03 - 452ºF

More documents

Recommendations

Info

herself (1987: 97). She also connects Lady Macbeth’s summoning of spirits to «take my milk for gall» (1.5.47) as analogous to the characteristic familiars feeding off the witch (1987: 98). Adelman also notes that while the Weird Sisters are presumed to influence Macbeth’s actions, it is actually his wife who has this power both through her words and her threats of emasculation (1987: 100-101). Hence, according to Adelman, the witches are merely a metaphor to enhance the audience’s perception of Lady Macbeth as the true witch. Yet, equally important about the figure of Lady Macbeth—and this is almost impossible to separate out from her association with the witch—is her liminal status. She can clearly not be claimed as feminine, due to her lack (or disruption) of a maternal instinct, her overt ambition for both her husband and by extension herself, and lack of «milk of human kindness» (1.5.16). Yet, she can clearly not be claimed as a man. Instead, she exists in a liminal space in-between the two genders, partaking of both and yet being of neither. For, in the Early Modern construction of the female, lack of conformity to gender expectations can only render one «other»—which in every respect is how the construction of the witch has also been rendered. However, Marge Simpson’s identity as a liminal figure both mirrors and complicates this idea. Henry labels Marge as a «liminal lady», based on Lori Landay’s feminist research (2007). He finds that Marge is a metaphor for the contradictory expectations of the female in modern American culture; she exemplifies the ambivalence regarding a woman’s role in society. As a married mother of three, working in the domestic sphere, Marge adheres to traditional gender role expectations. Yet, as someone who came of age during the second wave of feminism, she also challenges those expectations 11 . Henry cites her liberation in contemplating an affair, her ability to excel as a police officer, and her insistence that Homer help out more with household duties. However, he also notes that whenever Marge steps out of the traditional female role, although questions might be raised regarding that role, each episode ends with Marge returning to the domestic sphere. Hence, Henry sees her as «the embodiment of the cultural contradictions of contemporary femininity» (2007: 291). On the one hand, American women of the 21 st -century are encouraged to enter into the public sphere and embody feminist ideals; on the other hand, feminism has become a dirty word and women are still expected to be in control of the household. The issue of how to balance these two opposing but co-existing ideas of the feminine molds many women in modern culture to be liminal figures themselves, with Marge Simpson embodying the ambivalent notions of just what it means to be «female» in contemporary society. NOTES 11 | Henry is clear here in asserting that she came of age during the 1970’s. Yet, the series is very fluid with its chronology. As the characters do not age, and the series has been on the air for two decades, inconsistencies have arisen regarding age. Did Homer and Marge attend the prom in 1974 as stated in «The Way We Was» (1991) , but not get married until after the age of Nirvana and Melrose Place as seen in «That 90’s Show» (2008). The Simpsons, Gender Roles, and Witchcraft: The Witch in Modern Popular Culture - Sarah Antinora 452ºF. #03 (2010) 115-131. 128
Therefore, when the viewer witnesses Marge Simpson portraying the figure of Lady Macbeth, a plethora of conflicting but contemporaneous reactions occur. We can count both of these fictional ladies as liminal, but see that they are constrained by ideas of gender from different time periods. However, we can also understand that there is still something «evil» about a woman attempting to control her husband, especially for the sake of ambition. And, if Marge (as Lady Macbeth) is also portrayed as a witch, then the impact of gender on the modern construction of the witch is still as essential as it was in the Early Modern construction. I would like to end by returning to Lisa’s question posed at the beginning of this project: Why is it that when a woman is confident and powerful, they call her a witch? As seen in this discussion, there are many proposed answers to this question in regards to how the witch was constructed for the Early Modern period. These theories range from socio-economic status to anxieties concerning motherhood and from gender role expectations to notions of identity and agency. What an analysis of the witch in The Simpsons has shown is that those very issues still construct the figure of the witch in modern popular culture, because much of how the witch is defined is closely related to how we define «woman». The Simpsons, Gender Roles, and Witchcraft: The Witch in Modern Popular Culture - Sarah Antinora 452ºF. #03 (2010) 115-131. 129
Page 1 and 2:
452ºF 4 5 2 º F Original I s s u
Page 3 and 4:
EDITORIAL en- We are pleased to pre
