Penn State University I appropriate Deleuze and Guattariâs concept of the refrain for a feminist analysis of the girl because it offers more insight into the ways girls construct themselves as performative networks than the death-by-culture or at-risk model preferred by such feminists as Jean Kilbourne, Carol Gilligan, and even Susan Bordo. I proffer that it costs women everything to practise a politics of difference that is by deï¬nition reactionary, a reaction to the cultural refusal of leaky gendered bodies that must be overcome. Girl is mapped through such alternations as powerful aggregates of the tremulous, roaming emissions of monstrous particles most desired and desirous. Keywords: feminism, woman, girl, girl studies, rhythm, refrain, style, becoming, womenâs studies, girl branding, feminist cultural studies Theorists conï¬gure the contemporary ï¬gure of girl as either a smaller version of woman, replete with a naturalised status of victim or at least victim-in-training, or as a totally âotheredâ teenage beast whose hormones make her even more out of control than her grown-up counterpart. What do girls and women have in common besides essentialised and mystiï¬ed erogenous zones, and less money in their pay packets? Where do the contours of the girl merge and diverge
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Becoming-Rhythm: A Rhizomatics of the Girl
Jones, Leisha
Follow Deleuze Studies
, Volume 5 (3): 383
Edinburgh University Press – Nov 1, 2011
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