Journal articles: 'Gone Girl'

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Quealy-Gainer, Kate. "Bad Girl Gone by Temple Mathews." Bulletin of the Center for Children's Books 70, no. 10 (2017): 461. http://dx.doi.org/10.1353/bcc.2017.0445.

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Jacques, Wesley. "Girl Gone Viral by Arvin Ahmadi." Bulletin of the Center for Children's Books 72, no. 10 (2019): 422–23. http://dx.doi.org/10.1353/bcc.2019.0306.

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Aditira, Evia Nurdiarti, and Vita Vendityaningtyas. "Psychopathic behavior in Gone Girl movie." English Teaching Journal : A Journal of English Literature, Language and Education 6, no. 2 (June 15, 2019): 58. http://dx.doi.org/10.25273/etj.v6i2.4460.

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This research deals with analyzing psychopathic behavior in <em>Gone Girl</em> movie. It is reflected through the main female character, Amy Elliott Dunne. The research problems are to find the characteristics of Amy’s psychopathic behavior and to find the causes of her psychopathic behavior. In this research, the researchers use qualitative research method. The main data is <em>Gone Girl </em>movie. It is supported by secondary data such as books, articles appropriate with this research. In collecting the data, the researchers use documentation technique. Content analysis is chosen by the researchers to analyze the data. The results of this research are described as follows: 1) Amy has great obsession about herself that leads her to commit crimes. She senselessly slits the throat of the victim only by using a cutter. She does manipulative act and exposes sexual appeal to the victim. Amy also makes public opinion that her husband kills her. In the end, she creates herself as innocence for the murder of Desi, her ex-boyfriend. She twists the story that she has been raped and kidnapped by him. 2) Amy’s psychopathic behavior is believed to be affected by her surrounding, especially her parents. Amy's family is full of manipulative acts. Amy’s parents utilize Amy to be an amazing person who inspires many people by creating a storybook entitled "Amazing Amy" with excessive improvisation

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Iannone, Carol. "What Gone Girl Tells Us about Feminism." Academic Questions 33, no. 1 (January 22, 2020): 172–75. http://dx.doi.org/10.1007/s12129-019-09843-z.

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Switzer, Heather, Emily Bent, and Crystal Leigh Endsley. "Precarious Politics and Girl Effects: Exploring the Limits of the Girl Gone Global." Feminist Formations 28, no. 1 (2016): 33–59. http://dx.doi.org/10.1353/ff.2016.0014.

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Gelly, Christophe. "Gone Girl (David Fincher, 2014) : Médias, mensonges et manipulation." Revue Française d Etudes Américaines 150, no. 1 (2017): 73. http://dx.doi.org/10.3917/rfea.150.0073.

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Fang, Wang. "The Playwriting Characteristic Analysis of American Contemporary Suspense Thriller - Based on the Gone Girl -." Journal of the Korea Entertainment Industry Association 13, no. 7 (October 31, 2019): 145–53. http://dx.doi.org/10.21184/jkeia.2019.10.13.7.145.

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Ballas, Anthony. "Traversing the Class Boundary: Gone Girl (2014) as Failed Remake." Middle West Review 6, no. 1-2 (2019): 215–21. http://dx.doi.org/10.1353/mwr.2019.0076.

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Nair, Gayatri, and Dipti Tamang. "Representations of rape in popular culture: Gone Girl and Badlapur." International Feminist Journal of Politics 18, no. 4 (October 2016): 614–18. http://dx.doi.org/10.1080/14616742.2016.1226401.

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Tamir, Siti Alifah, and Diah Tyahaya Iman. "The Uniqueness Heroines Depicted In Gillian Flynn’s Novels Entitled Gone Girl And Dark Places." Vivid Journal of Language and Literature 8, no. 1 (August 15, 2019): 19. http://dx.doi.org/10.25077/vj.8.1.19-25.2019.

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This article is aimed to study the uniqueness of female character or heroine in Gillian Flynn’s novels entitled Dark Places (2009) dan Gone Girl (2012). The concept of heroin and gynocriticism approaches is used to examine the uniqueness of the main character in both novels. Amy Dunne in Gone Girl and Libby Day pada Dark Places can be considered as antiheroine. From the result of the analysis, it can be concluded that Flynn introduced an interesting female characterization. The anti-heroine characters are portrayed in an intriguing plot. She presents woman as offender and sexual manipulation interestingly. The exploration of feminine vulnerability to undermine the dominancy of masculine privilege has brought the themes of both novels to.

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Leigh Gilmore. "Girl Rearing: Memoir of a Girlhood Gone Astray (review)." Fourth Genre: Explorations in Nonfiction 1, no. 1 (1999): 162–63. http://dx.doi.org/10.1353/fge.2013.0459.

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Hoyne, Jake D., Anthony Tobia, Jessie Hanna, Christine Annibali, and Rehan Aziz. "Analysis of Fatal Attraction and Gone Girl to Teach Personality Clusters." Academic Psychiatry 43, no. 2 (November 27, 2018): 218–23. http://dx.doi.org/10.1007/s40596-018-1009-0.

