TEAL706-14C (HAM) STACEY KING
1
Critical literacy in an all girls’ English classroom: Deconstructing depictions of
normative femininity in Western society
Stacey King
The University of Waikato
Introduction
What is critical literacy?
Encouraging students to read texts from a critical literacy perspective involves
developing their ability to address questions of power, social injustice and inequality within
society. Coffey (2008) argues, ‘Becoming critically literate means that students have
mastered the ability to read and critique messages in texts in order to better understand whose
knowledge is privileged’. Texts in this sense are socially constructed products: ‘every text is
informed by the ideologies and the discourses current at the time. These present a particular –
partial and interested – version of reality and invite the reader…to accept that interpretation’
(Morgan, 2004, p. 105). Texts therefore, are used as devices for maintaining the uneven
power structures within society by attempting to persuade readers to subscribe to
constructions of reality that support society’s “topdogs” (Janks, Ferreira, Granville &
Newfield, 2013). However, ‘this is where critical literacy begins, for questioning power
relations, discourses, and identities in a world not yet finished, just or humane’ (Shor, 1997).
Hence, critical literacy provides students with the means to question the status quo, to read
texts from a resistant perspective, and produce counter texts as a form of social action.
Topic
Having recently spent six weeks teaching at an all girls’ school, I have become
intrigued by the ways in which language shapes and maintains the normative view of
femininity in New Zealand and Western society. This process can be theorised from a critical
literacy perspective: ‘Reading lots of texts (elements of discourse) which are associated with
and developed within particular Discourses will have the effect of assimilating us into certain
ways of acting, believing, relating, thinking, valuing, and so on’ (Morgan, Gilbert,
Lankshear, Werner & Williams, 1996, p. 9). Specifically, I would like my students to explore
the ways in which discourses (texts) are recruiting young females in New Zealand to “buy
TEAL706-14C (HAM) STACEY KING
2
into” the dominant feminine Discourse which positions women within the confines of
traditional versions of femininity.
Thomas (2007) argues that ‘the term femininity…evokes the normative assumption
that women should embody and reflect feminine qualities such as being private, domestic,
gentle, graceful, delicate, ladylike, passive, sensual, and emotional’. This construction of
normative femininity reinforces the continuance of traditional gender roles in Western
society. Schutte (1997) contends that the attributes of feminine normativity such as the
‘eagerness to please the male sexual partner…[and] staying attractive’ form ‘the core of the
gender constructs that, when tied to heterosexual activity and to the complementary gender
characteristics on the male side, create the conditions for the presence of normative sexuality’
(p. 44). This issue is particularly pertinent to the lives of young girls; research has shown that
the ‘passage out of childhood for many girls means that they experience a loss of self-esteem
and self-determination as cultural norms of femininity and sexuality are imposed upon them’
(Durham, 1999, p. 192). It is my intention to empower young women to critique such cultural
norms through resistant reading and social action.
The texts the I have selected in order to deconstruct this version of feminine
normativity and expose the ways in which texts uphold this construction of gender are: A
documentary, Sexy Baby (Bauer & Gradus, 2012); a short story, A Telephone Call (Parker,
1930); and a print advertisement for Evan Williams bourbon. By engaging with each of these
texts from a critical literacy perspective, I aim to develop students’ understanding of the fact
that texts are not neutral, rather, they are socially constructed objects ‘designed to recruit us
into their version of “the truth”’ (Janks et al., 2013, p. 10). Based on my recent practicum
experiences at an all girls’ high school, I have designed this critical literacy unit of work for
an all girls’ Senior English class. By engaging with these texts, I would like the students to
address the issues of gender inequality, uneven power relations, and the construction of
femininity with the selected texts. Furthermore, I have provided a set of focussing questions,
a pre-reading activity and post-reading activity for each text in order to encourage students to
read such texts from a critical literacy perspective. The students will then complete a
comparing and contrasting activity to allow them to make connections between the chosen
texts. Finally, students will produce counter texts to reinforce their learning as a result of
critical literacy reading.
TEAL706-14C (HAM) STACEY KING
3
Text 1 – Sexy Baby (documentary)
Sexy Baby (2012) is a documentary directed and produced by Jill Bauer and Ronna
Gradus, which follows the lives of three young women in the United States: Winnifred, a 12
year old growing up in New York City; Laura, a 22 year old kindergarten teacher in North
Carolina; and Nichole, a 32 year old ex-porn star and pole dancer in Florida. The
documentary investigates how the internet, advertising industry and social media affect
young girls’ perception of body image, sexuality and femininity. The classroom version of
the documentary will be used for this reading.
Pre-reading (viewing) activity
In groups of three, students are to bring in one of the magazines they read at home, or
have seen young girls and women reading (such as Cleo and Dolly), or access a social media
website (such as Facebook and Instagram) and find an article, photograph, product or
advertisement that encourages young women and girls to change their body image. An
example would be an advertisement on Facebook for Skinny Tea – a product used by
celebrities in order to “slim down” and become “celebrity-sexy”. The girls are to discuss the
following questions:
1. When young women view this particular photograph / product / article /
advertisement, why might they feel they need to change their physical appearance?
2. Do you think such texts and/or products make young women and girls feel good about
their body image?
3. Why might such texts and/or products have effects (positive or negative) on the selfesteem of young women and girls?
4. If you feel comfortable discussing this with your group, can you remember a time
when you have been made to feel uncomfortable with who you are because of a
similar text and/or product advertisement?
Focus questions
The focus questions for Sexy Baby and the other two texts have been formulated
based on from Morgan’s (2004) guidelines for developing critical literacy questioning in the
English classroom.
TEAL706-14C (HAM) STACEY KING
4
The following questions relate directly to the scene introducing Laura (2 mins in length), the
young woman from North Carolina determined to undergo surgery in order to reduce the size
of her genitalia (labiaplasty). This scene follows Laura to the labiaplasty clinic where she
meets Dr Bernard Stern and explains why she wants to have the procedure.
1. Dr Stern mentions magazines, the porn industry and the internet as specific societal
factors responsible for the significant increase in the numbers of young girls (even
under the age of 18) wanting the labiaplasty surgery. Do you agree with him? Do you
feel that society in this day and age is influencing young women to alter aspects of
their physical appearance?
2. Do you think Laura is seeking this procedure for herself or to please other people,
namely, members of the opposite sex? Why or why not? Refer to evidence the scene.
3. Laura seems to feel that if she makes herself look like a porn star, then she will be
able to arouse more interest from the opposite sex. Why might kind of attitude be
sending the wrong message to young girls?
4. The directors of Sexy Baby are using the documentary as a means of communicating a
particular message about young women, sexuality and the cyber age (Sexy baby,
2012). Using what you already know about the function of a documentary as a genre,
why do you think Bauer and Gradus (the directors) decided to make this
documentary?
5. Do the directors position young girls in a positive or negative light? Offer some
reasons for your answer.
6. Do you think the directors feel that social networking is having a positive or negative
influence on the way women see themselves?
7. Why might the directors have offered close up shots of the sexualised images of
women in Dr Stern’s office? What might they be trying to say about Dr Stern and his
values?
Activity – Role play
This activity is designed to enhance the
students’ ability to read texts from a resistant
perspective.
TEAL706-14C (HAM) STACEY KING
5

