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In the context of Young Adult Sports Fiction, Miranda Kenneally’s Breathe, Annie, Breathe (2014) addresses some crucial problematics that her protagonist, Annie, experiences through her body changes as she enters the world of athletics and campus life. Structured as a coming-of-age novel, Breathe, Annie, Breathe depicts Annie’s progressive acknowledgement of her body as she trains for a marathon so as to honor her recently deceased boyfriend. First characterized as a rather passive young woman with no awareness of her physical and emotional potential, Annie starts to become a mature adult with a burgeoning sense of self, able to understand her body, academic goals and sexual desires, ultimately leading her to recover her affectivity beyond her first love. As her training progresses, Annie focuses increasingly on her growing endurance and prowess rather than her weight loss. Thus, from a gender perspective, Kenneally’s novel demystifies the weight-loss process as an intrinsically feminine one, aligning it with wellbeing rather than beauty, in contrast to previous young adult novels. This points to an evolution in the Young Adult Sports Fiction genre which should be addressed in order to evaluate the positive impact it may have on young female readers’ canons of corporeal beauty. En el campo de la literatura juvenil deportiva, Breathe, Annie, Breathe (2014), de la autora estadounidense Miranda Kenneally, aborda la transición a la universidad de su protagonista, Annie, quien experimenta importantes cambios vitales y corporales al comenzar la vida en el campus e introducirse en el atletismo. Siguiendo la estructura de una novela de iniciación, Breathe, Annie, Breathe se centra en el reconocimiento del cuerpo a través de una maratón para la que la protagonista se entrena con la intención de honrar a su pareja, recientemente fallecida. Inicialmente caracterizada como una joven pasiva y sin conciencia sobre su potencial físico y afectivo, Annie va evolucionando hacia la madurez adulta, al tiempo que descubre su cuerpo y deseos sexuales y centra sus aspiraciones académicas. Este proceso, al final, la llevará a recuperar un sentido de afectividad más allá de su primer amor. A medida que avanza en sus entrenamientos, Annie no concede importancia a su pérdida de peso y se enorgullece, por el contrario, de la fuerza y resistencia conseguidas. En este sentido, desde una perspectiva de género la obra de Kenneally desmitifica la feminidad de la pérdida de peso al equiparar el cambio físico con el bienestar, más que con la belleza, al contrario de lo que ocurría con novelas juveniles anteriores. Ello indica una evolución en la novela juvenil deportiva que requiere de atención académica con el fin de evaluar el impacto positivo que puede tener sobre los cánones de belleza corpórea de las lectoras jóvenes.

Equine fiction is an established genre in the English juvenile literary canon. Current works in the field appeal to adolescent readers thanks to their interface between classic motifs of vintage and contemporary forms of equine narratives. Performing a close reading of selected passages in Miranda Kenneally's Racing Savannah (2013), this paper acknowledges how this novel is a revitalization and a challenge to this pattern. Savannah, who is more gifted than her companions, is subordinate to the decisions of the junior of the household where she works. Jack Goodwin, the protagonist's romantic lead, educated in a neocolonialist background of male jockeying, becomes Savannah's marker of difference according to her sex and lower socioeconomic status, which lay at the root of her later racialization despite her being a white character. My analysis attempts to expose how these difficulties encountered by the protagonist to become a professional jockey articulate past and present constraints of the horse-racing ladder.

This article examines the experiences of female protagonists who join all-male teams in recently published middle grade and young adult sports fiction. Two frames of analysis, identity and intersectionality, are applied in examining the question of how female protagonists navigate girlhood identities given their nontraditional sports participation on historically male teams. Findings suggest that as the fictional female athletes move into male-dominated spaces, they must reconceptualize their identities within either/or binaries that reaffirm gendered expectations and that these binaries ignore the complicated multiplicity of identities and their associated privileges and oppressions.

According to its web page, Pretty Tough is a \"premier brand and media property\" launched by Jane Schonberger and Alex Morency that provides \"high-quality, specialty content, products and services for active girls worldwide,\" blending \"positive messages\" with \"entertaining\" products in order \"to empower girls and support their competitive endeavors.\" [...]the Pretty Tough series glorifies sports as an arena to demonstrate girls' liberation while ignoring many real challenges faced by young female athletes, including homophobia, racism, and class bias; the Female Athlete Triad, a mixture of disordered eating, amenorrhea, and bone loss; sexual abuse and harassment; devaluation of ability; and differential access and resources (\"Her Life\").

In an unidentified newspaper clipping in Judy's possession from around the time of the Disney movie, Eleanor Kennedy, a columnist for Greensboro newspapers, reports that Mary \"is working on her third [book], a nonfiction book about the last of the Indian Wars,\" and Mary is quoted saying, \"It's referred to in research books and such as 'the ghost dance outbreak' in 1890-91 in the Dakotas, the end of the centuries-long war with the Indians. [...]she had a recurrence of this aggressive cancer that was being treated at Duke, and when she came to Durham for treatment, we met. The box also held a shark's tooth; a Girl Scout pin and other miscellaneous pins she had as a young girl, including a pin with thistle, representing her Scottish connection; a wooden fairy cross on a silver chain, a gift from her sister Gayle; a Beta Club pin and an English Medal, dated 1943, reflecting her scholastic excellence. 3 M.A. Hancock, \"The Susceptible Spy,\" Saturday Evening Posti 17 Nov. 1956: 36+; \"Meet the Author,\" Progressive Farmer Apr. 1960: 48; Dot Jackson, \"From Mt. 10 Read more about the specific historical events that inspired Hancock's novel in John Crouch's \"Historical Sketches of Wilkes County,\" a typescript he printed and bound himself in Wilkesboro in 1902; it is digitized in Archive.org. 11 Mary Hancock, \"Hello, Johnny Reb,\" American Legion Magazine Nov. 2967: 24+; \"Fun Behind the Lines,\" Sports illustrated 11 Mar. 1963: web. 12 M.A. Hancock, Four Brothers in Gray, 1975 (Sparta, NC:

In eighteenth-century Britain, reading lewd books was understood to exacerbate gonorrhea. That pathology corresponded to a specific physiological model, which historians describe as the leaky male body. This article demonstrates how the connection between reading and gonorrhea correlated to three phenomena: 1) the neuro-sexual economy of bodily fluids; 2) the effects of reading on the sensible mind and body; and 3) the crossover of erotic and medical literatures. Aware of the physiological power of imagination, authors intentionally wrote to elicit strong physiological and sexual responses in readers. Concerns about the pathological and moral consequences of reading provocative material similarly informed criticisms of both the outright pornographic and the ostensibly medical. Partly in response to such criticisms, medical authors developed a more careful, decorous, and objective tone for writing about sexual topics. Ultimately, the culture of sensibility receded, as did anxieties about involuntary leaks of bodily fluids caused by reading.

Defines criteria for evaluating Adventure and Sports-oriented novels. The Studio Class discusses the features of Adventure novels that make or break their usefulness in class. The five common elements of Sports novels are detailed. Videotaped inserts include two different Readers' Theater presentations and an interview in which Walter Dean Myers shares his ideas on the writing process.