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Nuraisiah, Siti, Mangatur Rudolf Nababan, and Riyadi Santosa. "Translating Attitudes toward Sexism in Gone Girl Novel (An Appraisal Theory Approach)." Lingua Cultura 12, no. 3 (August 30, 2018): 259. http://dx.doi.org/10.21512/lc.v12i3.4633.

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The research dealt with attitudes toward sexism. It aimed to know the translation technique and quality in terms of accuracy and acceptability. It deployed a descriptive qualitative method. The data were obtained from a novel titled Gone Girl and the copy of the novel in Indonesian translation through content analysis and focus group discussion. The data were analyzed through domain, taxonomy, and componential analysis to reveal cultural value. The research indicates that translation techniques determine its qualities. It reveals that established equivalence results in the good quality of translation while the generalization, discursive creation, explicitation, modulation, literal translation, particularization, and description reflect quite good and bad quality of the translation. Moreover, the application of generalization and explicitation results in non-sexist translation. Consequently, the translator becomes less sexist than writer and gives readers different effect with the original one. However, this is affected by some factors; the translator’s subjectivity, translator’s competence, linguistic characteristic differences, and social-cultural differences.

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Lalenoh, Rodelio Paparang. "GONE GIRL DARI DAVID FINCHER: DESKRIPTIF GEJALA PSIKOPAT DITUNJUKKAN OLEH KARAKTER AMY ELLIOT DUNNE [David Fincher’s Gone Girl: Description of Psychopathic Symptoms Reflected on Amy Elliot Dunne’s Character]." TOTOBUANG 5, no. 2 (January 28, 2018): 187. http://dx.doi.org/10.26499/ttbng.v5i2.32.

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This research was intended to reveal the psychopathic symptoms that shown by Amy Elliot Dunne’s in Gone Girl film by applying Dr. Hare’s Psychopathy Checklist-Revised 2nd Version (PCL-R) as the main theory of the whole description in the film. The writer used descriptive-qualitative method to simply collect all the data from accessible books, journal, and official website. Furthermore, these were used to analyze the psychopathic symptoms through the character’s behavior, dialogue, monologue, and narration. The writer revealed Nick’s disloyal lifestyle to his marriage and followed by Nick’s cheating on Amy drive Amy to be a psychopath. Conclusively, the writer reveals psychopathic symptoms depicted on Amy: Glib and Superficial Charm, Pathological Lying, Conning and Manipulative, Lack of Remorse and Guilt, Callous and Lack of Empathy, Shallow Affect, Parasitic Lifestyle, Poor Behavioral Control, Promiscuous Sexual Behavior, and Criminal Versatility. Penelitian berikut bermaksud untuk mengungkap gejala-gejala psikopat yang di tunjukan oleh Amy Elliot Dunne di film Gone Girl dengan mengaplikasikan Psychopathy Checklist Revised Versi ke-2 (PCL-R) milik Dr. Hare sebagai teori utama di semua deskripsi pada film tersebut. Penulis menggunakan pendekatan deskriptif-kualitatif untuk mengumpulkan semua data dari buku yang dapat diakses, jurnal, dan website resmi. Selebihnya, ini akan digunakan untuk menganalisa gejala-gejala psikopat melalui sifat karakter, dialog, monolog, dan narasi. Penulis mengungkapkan cara hidup Nick yang tidak setia terhadap pernikahan dan diikuti oleh Nick yang selingkuh terhadap Amy memicu Amy menjadi psikopat, Kesimpulannya, penulis mengungkapkan gejala yang di tunjukan Amy: Glib and Superficial Charm, Pathological Lying, Conning and Manipulative, Lack of Remorse and Guilt, Callous and Lack of Empathy, Shallow Affect, Parasitic Lifestyle, Poor Behavioral Control, Promiscuous Sexual Behavior, dan Criminal Versatility.

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Nakanyete, Ndapewa Fenny. "LABA." JULACE: Journal of the University of Namibia Language Centre 3, no. 2 (December 31, 2018): 131. http://dx.doi.org/10.32642/julace.v3i2.1391.

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She spoke in a language I could not understand,but through her emotions, I felt every word she said.She had gone through the unimaginable,and holds awful memories that can never be wiped away.She was only thirteen,a little girl that could never again play.

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Duckworth, Melanie. ""A Girl Like Me in a Time Gone By": Agency, Reading, and Writing in the Our Australian Girl Series." Bookbird: A Journal of International Children's Literature 57, no. 1 (2019): 26–36. http://dx.doi.org/10.1353/bkb.2019.0003.

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Steptoe, Tyina. "“JODY'S GOT YOUR GIRL AND GONE”: GENDER, FOLKLORE, AND THE BLACK WORKING CLASS." Journal of African American History 99, no. 3 (July 2014): 251–74. http://dx.doi.org/10.5323/jafriamerhist.99.3.0251.

