Institutionalized Stereotypes In The Simpsons - Free Essay Example

Sample details Pages: 7 Words: 2238 Downloads: 4 Date added: 2019/04/12 Category Society Essay Level High school Tags: Stereotypes Essay Did you like this example? The animated sitcom The Simpsons centers on a highly-dysfunctional, middle-class family living in the fictional town of Springfield. Since its premiere in 1989, The Simpsons has faced backlash for using racism, misogyny, cultural appropriation, and hyper-stereotypes to achieve its comedic goals. I am interested in seeing how this unconventional sitcom affects viewers perception of underrepresented individuals â€Å" namely, female characters. Don’t waste time! Our writers will create an original "Institutionalized Stereotypes In The Simpsons" essay for you Create order My research question is: Does The Simpsons challenge or perpetuate institutionalized female stereotypes? I have focused my research on Marge Simpson, the matriarch of the family, in order to develop an analysis on the representation of her character on the show. I have a hypothesis that the shows creators deliberately exaggerate her role as the housewife in order to invalidate prevalent female stereotypes and stigmas. My analysis of previous academic research conducted on this topic will be organized into four key ideas: the function of stereotypes on television, the stereotypes presented on The Simpsons, the way Marges character is complexified over time, and the intentions of the shows creators. Through researching previous analyses on the subject of stereotypes on The Simpsons, I have identified six relevant contributors. All six scholars highlight prevalent stereotypes enabled on The Simpsons and each attributes unique reasoning to this comedic convention. All six researchers utilize a Hermeneutic approach as they focus on particular parts of The Simpsons to develop a close reading of specific scenes and episodes; however, the nuances of their research differs. Daniela Virdis (2010) uses linguistic theoretical frameworks, conversation analysis, and stylistics to assess Marges representation as it fits into the traditional discourse of family dynamics, while John Alberti (2003) approaches The Simpsons with theoretical lenses, such as cultural studies, gender studies, and queer theory to evaluate the self-reflexive and hyperconscious nature of The Simpsons that exposes oppositional culture on the show. On the other hand, Edward Fink (2013) refers to psychoanalytic theory â⠂¬Å" specifically relief theory â€Å" to explain the importance of comedy in facilitating audiences laughter to function as a kind of catharsis of hidden feelings. Similarly, Paul Cantor unpacks popular elements of comedic writing to illustrate how The Simpsons is a self-aware, postmodern show that simultaneously focuses on the traditional representation of American family while presenting a paradox with its untraditional characteristics. Matthew Henry (2007) and Ruth Teer-Tomaselli (1994) both utilize feminist theory in their analysis of the female experience on The Simpsons as they deconstruct Marges fantasies of independence and freedom in the context of her role in the domestic realm. Despite the 20-year-range of these sources and the varying nuances of their research, all six analyses come to a similar conclusion involving an intentional exaggeration on the part of The Simpsons creators in constructing the shows characters. To begin a cohesive look at these six pieces of research, we must start with each researchers perspective on the function of stereotypes on television. Since the invention of television, programming has faced limited availability of space for content. This time constraint necessitates that narratives establish characters identities as quickly as possible; to fulfill this requirement, creators often use stereotypes in constructing their cast of characters (Cantor, 1999). A stereotype is an oversimplified image or idea intended to present viewers with easily recognizable kinds of characters; stereotypes can pertain to age, sex, job, culture, race, and position in the family. These stereotypes perpetuate preconceived notions about specific groups of people (Alberti, 2003). Comic writers often rely on stereotyping in the construction of quick gags when they lack the time or space in the narrative to create nuance through subtle characterization (Fink, 2013). Humor depends on identity, and while humor is based on real people, it often depends on stereotypes â€Å" reduced representations of characters that are generally conceptualized by a dominant cultural viewpoint (Teer-Tomaselli, 1994). In the television industry, stereotypes become a shorthand for presenting character traits as a source of humor (Cantor, 1999). In terms of female stereotypes, sitcoms rarely challenge gender-related traditions through the characters and situations presented. Since i ts inception, The Simpsons has engaged with the very political topic of family values, and therefore has provided countless examples of institutionalized stereotypes (Henry, 2007). The Simpsons has had multiple media identities (Fink, 2013). While the show has featured bitter political and social satire â€Å" which can prove fatal to mass public acceptance â€Å" The Simpsons has fully entered the