troubling, that racial stereotypes are still so commonly deployed in comic practices. While Raul Pérèz considers racial stereotypes to be the ‘currency of comedy’ today (2013: 499) Rebecca Krefting observes how minstrelsy is still ‘commonly invoke[d]’ by
What Could Go Wrong?
Europe and East Asia in Russian Political Caricature, 1900–1905
pages or weekly supplements. 6 At the turn of the century, Russian political caricature flourished. 7 Working in the medium of stereotype and hyperbole, caricaturists both poked fun at international politics and crafted visual identities for Russia
Shireen H. Alkurdi, Awfa Hussein Al-Doory, and Mahmoud F. Al-Shetawi
rational and has the right to control the irrational Arabs who obey him without showing any kind of resistance. Arab characters are given stereotypical names, including ‘ARABS’, ‘FEMALE SLAVES’, ‘DANCING–GIRLS’, ‘SEVERAL MADMEN’. Fellah and Hussein, who are
Agency, Representation, and Neoliberal Jewish Girlhood
The focus of the essay is the well known (and worn) stereotype of the Jewish American Princess or JAP. Spoiled, frigid, loud, defiant, the JAP refuses to behave in civilized ways even as she constantly transgresses the boundaries of civilized social spaces. Both an intimate insider, and an eternal outsider, the JAP is a boundary figure whose presence draws and redraws myths of assimilative ideals and citizenship rights in American culture. The complexity of these social relations, their apparent contradictions, and the possibilities they may offer for agency and resistance in both 'real' and fictive contexts are explored through close examinations of four high profile JAPS—Cher Horowitz of the film Clueless, Monica Lewinsky, Jessica Stein of the film Kissing Jessica Stein, and Lizzie Grubman.
The controversies triggered by the Netflix adaptation of Jay Asher’s young adult novel Thirteen Reasons Why (2007) have focused on suicide and downplayed discussions of rape as a central plot device. Making use of stereotypical characters (such as the cheerleader and the jock) and archetypal setting (including the high school), 13 Reasons Why delves into the reassuring world of the suburban town; it deals ambiguously with the entwined notions of gender and power encapsulated in the teenpic genre. A detailed analysis of the series indeed reveals that its causative narrative reinforces the rape myth by putting the blame on girls for events that happen to them. In this article I explore the tensions of a TV series that endorses the rape myth through the entertaining frame of the teenpic.
This paper examines the presentation of female characters in dramatic roles, in which they appear as representatives of marginalized Jewish immigrants to Israel (olim hadashim, to use the Hebrew term). The two plays examined here were written as criticisms of Israel's double standards concerning the actual acceptance and assimilation of the 'welcomed and longed-for' immigrants, and have hitherto been examined from this perspective. A reading of these plays from the perspective of feminist critique shows that the representation of the central female characters suffers from a pattern of double stereotypical characterization; these characters are stigmatized and stereotyped both in the category of 'women' and in the category of 'unwelcome immigrants'. Thus, in some cases, counterproductively to the playwright's attempt to criticize Israeli institutions and hegemonic society, these representations reveal the stereotypical tendencies inherent in the playwright's own 'transparent' or 'unconscious' world view when it comes to female representation.
When Panamanians Talk about the United States and Its Citizens
In local and informal contexts, Panamanians talk about the power of the United States and describe its citizens in multifaceted and complex terms. In this article I examine those views as they are articulated in informal urban settings in Panama City and in conversations with middle-class Panamanians. My respondents evaluate the US-Panama relationship and discuss individual North Americans with realism, reflecting a graceful but critical spirit of forgiveness toward their more powerful ally. A broader awareness of US colonialism in the past is combined with a pragmatic acknowledgement of opportunities in the present and the desire for a more equal relationship in the future. I argue that the opportunity to voice unreserved opinions about powerful Others can potentially empower local actors.
The Polarity of the Proverbial Literature as a School of Wisdom
Ursula B. Rapp
and/or adulteresses who are considered to be ‘foreign’ women, since they do not belong to their own husband, but to another (4:16–22; 7 and more); or the book also speaks of ‘good’ and ‘bad/evil’ daughters. Here, we have to do with stereotypes that
Stereotypes, Risk and National Identity in a Spanish Enclave in North Africa
Stereotypes Our swashbuckling trip across Morocco gave me a tale I was encouraged to narrate on many occasions. My performance often yielded counter-stories from my Ceutan audiences about tense experiences they or their acquaintances claim to have had during
devastating periods in twentieth-century gay and transsexual history, and Dallas Buyers Club serves as a powerful reminder of the historical and social backgrounds against which mainstream films continue the hegemonic stereotyping of narratives and