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This book explores the breast-is-best discursive formation of hegemonic motherhood that limits possibilities and polices parents. Scholars of feminism, motherhood, gender, and discursive and/or narrative methodologies will find this book useful in exploring the complex systems that control the meanings of motherhood, family, and society.
This book challenges stereotypes about the romance genre, examining how modern romance production serves women in multiple ways, from escapism to sexual education, from fantasy to fun, and most importantly, as a site of production for feminist texts.
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