mainstream (Virdis, 2010). The Simpsons is notably one of the only series to maintain its mass media appeal despite its countercultural and edgy nature (Alberti, 2003). The Simpsons writers utilize elements of comic theory and structure in the show, which explains why the series appeals to such large audiences (Fink, 2013). Despite the shows creative success, The Simpsons features common stereotypes on an episodic basis; Apu Nahasapeemapetilon represents the clich of a shy, socially-isolated immigrant, and John Waters episodes present homophobic language and careless bigotry. The most featured stereotype on the series is, of course, Marge (Alberti, 2003). The Simpsons frames Marges character as the quintessential wife, mother, and homemaker who is typified by a desire to maintain order (Virdis, 2010). Marge lives in a limina l space where she exists between social categories, behaviors, and spaces; therefore she embodies the ambivalence of female identity and its relation to the public and private spheres (Henry, 2007). Marges responsibility to care for her family is explicitly prioritized by the fact that her role as housewife appears to be her only pastime (Virdis, 2010). Although The Simpsons does not provide a full history of Marge, we do see enough glimpses of her past to see that she was raised with a proscriptive domestic ideology (Henry, 2007). Marge pacifies her husband and children as she brings understanding and order to the Simpson clan (Fink, 2013). While some researchers state that The Simpsons stereotypes demonstrate counterculture trends (Alberti, 2003), other scholars maintain that The Simpsons actually offers one of the most important images of the contemporary American family (Cantor, 1999). Although Marge is occasionally afforded the opportunity to exit her place in the home, these episodes routinely end with her being pulled out of her dangerous feminist fantasies of independence and freedom to be summoned back to take care of her family (Henry, 2007). The Simpsons continuously restores this proper order of the domestic realm in which Marge functions. Marges idealism about her role in the public sphere is ultimately tempered by a number of experiences that bring her back into the home setting (Fink, 2013). Marge is given a gendered identity based on cliched assumptions about womens roles and priorities (Virdis, 2010). While her character seems to perpetuate the status quo, it is possible that The Simpsons characterizatio n of Marge aims to call viewers attention to outdated gender roles. Over the many seasons of The Simpsons, Marge is given both a backstory and human flaws (Virdis, 2010). She begins the series as a simplified caricature that is then complexified over time. Her character grows into its own individual; she is uniquely Marge Simpson, rather than any old housewife (Cantor, 1999). Through this complexification, the tensions of contemporary femininity are presented on the show. The consequences that result from being in a perpetually liminal state are demonstrated in various episodes that illustrate Marge both inside and outside the home (Henry, 2007). By positioning Marge in this liminal space, The Simpsons makes her emblematic of the cultural contradictions of the female experience (Cantor, 1999). The Simpsons appears to be self-aware in its complexifying Marge over time. By crafting Marge into a multidimensional character, the series presents more complex characterization and therefore increases the opportunity for identification for female viewers (Fink, 2013). Critics of The Simpsons contend that the shows popularity is a testament to the decline of American family values; however, many scholars explain that these critics need to take a closer look at the series in order to understand its place in the context of television history (Cantor, 1999). Despite its slapstick nature and mocking of particular aspects of family life, The Simpsons has an affirmative side that celebrates the nuclear family (Alberti, 2003). In creating the show, Matt Groening used dramatic devices that combine elements of the bizarre and the predictable. The mix of realism and cartoon works well on television where humor is often visually-driven (Teer-Tomaselli, 1994). The Simpsons deliberately goes aga inst the conventions of realism in order to heighten the sense of realism in others; the show is portrayed as both unreal and universal, as an archetype of suburban life (Henry, 2007). The Simpsons effectively combines parody with mass media appeal to critique postmodern society (Alberti, 2003). Defining Marge by her domestic role, the series brings light to the societal expectations that determine what is normalized in television (Fink, 2013). The hyperbolized housebound wife represents a generation of women who were defined by their position in the home. Popular culture is a site of constant conflict â€Å" a place to create meaning for subordinated groups rather than the hegemonic groups producing the content (Teer-Tomaselli, 1994). The Simpsons representations of female identity are nuanced with a feminist sensibility (Alberti, 2003). The series offers an intellectual defense of an ordinary family against the elites, which explains the shows popularity and broad appeal to American viewers (Cantor, 1999). Even today, progressive