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Trager, Jonathan D. K. "What's Your Diagnosis? Nine-year-old Girl with a Pubic Rash Gone Incognito." Journal of Pediatric and Adolescent Gynecology 19, no. 4 (August 2006): 307–12. http://dx.doi.org/10.1016/j.jpag.2006.05.015.

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Freeman, Angela R., Thomas J. Wood, Kevin R. Bairos-Novak, W. Gary Anderson, and James F. Hare. "Gone girl: Richardson's ground squirrel offspring and neighbours are resilient to female removal." Royal Society Open Science 6, no. 9 (September 4, 2019): 190904. http://dx.doi.org/10.1098/rsos.190904.

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Within matrilineal societies, the presence of mothers and female kin can greatly enhance survival and reproductive success owing to kin-biased alarm calling, cooperation in territory defence, protection from infanticidal conspecifics, joint care of young and enhanced access to resources. The removal of mothers by predators or disease is expected to increase the stress experienced by offspring via activation of their hypothalamic-pituitary-adrenal axis, increasing circulating glucocorticoids and reducing offspring survival and reproductive success. Yet, few studies have removed mothers in the post-weaning period to examine the assumed physiological and fitness consequences associated with these mortality events. We examined how the loss of a mother affects juvenile Richardson's ground squirrels' ( Urocitellus richardsonii ) faecal glucocorticoid metabolites and their survival. Given that neighbours are often close kin, we further hypothesized that conspecific removal would similarly diminish the fitness of neighbouring individuals. Upon removing the mother, we detected no impact on offspring or neighbouring conspecific faecal glucocorticoid metabolites in the removal year, or on overwinter survival in the following year. Furthermore, no impact on neighbour reproductive success was detected. Given the high predation rates of ground squirrels in wild populations, resilience to a changing social environment would prove adaptive for both surviving kin and non-kin.

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Mostafa Ahmed, Yasmin. "A Freudian Psychoanalytical Reading Of “Sharp Objects” and “Gone Girl” By Gillian Flynn." مجلة جامعة مصر للدراسات الإنسانية 1, no. 1 (January 1, 2021): 373–78. http://dx.doi.org/10.21608/mjoms.2021.153755.

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YILDIZ, Serdar Kuzey. "DÜŞMAN YARATMAK VE NEFRET SÖYLEMİ BAĞLAMINDA “GONE GIRL” (KAYIP KIZ) FİLMİNİN GÖSTERGEBİLİMSEL ÇÖZÜMLEMESİ SEMIOLOGICAL ANALYSIS OF THE “GONE GIRL” MOVIE IN THE CONTEXT OF INVENTING THE ENEMY AND HATE SPEECH." İstanbul Aydın Üniversitesi iletişim çalışmaları dergisi 7, no. 2 (2015): 323–56. http://dx.doi.org/10.17932/iau.icd.2015.006/icd_v07i2006.

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Juanda, Juanda. "INDIRECT SPEECH ACTS OF QUESTIONING IN GONE GIRL MOVIE SCRIPT: A STUDY OF PRAGMATICS." Apollo Project: Jurnal Ilmiah Program Studi Sastra Inggris 7, no. 2 (August 14, 2018): 53–66. http://dx.doi.org/10.34010/apollo.v7i2.2097.

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The research entitled “Indirect Speech Acts of Questioning in Gone Girl Movie Script: A Study of Pragmatics” analyses kinds of speech acts that is used to convey question. However, this research only focuses on indirect speech acts that speaker used to convey their question. In the research, the writer uses the theory of Speech acts and speech event in Pragmatics and The Study of Language written by George Yule (1996, 2010). Yule reveals that based on the relationship between grammatical structure and the communicative function, sentence can be direct and indirect. Moreover, it also influences by context where the conversation takes place. The research uses descriptive method. The writer collected the data found in Gone Girl movie script and then analyzed the sentences that has a function to make question. After doing the analyses, it can be concluded that to convey their questions, people do not only use interrogative sentence, but also declarative sentence. This is called as indirect speech acts. Indirect speech acts happens when there is an indirect relationship between grammatical structure and its communicative function.

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Seibert Desjarlais, Stevie K. "Disappearing Wives: Interchangeable Women and Their Radical Escape in Le Bonheur and Gone Girl." Quarterly Review of Film and Video 35, no. 7 (May 30, 2018): 730–36. http://dx.doi.org/10.1080/10509208.2018.1465373.

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Lewis, Jennifer. "Girl Power Gone Right in Exodus 1–2: Miriam as Model for Contemporary Youth." Journal of Youth and Theology 18, no. 1 (June 21, 2019): 3–18. http://dx.doi.org/10.1163/24055093-01801002.

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Biblical scholars and Christian ministers have long viewed Miriam as an exemplar of female leadership. Few, however, recognise Miriam as a role model for female youth or explore the Biblical text for hints regarding the formation of courageous and competent young women. This paper contributes to research on youth leadership formation by providing exegetical commentary on Exodus 1–2, with a view to how the text might provide Christian communities clues about what female leaders look like and how to help girls become them.

