagined worlds in which teens are at the center. This is a space where mentors who trust themselves and the girl’s essentially good nature neutralize the girl’s own anxieties about maturity. These mid-nineteenth-century novels focus on female adolescence as a social category in unexpected ways. They draw not on a twentieth-century model of the alienated adolescent, but on a model of collaborative growth. Adolescence—a category that continues to engage and perplex us—is defined in these novels as a celebration of fluid identity and the deliberate construction of a self. Through insightful readings of best-selling novels, Transforming Girls explores the origins of the young adult novel, mothering as a communal enterprise, the teaching of gender identity, the girls’ book as a model for narratives of nation building, and homesickness as an antidote to nostalgia. It provides access to a forgotten group of texts that reframe our understanding of the history of the girls’ book, young adult literature, and the possibilities of adolescence. The awkward adolescent girl—so popular in mid-nineteenth-century fiction for girls—remains a valuable resource for understanding contemporary girls and stories about them.
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21

Saidens, Amy. Cover Girls: Ballerina Girl (Cover Girls). Silver Dolphin Books, 2007.

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22

Saidens, Amy. Cover Girls: Party Girl (Cover Girls). Silver Dolphin Books, 2007.

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23

Cover Girls: Surfer Girl (Cover Girls). Silver Dolphin Books, 2007.

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24

Murnaghan, Sheila y Deborah H. Roberts. Ancient History for Girls. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199583478.003.0006.

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This chapter considers the strategies used to make history texts and works of historical fiction set in antiquity appealing to girl readers of the first half of the twentieth century, who were increasingly exposed to books with active girl heroines. Despite the severe constraints on ancient women and girls, such writers as Dorothy Mills, Caroline Dale Snedeker, Erick Berry, and Naomi Mitchison contrive to provide their readers with independent, resourceful ancient counterparts. They achieve this by filling in the silences of the ancient record, setting their stories on the spatial and temporal margins of the classical world, and devising plots in which girls act in the place of absent or inadequate brothers.
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25

Del Socorro Castañeda-Liles, María. The Making of Girls in the Mexican Catholic Imagination. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190280390.003.0005.

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Obedience and respect are typically defined as a positive (both at the level of feeling and as action) toward another person or entity. However, while engaging in this type of behavior may be perceived as positive, this does not necessarily mean that it is a positive experience for women. The performance of obedience and respect can also be actions exercised by a girl who, out of free will or obligation, is moved to not disrupt the status quo imposed by a given culture, society, and religion. The author argues that the Catholic culture in which the mothers socialized the participants also provides the parameters within which they learn how to be good girls in ways that reduces a girl’s agency to rubble.
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26

Natale, M. Scott. Girls! Girls! Girls! Murphy's (Law) Owned Productions (MLP/MOP), 2019.

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27

Girls,Girls,Girls... Dania Shine Publishing-جميع الحقوق محفوظة لدار النشر, 2012.

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28

Entertainment, Paramount Home. Girls, Girls, Girls! Paramount Home Entertainment, 2003.

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29

Wetz, Dominique. Girls, Girls, Girls. Editions Vents D'quest, 2001.

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30

Girls! Girls! Girls! So New Media, 2004.

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31

Shcoll, Charley. Girls! Girls! Girls! Northwest Pub, 1997.

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32

group), Mötley Crüe (Musical. Girls, girls, girls. 2000.

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33

Ghislaine, Pascal y MEDNO. Girls! Girls! Girls! teNeues Publishing Company, 2020.

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34

Girls,Girls,Girls... Dania Shine Publishing, 2010.

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35

Korman, Gordon. No Girly Girls Allowed. Tandem Library, 2001.

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36

Publishing, Andrews McMeel. Girls, Girls, Girls: Journal. Andrews McMeel Publishing, 1999.

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37

Forte, Lauren y S. I. International. Go, Girl! (Groovy Girls). Simon Scribbles, 2007.

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38

Billerbeck, Kristin. A Girl's Best Friend: Spa Girls Series (Spa Girls). Thomas Nelson, 2008.

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39

Magruder, Trula. Bright Ideas: From Girls, for Girls (American Girl Library). Rebound by Sagebrush, 2001.