representations of families in American television are rare (Henry, 2007). The Simpsons merits attention for its ability to complexify Marge and provide her with a sense of independence rarely found in female characters (Virdis, 2010). Although The Simpsons does not constitute a feminist text, it does demonstrate the way feminine culture can assert its values within and against patriarchal structures (Henry, 2007). The Simpsons offers a female identity that is a complex combination of strength and weakness (Cantor, 1999). The series is both a protest against and an acquiescence to male dominance (Henry, 2007). While The Simpsons creators might have positive intentions in their presenting institutionalized stereotypes, that does not necessarily lead audiences to interpret the narrative the way those creators intended. Given the substantial academic analyses of The Simpsons conducted over the last 20 years, I will continue this research with an in-depth study of textual evidence on The Simpsons. Like the six scholars cited above, I will also use a Hermeneutic approach to explore the details of particular episodes to find concrete examples of Marges character and how that representation challenges or perpetuates institutionalized stereotypes of the American housewife. To differentiate my research from previous analyses, I will draw on Stuart Halls Encoding/ Decoding model of communication to further identify creators intentions with the construction of Marge Simpson and to discover how viewers interpret her character. The differing responses from audiences illustrate how the series is polysem ic â€Å" not fixed in meaning â€Å" and can be interpreted in different ways. Cultural theorist Stuart Hall discusses this type of equivocality in the Encoding/Decoding model which provides a theoretical approach to analyzing how a particular text is encoded at the production level and then decoded by viewers (Hall). As Hall highlights in his communication model, it is the media markers â€Å" the producers, writers, and directors â€Å" who construct the message of a media text, often deliberately implanting a preferred meaning intended to be meaningfully decoded in a particular way (Hall). In my research, I will find out if this preferred meaning is the dominant reading of The Simpsons or if an oppositional decoding is more common. I hypothesize that The Simpsons media makers have constructive intentions with their exaggerated stereotypes, but I am interested to find out if audiences find the stereotypes distasteful and offensive or inflated and humorous. I will also refer to Reception Analysis in constructing my research method. Rather than using a standard questionnaire format in my research, I will use more small-scale, qualitative methods such as focus groups and in-depth individual interviews to deconstruct the interpretations made by viewers. Therefore, I will not create a complete set of categories such as the uses and gratifications list, because the reception and the production of meaning cannot be separated from the particular contexts in which they occur to be understood meaningfully. I believe that further research into The Simpsons creators intentions and a deep dive analysis of viewers interpretations will allow me to conclude whether Marge Simpsons character challenges or perpetuates institutionalized stereotypes. Bibliography Alberti, J. (2003). Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture. Detroit: Wayne State University Press. Cantor, P. (1999). The Simpsons: Atomistic Politics and the Nuclear Family. Political Theory, 27(6), 734-749. Retrieved from https://www.jstor.org/stable/192244 Fink, E. (2013). Writing The Simpsons: A Case Study of Comic Theory. Journal of Film and Video, 65(1-2), 43-55. doi:10.5406/jfilmvideo.65.1-2.0043 Hall, S. (1980). Encoding/decoding. Culture, media, language: Working Papers in Cultural Studies, 128-138. Henry, M. (2007), ?Dont ask me, Im just a girl: Feminism, Female Identity, and The Simpsons, The Journal of Popular Culture, 40 (2), 272-303. Teer-Tomaselli, R. (1994). The Simpsons. Agenda: Empowering Women for Gender Equity, (22), 52-56. doi:10.2307/4065736 Virdis, D. F. (2010). Marges Private Conflict in The Simpsons: A Linguistic Analysis. Caliban, 27. 2010, 295-304 Brunsdon, C., J. DAcci, L. Spiegel (1997). Feminist Television Criticism: A Reader, Oxford: Clarendon Press. Gray, J. (2006). Watching with The Simpsons: Television, Parody, and Intertextuality, London and New York: Routledge. Rhodes, C. (2001). Doh the simpsons, popular culture, and the organizational carnival. Journal of Management Inquiry, 10 (4), 374-383. Turner, C. (2004). Planet Simpson: How a Cartoon Masterpiece Documented an Era and Defined a Generation. Cambridge, MA: Da Capo Press. Waltonen, K., Du Vernay, D. (2010). The Simpsons in the Classroom: Embiggening the Learning Experience with the Wisdom of Springfield. Jefferson, NC: McFarland Company. Maas, ?‘., L. Arcuri, Language and Stereotyping, Stereotypes and Stereotyping, C. N. Macrae, C. Stangor, M. Hewstone eds., London and New York: The Guilford Press, 1996, 193-226. Macrae, C. N., C. Stangor, M. Hewstone eds., Stereotypes and Stereotyping,London and New York: The Guilford Press, 1996

Trade Between Africa and Eurasia Changed During the Era of...