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Vyas, Amita N., Nitasha Nagaraj, Jordan Genovese, Gayatri Malhotra, Nidhi Dubey, Richa Hingorani, and Lauren Manning. "The Girl Rising ‘We Dream, We Rise’ Social Media Campaign in India: Reach, Engagement and Impact." Journal of Creative Communications 15, no. 1 (March 2020): 106–24. http://dx.doi.org/10.1177/0973258619878354.

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Girl Rising, a global campaign, uses the power of storytelling to build a movement for adolescent girls by inspiring people to change the way girls are valued, and sparking social action. We Dream, We Rise, is a social media campaign that was launched to call attention to age-old gender stereotypes that have gone unquestioned for generations and to inspire adults across the country to ‘dream as big for their girls as they do for their boys’. A descriptive evaluation of the campaign was conducted to measure its reach, saliency, and lessons learned. The campaign evaluation focused primarily on reach, engagement, perceptions of the campaign messaging, and intention to take social action. The campaign reached 25 million people, received more than 600,000 views, and engaged with more than 200,000 people, which yielded a more than 2% engagement rate compared to the industry average of 1%. While extracting meaningful information from social media campaigns can pose to be challenging, there is a need to move beyond just measures of reach. Measurement on quality, saliency, and outcomes are critical to ensuring that future campaigns are successful and yield the desired rigor, quality, and investments needed to facilitate change.

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Christensen, Ashley E. "“Catastrophically Romantic”: Radical Inversions of Gilbert and Gubar’s Monstrous Angel in Gillian Flynn’s Gone Girl." American, British and Canadian Studies 35, no. 1 (December 1, 2020): 86–110. http://dx.doi.org/10.2478/abcsj-2020-0018.

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Abstract In their landmark text The Madwoman in the Attic: The Woman Writer and the Nineteen Century Literary Imagination (1970), Sandra Gilbert and Susan Gubar pose a series of hypotheses concerning women-authored fiction in the nineteenth century, identifying two archetypical female figures in patriarchal literary contexts – the Angel in the House, and the Monstrous (Mad)Woman. Gilbert and Gubar echo a Woolf-ian call to action that women writers must destroy both the angel and the monster in their fiction, and many contemporary women authors have answered that call – examining and complicating Gilbert and Gubar’s original dichotomy to reflect contemporary concerns with female violence and feminism. Gillian Flynn’s Gone Girl (2012), and in particular the character of Amy Elliott Dunne, explores modern iterations of the Angel v. Monster dynamic in the guise of the “Cool Girl,” thus revising these stereotypes to fit them in a postmodern socio-historical context. The controversy that surrounds the text, as well as its incredible popularity, indicates that the narrative has struck a chord with readers and critics alike. Both Amy and Nick Dunne represent the Angel and the Monster in their marriage, embodying Flynn’s critical feminist commentary on white, upper-middle class, heterosexual psychopathy.

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Gerasimenko, E. V. "THE SEMANTICS OF THE TYPE OF NARRATION IN THE NOVEL “GONE GIRL” BY G. FLYNN." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 529–33. http://dx.doi.org/10.35634/2412-9534-2019-29-3-529-533.

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This article reveals the definition of “narration”, which is closely related to such categories as “narrator” and “types of narration”. The characteristics that influence the types of narration are analyzed. Scientists pay attention to the narrator’s awareness, his/her presence in the novel, his/her attitude to other characters, and according to that identify the types of the narrator. The form and type of narration of the modern American novel “Gone Girl” by G. Flynn influences the creation and revealing of heros’ images. The narrators describe the same events from their own points of view. The first person narrative, as a rule, creates an atmosphere of confidential conversation; however, the opposite perception is formed through the type of narration chosen by the author from the first person of two unreliable narrators.

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Hindes, Sophie, and Bianca Fileborn. "“Girl power gone wrong”: #MeToo, Aziz Ansari, and media reporting of (grey area) sexual violence." Feminist Media Studies 20, no. 5 (May 3, 2019): 639–56. http://dx.doi.org/10.1080/14680777.2019.1606843.

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Jitendra, Asha K., and Rachael Torgerson-Tubiello. "Fast Brisk Structured Lessons Motivation Learning Success Pride." TEACHING Exceptional Children 29, no. 4 (March 1997): 16–19. http://dx.doi.org/10.1177/004005999702900403.

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These words describe contraction lessons—and results—in a “contracted” sentence. Second-grade students who were reading at the first-grade level have experienced success with the fast-paced lessons described here. And they have gone on to enjoy the world of children's literature. In this article, we describe how we planned and successfully implemented lessons to teach contractions to a group of 6 low-performing second graders, including Tamara, a girl with learning disabilities (see box).

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Lim, Dae Hee. "A Complex Study on Storytelling of Film 〈Gone Girl〉(2014) through Jacques Derrida’s Deconstructive Violence Theory." Korean Society of Science & Art 38, no. 1 (January 31, 2020): 195–209. http://dx.doi.org/10.17548/ksaf.2020.01.30.195.