Imagine that a female character replaces Dr Stern in the consulting room with Laura.

In pairs, one of you will play Laura and one of you will be the female character. This
new character feels that young girls should feel beautiful in their own skin. This
character also rejects Dr Stern’s belief that women need to change their appearance in
order to be attractive.

Come up with a script that involves a dialogue between Laura and this new character.

You may present this role play to the class if you feel comfortable doing so!

In your pairs discuss how your scene differs from the Sexy Baby scene between Laura
and Dr Stern.

What did you find out about Laura in the process?

How does Dr Stern’s version of reality or “truth” about the “ideal version of
femininity” differ from your own?
Text 2 – Evan Williams bourbon (print advertisement)
TEAL706-14C (HAM) STACEY KING
6
Pre-reading (viewing) activity
Since this text is an advertisement, I have planned an activity that is aimed at
developing students’ understanding of the various persuasive techniques used by advertising
companies to influence particular target audiences to buy particular products and/or services.
 In groups of 2-3, find a print advertisement that you think is targeting young women
(your age).
 Discuss the following questions within your groups:
o What does this advertisement want you to buy?
o Does the advertisement attempt to appeal to your emotions, values or
beliefs?
o Who appears in the ad? Why do you think the advertising chose this
person/people?
o Does the advertisement attempt to play on your fears? What about your
desires?
o Does the ad have a slogan? What language is used? Does this language
attempt to play on your fears or desires?
o Refer to your persuasive techniques terms sheet (i.e. bandwagon, celebrity
endorsement, humour, plain folk). Does this ad fit use any of these
techniques? Why do you think they have been used?

