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
A Comedic Film between History and Memory
French bourgeois. As Rabine noted, Pivert was himself a stereotype. The Mythical Bourgeois The film historian Jean-Pierre Jeancolas lamented that the cinematic season of 1973–1974 confirmed one truth about French cinema: comedy was “a dead genre.” 36 The
Ambiguity and excess in “postethnic” Rwanda
Following the 1994 genocide, the government of Rwanda embarked on a “deethnicization” campaign to outlaw Tutsi, Hutu, and Twa labels and replace them with a pan-Rwandan national identity. Since then, to use ethnic labels means risking accusations of “divisionism” or perpetuating ethnic schisms. Based on one year of ethnographic fieldwork in the university town of Butare, I argue that the absence of ethnic labels produces practical interpretive problems for Rwandans because of the excess of possible ways of interpreting what people mean when they evaluate each other's conduct in everyday talk. I trace the historical entanglement of ethnicity with class, rural/urban, occupational, and moral distinctions such that the content of ethnic stereotypes can be evoked even without ethnic labels. In so doing, I aim to enrich understandings of both the power and danger inherent in the ambiguous place of ethnicity in Rwanda's “postethnic” moment.
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.
Local populations in Hungary, Poland, and Slovakia, and to a lesser degree in the Czech Republic, experienced much interaction with Muslims throughout the course of the sixteenth and seventeenth centuries, when the Ottomans, as well as the Crimean Tatars, invaded the Kingdom of Hungary and waged wars against the Polish-Lithuanian state and the Habsburg Hereditary Lands. The Ottoman era has usually been reflected in the history textbooks of these four countries under the headings "Turkish Wars" or "Ottoman Expansion." Since the collapse of the Iron Curtain in 1989, all four ex-communist states have been involved in rewriting textbooks, although the perception of the Ottomans and Muslims has not changed in all cases. Without claiming to map the entire historical presentation of the Ottomans, this article demonstrates the polyphony found in the textbooks of this region. By analyzing secondary school educational materials in all four languages, it is possible to identify stereotypes, prejudices, and distortions within the perception of the Ottoman Turks.
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
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