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Yusriana, Amida, and Rahmawati Zulfiningrum. "Film dan Perempuan: Kegagalan Film Gone Girl dalam Membentuk Sosok Perempuan Baru di Industri Film Hollywood." Jurnal The Messenger 8, no. 2 (July 29, 2016): 68. http://dx.doi.org/10.26623/themessenger.v8i2.345.

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Gabbay, Alyssa. "Love Gone Wrong, Then Right Again: Male/Female Dynamics in the Bahrām Gūr–Slave Girl Story." Iranian Studies 42, no. 5 (December 2009): 677–92. http://dx.doi.org/10.1080/00210860903305996.

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Gibbs, Alan. "The Music of Jane Joseph." Tempo, no. 209 (July 1999): 14–18. http://dx.doi.org/10.1017/s0040298200014637.

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In a photograph reproduced in A Scrap-book for the Holst Birthplace Museum, the leading lights of the 1928 Whitsun Festival at Canterbury Cathedral are pictured. Posing in the sunshine after a performance of The Coming of Christ, Masefield's modern mystery play with music by Gustav Holst, are 30-odd participants with the Dean, Dr George Bell, and Holst in the centre. Between Holst and Mrs Bell, and taller than either, sits an efficient-looking lady in her early thirties, clearly of some importance to the festival. This was Jane Marian Joseph, who first came under Holst's spell as a pupil at St Paul's Girls' School and had gone on to act out the principles for which he stood, not least in her meticulous organization of these festivals, and as a composer. After her untimely death, he was to describe her as ‘the best girl pupil I ever had’ in an assessment of her compositions.

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Forrest, A. P. M. "Endocrine management of breast cancer." Proceedings of the Royal Society of Edinburgh. Section B. Biological Sciences 95 (1989): 1–10. http://dx.doi.org/10.1017/s0269727000010502.

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The first report that the ovaries influenced the development of the normal human female breast, is to be found in a case record from St Bartholomew's Hospital, London, dated 1775. The surgeon Percival (later Sir Percival) Pott had removed the normal ovaries of a twenty-three-year old girl during the repair of bilateral groin hernias, in which they had become entrapped. He reported that the patient had “enjoyed good health ever since” but that … “Her breasts, which were large, are gone, nor has she ever menstruated since the operation, which is now some years” (Pott 1775).

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Pilsworth, Clare. "Miracles, Missionaries and Manuscripts in Eighth-Century Southern Germany." Studies in Church History 41 (2005): 67–76. http://dx.doi.org/10.1017/s0424208400000127.

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There was a certain poor little crippled girl, who sat near the gate of the monastery begging alms … she committed fornication When her time came, she wrapped the child in swaddling clothes and cast it at night into a pool…. When day dawned, another woman came to draw water and seeing the corpse of the child, was struck with horror … and reproached the holy nuns … ‘Look for the one who is missing from the monastery and then you will find out who is responsible for this crime’. […] no one was absent except Agatha who … had gone with full permission….

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Mitchell, Claudia. "Creating a New Trail." Girlhood Studies 12, no. 3 (December 1, 2019): v—vi. http://dx.doi.org/10.3167/ghs.2019.120301.

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The concerns addressed by the authors in this issue point to the need for a reimagining of girlhood as it is currently framed by settler and carceral states. To quote the guest editors, Sandrina de Finney, Patricia Krueger-Henney, and Lena Palacios, “The very notions of girl and girlhood are embedded in a colonial privileging of white, cis-heteropatriarchal, ableist constructs of femininity bolstered by Euro-Western theories of normative child development that were—and still are—violently imposed on othered, non-white girls, queer, and gender-nonconforming bodies.” Indigenous-led initiatives in Canada, such as the Networks for Change: Girl-led ‘from the Ground up’ Policy-making to Address Sexual Violence in Canada and South Africa project, highlighted in four of the eight articles in this issue, along with the insights and recommendations offered in the articles that deal with the various positionalities and contexts of Latinx and Black girls, can be described as creating a new trail. In using the term trail, here, I am guided by the voices of the Indigenous researchers, activists, elders, and community scholars who participated in the conference called More Than Words in Addressing Sexual and Gender-based Violence: A Dialogue on the Impact of Indigenous-focused, Youthled Engagement Through the Arts on Families and Communities held in Montreal. Their use of the term trail suggests a new order, one that is balanced between the ancestors and spiritual teachings on the one hand, and contemporary spaces that need to be decolonized on the other with this initiative being guided by intergenerationality and a constant interrogation of language. The guest editors of this special issue and all the contributors have gone a long way on this newly named trail.

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tae-hoon Lee. "The analysis of the transition technique for suspense genre Film - With the David fincher’s recent films “Gone girl”(2014) -." Journal of Digital Design 15, no. 2 (April 2015): 61–70. http://dx.doi.org/10.17280/jdd.2015.15.2.007.