Team up with another group and share your thoughts about the ad you have
selected. Ask the other group what their thoughts are about your ad. Do the same
with their ad.
Focus questions
1. Who do you think this ad’s target audience is? Why?
2. Cover the right side of this ad with a piece of paper so that you can only see the young
girl on the left. Describe the appearance of this girl. Pay attention to elements such as,
the girl’s clothes, her facial expression, the lighting and setting.
3. What might the target audience think about this girl on the left?
4. Now cover the left side of this ad with a piece of paper so that you can only see the
young woman the right. Describe the appearance of this woman. Pay attention to
TEAL706-14C (HAM) STACEY KING
7
elements such as, her clothes, her facial expression, the lighting, her body positioning
and the setting.
5. What might the target audience think about woman on the right?
6. Now focus your attention to the language used in this ad: ‘The longer you wait’ on the
left; ‘…the better it gets’ on the right; and the slogan at the bottom of the ad, ‘Evan
Williams: Aged longer to taste smoother”. In what ways do the juxtaposed images
evoke this message?
7. What might the advertiser be saying about women and sexuality?
8. What particular feminine qualities are valued in this ad? Describe the ideal and
desirable characteristics of women based on this ad alone.
9. Is this a fair representation of women?
10. How does particular ‘truth’ about women and femininity depicted in this ad reflect
prevailing attitudes in your society today? Discuss your answer based on your
experiences and observations as a young woman.
11. What is this ad not saying about women?
Activity – telling counter-narratives, voicing alternative discourses (Morgan, 2004)

Write a journal entry from the point of view of the woman in the Evan Williams ad.

Imagine that you are this woman, looking down at this ad and seeing yourself in both
of these images, as a high school student and in the photo shoot for the bourbon ad.

What thoughts come to mind? Are there any particular memories that come flowing
back to you?

How do you feel about the way you have been positioned in this ad?

What is something about yourself that you would like people to know?

Share your journal entries in groups of four.

Discuss how your journal entries offer an alternative ‘truth’ about femininity. Are
these views at odds with the version of knowledge presented in the ad?
Text 3 – A Telephone Call, Dorothy Parker (1930) (short story)
A Telephone Call is a satirical short story about a woman desperately waiting to
receive a phone call from her lover. Written by American satirist, critic, poet and short story
TEAL706-14C (HAM) STACEY KING
8
writer Dorothy Parker, this text offers a unique depiction of the gender role divide in mid-20th
century Western society.
Pre-reading activity: Prediction
I will read the first two paragraphs of the short story to the students. In pairs they will
predict how they think the story is going to end. In their pairs they will discuss the reasons for
each of their choices. Each of the pairs will share their ideas with the class (think, pair,
share).
Focus questions
1. When do you think this story was written? Why?
2. What do you know about the prevailing attitudes about femininity and women’s roles
in society during the early-mid 20th century?
3. In a few sentences, describe what you think this short story is about?
4. Can you remember a time when you have felt like this woman? Has anyone ever told
you to “never make the first move” when it comes to dating?
5. How does this text position the reader to feel about the female protagonist?
6. What do you think Dorothy Parker wants the readers to know?
7. Describe the relationship between the woman and God. Are there any similarities
between this relationship and the woman’s connection to the unknown man?
8. What might the symbol of the telephone represent?
9. Parker’s sentence structure varies greatly with the text. How does this structural
feature affect the tone of the text?
10. How would you describe the emotional state of the unnamed character in A Telephone
Call? Provide evidence from the text to reinforce your ideas.
11. How are women constructed in this text?
12. Do you feel that this text offers an insight into gender inequality? In what ways?
13. Why do you think Dorothy Parker chose to represent women in this way?
14. Do you feel that the construction of femininity in this text is dated? Or does this
attitude towards women persist today? Why? Why not?
15. Based on this text alone, would you describe Dorothy Parker as a “feminist”? Why?
Why not?
TEAL706-14C (HAM) STACEY KING
9
Activity
This activity is designed to enhance the students’ awareness of the ways in which they
can empower themselves, as young women, to resist gender inequalities in society.

In pairs create a Facebook page for the unnamed female protagonist in A Telephone
Call.

Come up with a name for this woman and complete the sections about her interests,
educational background, family, her town etc. – bring her to life!