Although key elements of the trade between Africa and Eurasia changed during the era of 300-1450, a few factors stayed the same. In 300 C.E., trade routes were primarily between Europe and North Africa. The way that they changed by the time of 1450 was that they expanded southward and westward. By 1450, these trade routes went through West Africa, sub-Saharan Africa, and the Indian Ocean. One factor that stayed the same during this time period was that the northern coast of Africa was always involved in the trade between Africa and the rest of Eurasia. At the start of this period in 300 C.E, Afro-Eurasian trade was not very sophisticated. There was some collaboration with cultures in the Mediterranean. European goods were brought to†¦show more content†¦This continued from the 800s to the 1300s. At this point of the time period, the Mongols had expanded throughout Eurasia. However, the only parts of the trade that were affected were the northern parts between Europe and Asia, because the Mongols concentrated on mostly China, Russia, and some parts of Eastern Europe. By the 1450s, the gold-salt trade started to decline, and soon, the center of trade started to shift away from the Indian Ocean and the Mediterranean. This was because the age of exploration started in Europe, and trade concentrated more towards the Atlantic Ocean. Even though these aspects describe the ways that change occurred with trade between Afro-Eurasia, one important part did stay the same. North Africa was consistent and always a key part of trade between the continents of Europe, Africa, and Asia. In 300, North Africa was the only area that traded with the Mediterranean. In the time of the gold-salt trade, European venders and Islamic merchants arrived in North Africa. North African merchants still traded even when Europeans started to shift the balance of trade to the Americas starting from the mid-1400s. This is how trade systems between Africa and Europe stayed the same between the years 300-1450. The changes that took place regarding trade between 300-1450 impact other parts of history. One effect of the occurrence of trade in this region was theShow MoreRelatedAnalyze the changes and continuities in trading networks between Africa and Eurasia1773 Words   |  8 PagesTrade Networks Between Africa and Eurasia from 300 CE to 1450 CE â€Å"No nation was ever ruined by trade.† This quote was said by Benjamin Franklin in the late 1700s. These words are so simple, and it seems like anyone could have said them. However, this quote has a bigger meaning in that throughout world history, trade has been so important to so many countries and it has led to many empires successes. It has occurred for a very long time, and it has progressed dramatically. Trade has changed a lotRead MoreEssay on Change Analysis Chart Postclassical (600-1450 C.E.)8730 Words   |  35 PagesAnalysis Chart Postclassical (600-1450 C.E.) | Basic Features at Beginning of period | Key Continuities | Key Changes | Basic Features at End of Period | Reasons for Change or Continuities | Global Trade What other trading systems existed at the beginning of the period? The Indian Ocean system is a continuity, not a change.What about the gold-salt trade? Dont you mean the Pax  Mongolica? | * Trade was very international. * Silk roads linked Eurasia, and goods traded hands many times

12 Angry Men free essay sample

Also, in the story, the judge seems quite a bit more serious about making the jurors really think about what is going on and having them be conscience about the fact that if there is at all any doubt then they will have to vote ‘not guilty. ’ In the movie, the judge plainly says you, jurors, have to think about how the actions you take are going to affect the defendant. During deliberation there are multiple occasions where there are similarities between the story and the movie. One occasion, how the juror members are sitting around the table in order. Another, how #3 is still a sadist. Also, juror #7 is very obnoxious and wants to leave early because he has places to go. The jurors’ votes are the same in the book and the movie. The first, second, third, and fourth vote remain the same throughout both of them. Another similarity is how the jurors think that #3 is ignorant due to the fact that he is a sadist and only wants to convict the boy of his charge so the boy can suffer. Rose endorses the 8th Juror’s ability to see things from many perspectives and condemns the 3rd and 10th Juror’s inability to do so. This reveals the significance of looking at the evidence from a variety of perspectives in order