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Almanzar, Victor. "Art Means a Lot." Harvard Educational Review 83, no. 1 (March 26, 2013): 43–46. http://dx.doi.org/10.17763/haer.83.1.6j324201p24w54j0.

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Art means a lot to me. Growing up in New York as a young teenager who came from another country, I felt as if I was an outcast from society due to the language barrier and numerous ethnic groups different than mine. Coming to New York from the Dominican Republic, I was placed in an ESL (English as a Second Language) class at Leonardo da Vinci IS 61 in Queens. I remember trying to speak to a girl who was not an ESL student. She was playing with her friends, tossing an orange back and forth, when she failed to catch it and the orange landed by my feet. She did not notice where it had gone, so I picked it up and tried to toss it back to her, at the same time telling her in Spanish, “Here it is.” The girl jumped back surprised and thought that I tried to hit her with the orange, so she began to curse me out. I didn't know what she was saying, but it was clear that it wasn't nice. I tried to explain myself, but she was not trying to hear me. This experience made me feel terrible.

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Ojiambo-Hongo, Evelyn, John Mugubi, and Rosemary Nyaole. "The Gender Agenda in Kenyan Children’s Feature Films." Journal of African Theatre, Film and Media Discourse 1, no. 1 (February 12, 2020): 44–56. http://dx.doi.org/10.33886/kujat.v1i1.125.

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The gender agenda has featured substantially in creative works from Africa and particularly Kenya. Although film is considered a new form of creative expression in Africa, compared to the west, it has not been excluded in exploring gender issues. While the gender discussion has prominently featured adults, the Kenyan film has gone a step further and explored gender on a different level. Gender has been explored from the point of view of the child and employed the child character as a suitable medium. Kenyan filmmakers by employing the child character on the subject of gender seem to suggest that engendering of any member of the society begins in childhood and progresses into adulthood. This is a unique aspect about the Kenyan film yet has not been critically examined. This paper therefore examines the child character and the exploration of gender in Kenyan films about children to ascertain the significance of the child character in exploring gender issues in society. It focuses on three selected films that extensively explore the engendering of children namely: Subira, Malika and Becoming A Girl. The films mainly focus on the engendering of the girl child by the society and that this happens in childhood. They also employ the girl child as acharacter in exploring the issue of gender. Examination of the child character will be guided by the Sociological theory of film and the Formalist film theory. The structure of the paper is as follows: A background on the gender issue in creative works, theoretical perspectives on gender, analysis of Kenyan children’s films on gender and conclusions on the use of the child character in exploring gender.

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Hannah, Robert. "Et in Arcadia ego? — The Finding of Telephos." Antichthon 20 (1986): 86–105. http://dx.doi.org/10.1017/s0066477400003488.

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In her recent re-interpretation of the major frieze of the Altar of Zeus from Pergamon, Erika Simon made a relatively minor new identification whose ramifications beyond the immediate confines of the Altar are somewhat larger but appear to have gone unnoticed. The figure in question is a winged female, fighting on the Gods’ side, whom Simon suggested may be Hemera, a personification of Day. Within the context of the frieze alone, the identification seems reasonable, but it presents some difficulties in the interpretation of two other similarly endowed females elsewhere. These are the winged daimon in the Dionysiac frieze in the Villa of the Mysteries in Pompeii, and the girl who occupies the top right corner of the painting of the Finding of Telephos from the ‘Basilica’ in Herculaneum (Fig. 1). Fourteen years earlier Simon herself had grouped all three together as representations of something completely different: as images of the constellation Parthenos, better known nowadays under its Latin name of Virgo. It is the aim of this paper to examine the identification of the winged girl in the Herculaneum painting: can she still be regarded as Parthenos, now that the Pergamene parallel has been removed and so long as the identification of the Pompeian daimon remains a contentious issue? If so, then on what grounds can the identification be maintained? And how does this affect the interpretation of the other figures in the fresco, and of the painting as a whole?

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Mayer, Sophie. "Girl Power: Back to the Future of Feminist Science Fiction with Into the Forest and Arrival." Film Quarterly 70, no. 3 (2017): 32–42. http://dx.doi.org/10.1525/fq.2017.70.3.32.

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Arrival (Denis Villeneuve, 2016) memed before it even hit the cinema screen. One image from the trailer was shared widely online: Dr. Louise Banks (Amy Adams) making first linguistic contact with the aliens who have appeared in low Earth orbit by holding up a whiteboard saying HUMAN. This single shot appeared to sum up both Arrival's premise of communication above all and its promise to correct all that has gone wrong with mainstream genre cinema of late: a female protagonist—a scientist, no less—making lo-tech peace, rather than CGI war, with alien visitors. The trailer, like the film, boasts a female voice-over (still a rarity), and shows that Dr. Banks is not only a professional, but a working mother. Like Ryan (Sandra Bullock) in Gravity (Alfonso Cuarón, 2013), Louise is defined by maternity and the loss of a child as much as by her scientific and communications ability as a professor of languages. The film consistently wants to have it both ways: it backs, at different moments, both the Sapir-Whorf hypothesis that linguistic difference changes you and Noam Chomsky's claim that language has a universal grammar, even cosmically so. Similarly, it claims to be changing the genre landscape—through the difference of a (solo, isolated) female lead bent on making peace (and babies)—while actually keeping it much the same. It vaunts technology (and limited female competence therewith), particularly the screenality of the military-industrial complex, but also romanticizes and domesticates the embodied and haptic.

