Curriculum Design and Praxis in Language Teaching: A Globally Informed Approach ed. by Fernanda Carra-Salsberg, Maria Figueredo and Mihyon Jeon (review)

C. Escalante
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Abstract

helplessness, and a lack of agency. At the same time, she is not able to completely transcend other trappings, such as the default to a caregiver role, infantilization, or the problematic associations with ‘girl boss’ feminism. It is almost as if Squirrel Girl stands at the crossroads of post-feminism. The indecision as to which path to take runs the risk of disenfranchising the whole Marvel ecosystem. Readers need not be dedicated or long-term participants in the Marvel ecosystem to follow and appreciate the essays in this compilation. I consider myself a casual fan of the Marvel Universe, yet the examination of the female fan base still included me. Anecdotally, I have lived through the experience of feeling unwelcome at best, or objectified at worst, in the heterosexual male-dominated space that is a comic bookstore. Carr argues in the opening essay that Marvel has plenty of adjustments to make to address these and similar gaps in content creation for the fans that also model better female representation (1517). Yet, what history of improvement there is comes from women within the fan base who become official creators and continue to engage with the ecosystem that celebrated the heroines who both represented and inspired them to be extraordinary in mundane life.
《语言教学中的课程设计与实践:一种全球信息的方法》,费尔南达·卡拉-萨尔斯伯格、玛丽亚·菲格雷多、全美贤主编。
无助,缺乏能动性。与此同时,她也不能完全超越其他的束缚,比如默认的照顾者角色、婴儿化,或者与“女老板”女权主义的有问题的联系。《松鼠女孩》似乎站在后女权主义的十字路口。选择哪条道路的优柔寡断可能会剥夺整个漫威生态系统的权利。读者不必是漫威生态系统的忠实或长期参与者,也可以关注和欣赏本汇编中的文章。我认为自己是漫威宇宙的普通粉丝,但对女性粉丝基础的调查仍然包括我。有趣的是,在异性恋男性主导的漫画书店里,我有过这样的经历:往好了说,我觉得自己不受欢迎,往坏了说,我觉得自己被物化了。卡尔在开篇文章中指出,漫威有很多调整要做,以解决这些问题,以及在内容创作方面的类似差距,因为粉丝们也有更好的女性形象(1517)。然而,历史上的进步来自于粉丝群中的女性,她们成为了官方创作者,并继续参与到这个颂扬女英雄的生态系统中,这些女英雄既代表了她们,也激励了她们,让她们在平凡的生活中变得非凡。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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