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The birth of the 1970s' punk movement as seen through the eyes of Chicana feminist and punk musician Alice Bag.
In this “invaluable addition to any collection” (School Library Journal, starred review) high school senior Zephyr Doyle is swept off her feet—and into an intense and volatile relationship—by the new boy in school. His obsession. Her fall. Zephyr Doyle is focused. Focused on leading her team to the field hockey state championship and leaving her small town for her dream school, Boston College. But love has a way of changing things. Enter the new boy in school: the hockey team’s starting goaltender, Alec. He’s cute, charming, and most important, Alec doesn’t judge Zephyr. He understands her fears and insecurities—he even shares them. Soon, their relationship becomes something bigger than Zephyr, something she can’t control, something she doesn’t want to control. Zephyr swears it must be love. Because love is powerful, and overwhelming, and…terrifying? But love shouldn’t make you abandon your dreams, or push your friends away. And love shouldn’t make you feel guilty—or worse, ashamed. So when Zephyr finally begins to see Alec for who he really is, she knows it’s time to take back control of her life. If she waits any longer, it may be too late.
In this important new work, two respected criminologists challenge the characterization of the new 'bad girl' arguing that it is only a new attempt to punish girls who are not the stereotypical depiction of good. Through interviews with young women, educators and people in the criminal justice system, Beyond Bad Girls exposes the formal and informal systems of socio-cultural control imposed on girls.
Katniss Everdeen (The Hunger Games), Bella Swan (Twilight), Tris Prior (Divergent), and other strong and resourceful characters have decimated the fairytale archetype of the helpless girl waiting to be rescued. Giving as good as they get, these young women access reserves of aggression to liberate themselves—but who truly benefits? By meeting violence with violence, are women turning victimization into entertainment? Are they playing out old fantasies, institutionalizing their abuse? In Hunting Girls, Kelly Oliver examines popular culture's fixation on representing young women as predators and prey and the implication that violence—especially sexual violence—is an inevitable, perhaps even celebrated, part of a woman's maturity. In such films as Kick-Ass (2010), The Girl with the Dragon Tattoo (2011), and Maleficent (2014), power, control, and danger drive the story, but traditional relationships of care bind the narrative, and even the protagonist's love interest adds to her suffering. To underscore the threat of these depictions, Oliver locates their manifestation of violent sex in the growing prevalence of campus rape, the valorization of woman's lack of consent, and the new urgency to implement affirmative consent apps and policies.
As millions of women and girls left country towns to generate Korea’s manufacturing boom, the factory girl emerged as an archetypal figure in twentieth-century popular culture. This book explores the factory girl in Korean literature from the 1920s to the 1990s, showing the complex ways in which she has embodied the sexual and class violence of industrial life.
"Stunning . . . . This is an immensely courageous story that will break your heart, leave you in tears, and, finally, offer hope and redemption. Brava, Kelly Sundberg." —Rene Denfeld, author of The Child Finder In this brave and beautiful memoir, written with the raw honesty and devastating openness of The Glass Castle and The Liar’s Club, a woman chronicles how her marriage devolved from a love story into a shocking tale of abuse—examining the tenderness and violence entwined in the relationship, why she endured years of physical and emotional pain, and how she eventually broke free. "You made me hit you in the face," he said mournfully. "Now everyone is going to know." "I know," I said. "I’m sorry." Kelly Sundberg’s husband, Caleb, was a funny, warm, supportive man and a wonderful father to their little boy Reed. He was also vengeful and violent. But Sundberg did not know that when she fell in love, and for years told herself he would get better. It took a decade for her to ultimately accept that the partnership she desired could not work with such a broken man. In her remarkable book, she offers an intimate record of the joys and terrors that accompanied her long, difficult awakening, and presents a haunting, heartbreaking glimpse into why women remain too long in dangerous relationships. To understand herself and her violent marriage, Sundberg looks to her childhood in Salmon, a small, isolated mountain community known as the most redneck town in Idaho. Like her marriage, Salmon is a place of deep contradictions, where Mormon ranchers and hippie back-to-landers live side-by-side; a place of magical beauty riven by secret brutality; a place that takes pride in its individualism and rugged self-sufficiency, yet is beholden to church and communal standards at all costs. Mesmerizing and poetic, Goodbye, Sweet Girl is a harrowing, cautionary, and ultimately redemptive tale that brilliantly illuminates one woman’s transformation as she gradually rejects the painful reality of her violent life at the hands of the man who is supposed to cherish her, begins to accept responsibility for herself, and learns to believe that she deserves better.
#1 NEW YORK TIMES BESTSELLER "A haunting, beautiful, and necessary book."—Nicola Yoon, #1 New York Times bestselling author of Everything, Everything Charlotte Davis is in pieces. At seventeen she’s already lost more than most people do in a lifetime. But she’s learned how to forget. The broken glass washes away the sorrow until there is nothing but calm. You don’t have to think about your father and the river. Your best friend, who is gone forever. Or your mother, who has nothing left to give you. Every new scar hardens Charlie’s heart just a little more, yet it still hurts so much. It hurts enough to not care anymore, which is sometimes what has to happen before you can find your way back from the edge. A deeply moving portrait of a girl in a world that owes her nothing, and has taken so much, and the journey she undergoes to put herself back together. Kathleen Glasgow's debut is heartbreakingly real and unflinchingly honest. It’s a story you won’t be able to look away from. And don’t miss Kathleen Glasgow's novels You’d Be Home Now and How to Make Friends with the Dark, both raw and powerful stories of life.
This critical collection brings together some of the best contemporary research on the perceived increase in girls' violence. With perspectives from the United States, Canada, Australia, and the United Kingdom, the work challenges official definitions and media representations of girls and violence. Contributors discuss whether violence by girls has actually increased, what kind of behavior by girls is classified as "violent," how attitudes toward girls' behavior have changed, in what contexts girls behave violently, and look at the links between girls' violence and the broader issues of the social construction and social control of adolescent femininities. With diverse essays representing different geographical and disciplinary perspectives, this book offers, at times, contradictory evidence and conflicting views. However, common concerns are clear and the reader is rewarded with a rich exploration of the struggles of girls and young women to take control of their lives in material and ideological conditions that continue to restrict their options and opportunities.
Presents the stories and photographs of women who have been victims of family violence
Girl of New Zealand presents a nuanced insight into the way violence and colonial attitudes shaped the representation of Māori women and girls. Michelle Erai examines more than thirty images of Māori women alongside the records of early missionaries and settlers in Aotearoa, as well as comments by archivists and librarians, to shed light on how race, gender, and sexuality have been ascribed to particular bodies. Viewed through Māori, feminist, queer, and film theories, Erai shows how images such as Girl of New Zealand (1793) and later images, cartoons, and travel advertising created and deployed a colonial optic. Girl of New Zealand reveals how the phantasm of the Māori woman has shown up in historical images, how such images shape our imagination, and how impossible it has become to maintain the delusion of the “innocent eye.” Erai argues that the process of ascribing race, gender, sexuality, and class to imagined bodies can itself be a kind of violence. In the wake of the Me Too movement and other feminist projects, Erai’s timely analysis speaks to the historical foundations of negative attitudes toward Indigenous Māori women in the eyes of colonial “others”—outsiders from elsewhere who reflected their own desires and fears in their representations of the Indigenous inhabitants of Aotearoa, New Zealand. Erai resurrects Māori women from objectification and locates them firmly within Māori whānau and communities.