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Tunc, Tanfer Emin. "'Ashley Wilkes Told Me He Likes to See a Girl with a Healthy Appetite': Food and drink in Margaret Mitchell's Gone with the Wind." European Journal of American Culture 31, no. 2 (July 31, 2012): 85–106. http://dx.doi.org/10.1386/ejac.31.2.85_1.

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Kennedy, Victoria. "“Chick Noir”: Shopaholic Meets Double Indemnity." American, British and Canadian Studies Journal 28, no. 1 (June 27, 2017): 19–38. http://dx.doi.org/10.1515/abcsj-2017-0002.

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Abstract In early 2014, several articles appeared proclaiming the rise to prominence of a new subgenre of the crime novel: “chick noir,” which included popular books like Gone Girl, The Silent Wife, and Before We Met. However, there was also resistance to the new genre label from critics who viewed it as belittling to women’s writing and to female-focused narratives. Indeed, the separation of female-centred books - whether “chick lit” or “chick noir” - from mainstream fiction remains highly problematic and reflects the persistence of a gendered literary hierarchy. However, as this paper suggests, the label “chick noir” also reflects the fact that in these novels the crime thriller has been revitalized through cross-pollination with the so-called chick lit novel. I contend that chick lit and chick noir are two narrative forms addressing many of the same concerns relating to the modern woman, offering two different responses: humour and horror. Comparing the features of chick noir to those of chick lit and noir crime fiction, I suggest that chick noir may be read as a manifestation of feminist anger and anxiety - responses to the contemporary pressure to be “wonder women.”

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Boniface, Dorne J. "Ruining a Good Boy for the Sake of a Bad Girl False Accusation Theory in Sexual Offences, and New South Wales Limitations Periods—Gone But Not Forgotten." Current Issues in Criminal Justice 6, no. 1 (July 1994): 54–75. http://dx.doi.org/10.1080/10345329.1994.12036633.

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McKay, Nellie Y. "Guest Column: Naming the Problem That Led to the Question “Who Shall Teach African American Literature?”; or, Are We Ready to Disband the Wheadey Court?" PMLA/Publications of the Modern Language Association of America 113, no. 3 (May 1998): 359–69. http://dx.doi.org/10.1632/s0030812900061307.

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We whose names are underwritten, do assure the World, that the poems in the following Page, were (as we verily believe,) written by phillis, a young Negro Girl, who was but a few Years since, brought an uncultivated Barbarian from Africa. […] She has been examined by some of the best Judges, and is thought qualified to write them.Attestation in Phillis Wheatley'sPoems on Various Subjects, Religious and MoralThe poems written by this young negro bear no endemial marks of solar fire or spirit. They are merely imitative; and, indeed, most of those people have a turn for imitation, though they have little or none for invention.Anonymous reviewer of Wheatley's poems in 1764 (Shields 267)It was not natural. And she was the first. […] Phillis Miracle Wheatley: The first Black human being to be published in America. […] But the miracle of Black poetry in America, the difficult miracle of Black poetry in America, is that we have been rejected […] frequently dismissed […] because, like Phillis Wheatley, we have persisted for freedom. […] And it was not natural. And she was the first. […] This is the difficult miracle of Black poetry in America; that we persist, published or not, and loved or unloved: we persist.June Jordan (252, 254, 261)More than two hundred years have gone by since the spring of 1773, when Phillis Wheatley, subject of the epigraphs of this essay, an African slave girl and the first person of her racial origin to publish a book in North America, collected her best poems and submitted them to public scrutiny. In search of authentication, she appeared with them before eighteen white men of high social and political esteem, “the best Judges” for such a case in colonial Boston. Wheatley's owners and supporters arranged this special audience to promote her as a writer. According to popular wisdom of the time, Africans were intellectually incapable of producing literature. None of the Anglo-Americans beyond her immediate circle could imagine her reading and writing well enough to create poetry.

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Saini, Angela. "Girls gone away." New Scientist 211, no. 2820 (July 2011): 48. http://dx.doi.org/10.1016/s0262-4079(11)61647-3.

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Barnett, Barbara. "Girls Gone Web." Journal of Communication Inquiry 41, no. 2 (February 6, 2017): 97–123. http://dx.doi.org/10.1177/0196859917691504.