to create a just verdict. From the outset of the play, the 8th Juror exemplifies seeing things from more than one perspective by voting â€Å"not guilty† against the crowd. Many of the jury members in the case believe that the trial is â€Å"obvious† and does not need much discussion. However the 8th Juror believes in civic responsibility and the defendant’s right to a fair trial. He doesn’t necessarily believe that the defendant is â€Å"innocent†, however he understands the seriousness of the case and finds it difficult â€Å"to send a boy off to die without talking about it first. † Instead, the 8th Juror puts himself in position of the accused and imagines that he is the one on trial. This is why he decides to vote against the crowd and vote â€Å"not guilty†. The 8th Juror becomes a voice for Rose, reinforcing the need for reason and rationality during the initial vote. He insists that the jurors need to consider the case in depth and look at it from many ways, including the defendant’s perspective . Rose therefore reinforces the idea that by giving the boy a chance and looking at the case from different perspectives this gives the defendant a better chance in gaining an impartial hearing which is of prime importance. The 8th Juror sees the situation from the defendants perspective and presented by witnesses testimonies also looks at the evidence and the facts presented by the witness testimonies of the case from many perspectives. The 8th Juror actively questions what constitutes a ‘fact’ when examining the evidence. He does this by looking at each aspect of the evidence provided and considering alternative options to the explanations given in court. When the defendant is unable to remember what movie he had seen the 8th Juror suggests that the may not have been able to remember minor details after such â€Å"an upsetting experience†¦ as being struck in the face by [his] father†. He also questions the old man’s testimony. While many of the jurors believe the old man’s testimony is â€Å"unshakeable† Rose challenges the idea there is a lot of â€Å"circumstantial evidence† yet no concrete facts. Therefore he encourages the jurors to look from different perspectives at the witness testimonies, not just accept what they hear as being true. Many of the eyewitnesses may have been fallible and therefore should be subject to the same questioning as the defendant in order to have a fair trial. Therefore Rose stresses the importance of seeing things from more than one perspective. In contrast, Rose presents Juror 3 and 10 as negative characters because of their narrow-mindedness. In juxtaposition to Juror 8 are the antagonists of the play, Juror 3 and 10- whose narrow mindedness means they cannot see the evidence from any other perspective than their own. Both of them depict a form of prejudice which obscures them from seeing the truth. The 3rd Juror has a broken relationship with his estranged son, while the 10th Juror is deeply bigoted and racist. This view consequently impacts on their ability to make rational decisions or consider other viewpoints. They believe that â€Å"the boy is guilty, period† and that there are no other possible explanations. This is evinced when the 3rd Juror discredits the 8th Juror’s opinion by saying â€Å"We’re trying to put a guilty man in the chair where he belongs and all of a sudden somebody’s telling us fairy tales- and we’re listening. † Rose portrays these two characters to be violent and irrational to convey to the audience their negative qualities. He illustrates that these jurors miss out on information if they do not consider alternative ideas and if it was up to them the boy would be sent to the death penalty within 5 minutes of the trial. Hence, Rose believes that the evidence needs to be discussed with many perspectives to eliminate possible injustices. Overall, Rose highlights the importance of seeing things from more than one perspective. He reveals that an integral part in determining a just verdict having an open mind and discussing all the evidence in court. He represents this through the 8th Juror who stands against the rest of the jurors to vote â€Å"not guilty† and considers alternative explanations to the evidence given in court. This includes the old man’s testimony and the defendant forgetting the movie. Juxtaposing this is the 3rd and 10th Jurors who become antagonists because of their inability to see the evidence from other perspectives than their own. Therefore, Reginald Rose demonstrates in his play the significance of viewing evidence from different perspectives in order to overcome injustice.