Then select five quotes directly from the short story and post these to your Facebook
wall.

Log in to your personal Facebook account and comment on these posts. Imagine that
you are this young woman’s friend. Give her some advice to help her overcome her
current predicament. Think about what you would say to one of your friends if they
started acting like this.

Add one of the pages created by another group and offer some advice to their fictional
character.
Comparing and contrasting activity
Students are to use the knowledge they have gained throughout this unit of work to
answer each of the questions below. By using the tabular format, students will be able to
make connections across each of the texts by comparing and contrasting each of their
answers. This activity is designed to enhance the students’ understanding of the ways in
which texts offer us particular knowledges and “truths” about issues in society, and how we
as readers are positioned in particular ways. The questions below are based on a critical
literacy resource developed by The Department of Education, Tasmania (2004).
Each of the questions
Sexy Baby
below are to be answered
individually.
What does the
author/director/advertising
company want me to
know about women?
How are young women
constructed in each of
Evan Williams ad
A Telephone Call
TEAL706-14C (HAM) STACEY KING
10
these texts?
Why do you think the
author/director/advertising
company represented
young woman in a
particular way?
In your opinion, what
kind of person, and with
what interests and values,
composed this text?
How might these people
describe the “ideal
woman”?
Who is allowed to speak
in each of these texts?
Whose views are
privileged in each of these
texts? How does this
relate to gender
in/equality in the text?
In your opinion, do each
of the texts offer a fair
depiction of young
women? Why? Why not?
Writing extension: Producing counter texts
Coffey (2008) argues that the production of counter texts in the classroom ‘offers
students occasions to speak from the point of view of those voices that are often silenced or
marginalized, thereby empowering them’. In order to empower my students, this activity is
designed to legitimize their own experiences as young women in New Zealand society.
Activity
Throughout this unit you have engaged with texts that have offered different
depictions of young women and femininity. You have read these texts from resistant
perspectives and made connections between them. Based on the knowledge you have gained
during this unit and your experiences as a young woman in New Zealand society, write about
one of the following topics:
A. Write a personal reflection about a time when you felt pressured to act a certain way
or change something about yourself due to societal pressures. What were the barriers
TEAL706-14C (HAM) STACEY KING
11
to overcoming this challenge? Do you have any advice for other young girls and
women?
B. Write a letter to the future generations of teenage girls in New Zealand. Detail your
hopes and dreams for the future. Offer some advice to these future generations about
navigating through a society that is becoming increasingly pervaded by the mass
media and the internet.
C. Complete option B] in a video format.
References
Bauer, J., & Gradus, R. (2012). Sexy Baby [Documentary]. United States: Documentary
Edge.
Coffey, H. (2008). Critical literacy. Retrieved from http://www.learnnc.org/lp/pages/4437
Durham, M. G. (1999). Girls, media, and the negotiation of sexuality: A study of race, class,
and gender in adolescent peer groups. Journalism & Mass Communication
Quarterly, 76(2), 193-216. doi:10.1177/107769909907600202
Janks, H., Dixon, K., Ferreira, A., Granville, S., & Newfield, D. (2013). Doing critical
literacy: Texts and activities for students and teachers. Abingdon, England:
Routledge.
Morgan, W., Gilbert, P., Lankshear, C., Werner, S., & Williams, L. (1996). Critical literacy:
Readings and resources (pp. 9-11). Norwood, SA: AATE.
Morgan, D. (2004). Critical literacy. In W. Sawyer & E. Gold (Eds.), Reviewing English in
the 21st Century (pp. 103-115). Melbourne, Vic., Australia: Phoenix Education.
Parker, D. (1973). The Collected Dorothy Parker (p. 437). London: Duckworth.
Schutte, O. (1997). A critique of normative heterosexuality: Identity, embodiment, and sexual
difference in Beauvoir and Irigaray. Hypatia, 12(1), 40-62. doi:10.1111/j.15272001.1997.tb00170.x
Shor, I. (1999). What is critical literacy. Journal for Pedagogy, Pluralism & Practice, 4(1),
1-26. Retrieved from http://mediaeducation.org.mt/wpcontent/uploads/2013/05/What-is-Critical-Literacy.pdf
Tasmanian Department of Education. (2004). Critical literacy. Retrieved from
http://goo.gl/drBlii
Thomas, M. (2007). Femininity. In Encyclopedia of Human Geography.
doi:10.4135/9781412952422