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The Internet was heralded as a medium that might expand coverage of women’s sports, yet some question whether the Internet has provided even more opportunities to perpetuate gender stereotypes. This research study examines the personal websites of professional and amateur female athletes to determine how women present themselves to the public. This qualitative analysis considers whether women practice “apologetic behavior,” in which they assure the public they are women first and athletes second, and whether women follow traditional gender scripts that characterize them as maternal, sexy, or childlike. The analysis shows that women promote their brawn, beauty, and brands. Women provide details about the rigors of training to be elite athletes but also provide details about their personal lives that reinforce gender stereotypes. The analysis concludes that women use websites to construct an apologetic identity, in which they emphasize that they have sacrificed time and energy for their sport, but have not abandoned traditional feminine roles of sex object, mother, or caretaker.

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Shams Eldin, Hani, and Nicholas Oligbo. "Spontaneous Vaginal Delivery after Three Previous Caesarean Sections." Current Opinion in Gynecology and Obstetrics 1, no. 1 (December 27, 2018): 120–24. http://dx.doi.org/10.18314/cogo.v1i1.1318.

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Women with one previous caesarean section have 0.05% risk of uterine rupture, with two caesarean sections the risk increase to 1.36%. We could not find data on the risk of uterine rupture after three caesarean sections. Elective caesarean section is therefore offered to these women by their clinical professionals to eliminate the risk. However, we report a case of spontaneous vaginal delivery with an intact uterine scar in a woman with a previous three caesarean sections to show the possibility of vaginal birth in patients with repeated caesarean section. A 32-year-old female in her 4th pregnancy with previous three caesarean section 1st two emergencies and 3rd elective (Gravida 4, para 3) presented to the delivery suite in spontaneous labour at 39 weeks and 3 days with vaginal bleeding. Emergency call gone off and patient was transferred immediately to theatre, during transfer she pushed down while she was on the wheel chair and the baby head found to be delivered vaginally. A live healthy baby girl weighing 2590 g was delivered. The patient had Postpartum bleeding of 500 ml and 2nd degree perineal and labial tears; the patient was discharged home fit and well on day one postpartum. Repeated caesarean section increases maternal mortality and morbidity. Vaginal birth after repeated previous caesarean sections could still be an option in selected cases as safe vaginal delivery has been reported.

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Bouaziz, Wajdi, Mohamed Ali Rebai, Mohamed Ali Rekik, Nabil Krid, Zoubaier Ellouz, and Hassib Keskes. "Scurvy: When it is a Forgotten Illness the Surgery Makes the Diagnosis." Open Orthopaedics Journal 11, no. 1 (November 20, 2017): 1314–20. http://dx.doi.org/10.2174/1874325001711011314.

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Background: Unlike most of animal species, human beings lack the enzymatic process for the conversion of glucose to ascorbic acid (vitaminC), and therefore getting the vitamin from food sources is essential. The association of the various signs caused by a deficiency of vitamin C is called scurvy or Barlow’s disease, an easily treatable disease but can be fatal. It is rare in the developed countries and even economically underdeveloped societies in which the basic diet is already rich in ascorbate. Methods: We describe here the case of a 4-year-old girl with cerebral palsy, in whom diagnosis concerns were oriented for osteomyelitis, based upon clinical presentation, ultrasonic and magnetic resonance imaging, led to a surgery revealing subperiosteal hematomas that argues in favor of scurvy. Results: After vitamin C therapy, the symptoms are gone and the general condition of the patient improved despite persistent radiological signs. Conclusion: Recent studies of sporadic cases report a high incidence of scurvy in children with autism or psychomotor retardation and the fact that musculoskeletal manifestations are more common. The mosaics of the symptoms of scurvy are varied and include dermatological, dental, bone and systemic manifestations, making it a forgotten and misdiagnosed illness. A heightened awareness is needed to avoid an unnecessary surgery, unnecessary tests and procedures and to be able to start treatment for a potentially fatal but easily curable disease.

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Babu, Dr T. Ramesh. "How Beautiful! If I Get Back My Childhood Days!" SMART MOVES JOURNAL IJELLH 8, no. 1 (January 28, 2020): 5. http://dx.doi.org/10.24113/ijellh.v8i1.10360.

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In the present poetry the poet speaks about the days which were gone in 1980s those are the beautiful days and how one could live like a butterfly, playing very freely without bothering about time, whether it is day or night, boy or girl, caste or religion ignoring all these one could live amicably with everyone. In those days one could reach schools by bullock carts or cape carts and few on foot from far places with barefoot. In 1980s one could play in the rain with paper boats and making toys with clay and playing with all these toys. In those days one wouldn’t have any kind of attracted gadgets like smart phones or tabs, electronic gadgets so, one could enjoy freely without any hurdles. Here,the poet has expressed, how one could enjoyed during the summer at grand mother’s home and what kind of games were played, how one could chase the wild rabbits and bores during the summer days at orange grove and what kind of drinks were taken to quench thirst at chasing time and so on. In those days one could pray for the God for others too because people were very affectionated and lovable. That is why, the poet wishes to get back those beautiful childhood days once again. Because the present generation does not have all the above said things and it is like a mechanical or robotic life what they have been having.

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Journal articles on the topic 'Gone Girl'

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