Page 5 and 6:
EDITORIAL es- Nos complace presenta
Page 7 and 8:
EDITORIAL ca- Ens complau presentar
Page 9 and 10:
EDITORIALA eu- Benetan atsegin dugu
Page 11 and 12:
ENRIC SULLÀ Sobre la formació del
Page 13 and 14:
SOBRE LA FORMACIÓ DEL CÀNON DEL C
Page 15 and 16:
A l’hora de parlar del cànon se
Page 17 and 18:
els propis de Hollywood. És una ma
Page 19 and 20:
En dos casos el nombre de pel·líc
Page 21 and 22:
anteriors o coetanis, com el de gà
Page 23 and 24:
injustícies, de la corrupció gene
Page 25 and 26:
proporciona una estimulant galeria
Page 27 and 28:
Bibliografia AA. VV. (1980): Women
Page 29 and 30:
LITERATURA COMPARADA Y ESTUDIOS CUL
Page 31 and 32:
0. Introducción «La disciplina es
Page 33 and 34:
literarios en general y a las filol
Page 35 and 36:
Por otro lado, es posible rescatar,
Page 37 and 38:
Academic «Cultural Studies», as a
Page 39 and 40:
Even-Zohar habla de una suerte de
Page 41 and 42:
Sólo el reconocimiento de la inerc
Page 43 and 44:
Said ha expuesto: Según ha dicho a
Page 45 and 46:
[los cuales] llegan a ennoblecer y
Page 47 and 48:
al eurocentrismo, a la cual conside
Page 49 and 50:
El estudio de las literaturas del m
Page 51 and 52:
Bibliografía BAL, M. (1999): «Int
Page 53 and 54:
APORTACIONES TEÓRICAS DE LOS ESTUD
Page 55 and 56:
Tras el amplio camino recorrido en
Page 57 and 58:
Años después, en 1982, Rama ampli
Page 59 and 60:
se haya readaptado y haya interactu
Page 61 and 62:
en la imagen de Mariátegui, que re
Page 63 and 64:
en el presente, como los mecanismos
Page 65 and 66:
También con respecto a Arguedas, A
Page 67 and 68:
teóricos actuales que debaten en e
Page 69 and 70:
agrarios, económicos, históricos
Page 71 and 72:
452ºF Abstract || There are a numb
Page 73 and 74:
This paper will discuss the negativ
Page 75 and 76:
(ii) Most chick lit heroines work i
Page 77 and 78: chick lit heroines also have a lot
Page 79 and 80: Thus, a new «female» literary tra
Page 81 and 82: Women have, of course, traditionall
Page 83 and 84: Works Cited «Chick Lit», Wikipedi
Page 85 and 86: «JE SUIS UN COWBOY DU FAR WEST»:
Page 87 and 88: 0. Introduction In this paper I wan
Page 89 and 90: (Fanon, 1959). After years of negot
Page 91 and 92: they established an important link
Page 93 and 94: Je reste adossée à l’arbre sans
Page 95 and 96: (Genette, 1982: 451). In this way,
Page 97 and 98: continuent à tourner toutes seules
Page 99 and 100: like I’m at the bottom of a well.
Page 101 and 102: Works Cited ACHOUR-CHAULET, C. (198
Page 103 and 104: 452ºF Resumen || El presente artí
Page 105 and 106: el humor como herramienta para desm
Page 107 and 108: Palito encarna los pretendidos valo
Page 109 and 110: cortes comerciales promocionando di
Page 111 and 112: capitalista. El apellido Tacuara no
Page 113 and 114: al modo de hacer política del actu
Page 115 and 116: THE SIMPSONS, GENDER ROLES, AND WIT
Page 117 and 118: 0. Introduction A young girl, of ap
Page 119 and 120: «The Crazy Cat Lady» as a charact
Page 121 and 122: Agnes Skinner, the town principal
Page 123 and 124: the construction of the witch in Th
Page 125 and 126: figures here: the Early Modern witc
Page 127: her conscience gets to her, and the
Page 131 and 132: Gabriel Germán Barbabianca mis
Page 133 and 134: 452ºF Resumen || La literatura ar
Page 135 and 136: El hecho de que la concepción impe
Page 137 and 138: (falsamente) que uno es el autor de
Page 139 and 140: y de la Romania en general. Por est
Page 141 and 142: No tengo noticia de que nadie más
Page 143 and 144: Lo que se encontraba en juego en es
Page 145 and 146: (romanización, romanceo), éstas
Page 147 and 148: Bibliografía ASÍN PALACIOS, M. (1
Page 149 and 150: 452ºF Resumen || En este trabajo p
Page 151 and 152: «manual» que escribió sobre el t
Page 153 and 154: de la novela, Highsmith es una perf
Page 155 and 156: En primer lugar, y siguiendo la pro
Page 157 and 158: funcionamiento su particular maquin
Page 159 and 160: dan lugar a una serie de duplicidad
Page 161 and 162: El siguiente cuadro es un intento d
Page 163 and 164: Novela Film Guy Bruno Guy Bruno Mad
Page 165 and 166: de treinta páginas) hacer que Brun
Page 167 and 168: Bárbara, a tu padre. Como lo sabes
Page 169 and 170: ¿Puede hablarse, entonces, de una
Page 171 and 172: LIVING IN A SIMULACRUM: HOW TV AND
Page 173 and 174: If a work of art can picture the sc
Page 175 and 176: in the dialogues of the Gladneys, b
Page 177 and 178: form for «simulated evacuation.»
Page 179 and 180:
«So the girls can’t hear. They h
Page 181 and 182:
What was the barn like before it wa
Page 183 and 184:
and names in her sleep. Jack watche
Page 185 and 186:
Works cited BARTHES, R. (1974): S/Z
Page 187 and 188:
452ºF Resumen || Sábado en ciudad
Page 189 and 190:
simbólico y presenta imágenes y e
Page 191 and 192:
2. La imagen La imagen siempre ha s
Page 193 and 194:
La embriaguez del estado dionisiaco
Page 195 and 196:
5. El sujeto en el sujeto Si la tra
Page 197:
Bibliografía BARTHES, R. (2003):
show all

03 - 452ºF

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?