Female female empowerment subjectivity. “Part II: Forms and

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Female Rebellion
in Young Adult Dystopian Fiction
is a compilation of essays by Sara K. Day, Miranda A. Green-Barteet, and Amy L.
Montz, that provides a specialized focus on the forms of female rebellion and
self definition commonly found in this literature. “Part I: Reflections
and Reconsiderations of Rebellious Girlhood” involves an acute comparison
between the degree to which new texts in this genre either create new paths for
the adolescent female or abide by customary cultural beliefs regarding their
identity in the society. The writers in this section have structured their
arguments within a cultural framework to divulge female empowerment
subjectivity. “Part II: Forms and Signs of Rebellion” considers the
manifestation of rebellion within the limits of the social perimeters of the
female protagonists. Montz uses Foucault’s contention of a panoptic society to
examine how government and social scrutiny in the dystopian societies shape young
adults’ perception of themselves and others. Lastly, “Part III: Contexts
and Communities of Rebellion” examines the
reception of the protagonist’s form of rebellion– whether it is accepted or
rejected. An eco-feminist framework is used to offer an opposition to the
strict, male-dominated metropolitan culture within this transforming
environment that provides equal freedom to both genders. There is acceptance as
well as space for change and finding one’s own identity. On a whole, the
collection provides a credible argument for how the “rebellious female
protagonist in YA dystopian fiction probes the differing presentations of
adolescent womanhood in late-twentieth- and early twenty-first-century
culture.” (57)

However the papers do not address the shortcomings
of the young adult genre in its characterization of the female protagonist
apart from a brief mention of the absence of freedom of sexuality. There is a
comprehensive outline of every aspect of rebellion ranging from the female to
the country, but no address of the misgivings of the female agency within the
nation which my paper would address.

“A Feminist Analysis of the film The Hunger Games” by Kristi Loobeek
analyses the appearance of feminism with respect to Katniss throughout the
Hunger Games film adaptations. The paper states that “while characteristics of all
three waves of feminism are present within the motion picture, third-wave
feminism prevailed as most apparent.” (3) The paper begins with a close
examination of the cinematic version of The Hunger Games and feminism’s history
within the United States to date; it then delves into the inter-lapping
sections of the two and analyzes the implications of said intersections and
concludes that feminism is evident within The Hunger Games, with third-wave
characteristics being most prevalent in the film’s ideologies. The methodology
employed is that of feminism, examining Katniss’s “masculine” and “feminine”
qualities, and linking them to the fluid interpretation of gender within third
wave feminism.

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The paper establishes the feminist nature of the
text but does not examine the specific instances where she defies the basic
ideals of feminist choice and consent which is what my paper seeks to
explicate. Further, this analysis is strictly limited to the films, which may
be direct adaptations but are found lacking due to directorial discretion.

“Engaging “Apolitical” Adolescents:
Analyzing the Popularity and Educational Potential of Dystopian Literature
Post-9/11″ by Melissa Ames is an article exploring the potential educational
uses of young adult dystopias and argues that reading these texts may be “a
small step in the direction of engaging students in social justice issues and,
perhaps, sparking more overt political action.” (2) Ames argues that the
abundance of dystopian novels has been noteworthy post-9/11 among which the Hunger Games has also emerged as a part
of real-life war and strife. It explores the reasons why the genre has become
popular with teen audiences, especially in the light of the social critiques
this group receives, arguing that these reading practices indicate that today’s
youth are often portrayed unjustly. The popularity is largely based on “the
alignment of fictional fear-based scenarios with contemporary cultural

The article is relevant due to its immediate
locating of the source texts within the contemporary times. It gives an
overview of the readers of the genre and relevance of the books in the present.
It thus establishes that the series has a notable impact on a specific age
group which is easily influenced by such artifacts of popular culture. It
emphasizes the need to promote correct notions complex cultural theories such
as feminism. But the article does not specifically indulge in the topic of
feminism, rather focusing on problems of war and terrorism that could result in
an apocalyptic situation.

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