Jusquà récemment, les recherches sur les femmes venant de l'Asie du Sud portaient presque entièrement sur les immigrantes de première génération; cependant, les chercheurs commencent à explorer les différences qui existent entre les immigrantes de premiére et celles de deuxiéme génération. Ce qui reste peu clair, c'est comment l'âge, en tant que relation de puissance, se manifeste dans le contexte d'une diaspora. Par exemple, quel est l'apport de l'expérience occidentale de l'adolescence dans le processus identitaire ? l'auteure s'appuie sur le concept de Twine appeléévénement frontalier, qui s'adresse spéci‐fiquement à l'expérience de racialisation de l'adolescente. Elle se penche également sur la culture des pairs et enfin sur les families et les com‐munautés particulières pour évaluer comment celles‐ci réussissent à convaincre les jeunes filles de deuxième génération de leur exclusion permanente de la normalité. Until recently, research on South Asian women has focussed almost exclusively on the immigrant experience; however, scholars have now begun to explore the differences between immigrant and second‐generation identities. What remains unclear is how age, as a relation of power, asserts itself in diasporic contexts. For instance, how is modern Western adolescence a key period of racialized identity development? Building on Twine's concept of the “boundary event,” I analyse second‐generation South Asian girls' stories of difference making during adolescence, examining the work done by peer culture, friends and even family/community to remind girls of their racial and cultural difference.

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This paper proposes a new move in the methodological practice of collective biography, by provoking a shift beyond any remnant attachment to the speaking/ writing subject towards her dispersal and displacement via textual interventions that stress multivocality. These include the use of photographs, drama, and various genres of writing. Using a story selected from a collective biography workshop on sexuality and schooling, we document how we work across and among texts, thereby widening and shifting interpretive and subjective spaces of inquiry. We also consider how Deleuze and Guattari's notions of territorialization/deterritorialization and the nomadic subject might be useful in theorizing such methodological moves in collective biography and our own investments in them.

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The taking up of feminist discourses and practices by a violent misogynist on Netflix’s You is an important departure from mainstream televisual engagements with gendered violence. Drawing on Jackson and Mazzei’s methodological work, we examine “threshold texts” as those that radically destabilize incommensurable political stances such as feminism/misogyny and queer alliance/homophobia. What are the implications of this destabilization for social justice projects? First, we argue that Joe’s voice-over re-centers white, heteronormative masculinity. Second, we examine the implicit homophobia underlying the show’s depiction of female friendships as queer danger. Third, we argue the representations of masculinity offer a hopeless landscape for heteronormative female viewers. We conclude by looking at the paratextual context, specifically actor Penn Badgley’s own ambivalent location as a queer, feminist man playing a character that represents heteronormativity’s deadliest outcome.