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40

Author), Pleasant Company (Corporate y Susan Synarski (Illustrator), eds. Bright Ideas: From Girls, for Girls! (American Girl Library). Pleasant Company Publications, 1997.

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41

Knoll and, Benjamin R. y Cammie Jo Bolin. Clergywomen and Young Girls. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882365.003.0006.

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This chapter begins to explore the second research question of the book: what effect do female clergy have on those in the pews? More specifically, it examines whether female clergy can serve as positive and influential role models for children and adolescents in ways that enhance their levels of personal and societal empowerment as adults. The results show that girls and young women are indeed affected by both the regularity of female clergy in their youth as well as the presence of influential female religious leaders in their lives such that their levels of psychological, economic, and religious empowerment as adults are improved. In particular, the presence of a female religious leader during a girl’s childhood adds approximately one year of education compared to girls whose primary religious leader in childhood was a man.
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42

Picard, Irena-Rose. Girls Girls Girls: Growing Up. BookBaby, 2023.

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43

Black, Jonah. Black Book: Girls, Girls, Girls. HarperCollins Publishers, 2009.

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44

Kettle, Shey. Girlz Rock 10: Surf Girls. MacMillan Education Australia, 2005.

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45

Sinclair, Jay. No Girly Girls Allowed (Jersey). Turtleback Books Distributed by Demco Media, 2000.

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46

Apolloni, Alexandra M. Freedom Girls. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190879891.001.0001.

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Freedom Girls: Voicing Femininity in 1960s British Pop shows how the vocal performances of girl singers in 1960s Britain defined—and sometimes defied—ideas about what it meant to be a young woman in the 1960s British pop music scene. The singing and expressive voices of Sandie Shaw, Cilla Black, Millie Small, Dusty Springfield, Lulu, Marianne Faithfull, and P. P. Arnold reveal how vocal sound shapes access to social mobility and, consequently, access to power and musical authority. The book examines how Sandie Shaw and Cilla Black’s ordinary girl personas were tied to whiteness, and in Black’s case to her Liverpool origins. It shows how Dusty Springfield and Jamaican singer Millie Small engaged with the transatlantic sounds of soul and ska, respectively, transforming ideas about musical genre, race, and gender. It reveals how attitudes about sexuality and youth in rock culture shaped the vocal performances of Lulu and Marianne Faithfull, and how P. P. Arnold has re-narrated rock history to center Black women’s vocality. Freedom Girls draws on a broad array of archival sources, including music magazines, fashion and entertainment magazines produced for young women, biographies and interviews, audience research reports, and others to inform analysis of musical recordings (including such songs as “As Tears Go By,” “Son of a Preacher Man,” and others) and performances on television programs such as Ready Steady Go!, Shindig, and other 1960s music shows. These performances reveal the historical and contemporary connections between voice, social mobility, and musical authority and demonstrate how singers used voice to navigate the boundaries of race, class, and gender.
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47

Brown, Ruth Nicole. When Black Girls Look at You. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037979.003.0004.

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This chapter considers what it means to be seen and looked at as a Black girl. Building on the visual-poetic analysis of June Jordan's (1969) Who Look at Me and M. NourbeSe Philip's (2008) Zong!, the chapter offers an “anti-narrative photo-poem” that couples photography, poetry, and intersubjective insights of Black girlhood to specifically address the institutional norms and interpersonal dynamics that govern their lives and promote a limited knowing of Black girls premised on sight alone. The primary purpose of this chapter is to show that Black girls actively decide who and what is worthy of their presence and attention. The anti-narrative photo-poem invites those who dare to look to answer with action, as June Jordan suggested, but to do so while giving attention to the kinds of nuanced intersubjective interactions that hinge on the particular usable truth that Black girls are looking at you, watching them.
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48

Shlepzig. Shlepzig Sketchbook Girls Girls Girls 2021. Shlepzig Illustration & Design, 2022.

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49

Girls Girls Girls In Contemporary Art. Intellect (UK), 2011.

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50

Fresa, La. Girls, Girls, Girls: Adult Coloring Book. Independently Published, 2018.

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