ellauri063.html on line 288: Aphra Behn (/ˈæfrə bɛn/;[a] bapt. 14 December 1640[1] – 16 April 1689) was an English playwrightess, poetess, translatress and fiction waitress from the Restoration era. As one of the first Englishwomen to earn her living by her writing, she broke glass ceilings as a mannequin for later auctresses. Lusťs Dominion relies on the racist stereotype of the lustful, scheming, and bloodthirsty Moor, with the new Prince Philip ordering the expulsion of all the immigrant Moors from Spain because of their wickedness.
ellauri106.html on line 552: Delphine Roux, a classicist scholar, who he reduces to a degrading stereotype — the outspoken feminist whose politics are motivated, we finally learn, by deep insecurities and by a suppressed desire to be dominated by some virile man. The delight with which Roth belittles and humiliates Roux is the low point of the low-brow trilogy.
ellauri112.html on line 660: As a nation, we’re well-used to the stereotype of the Irish mammy. Generally speaking though, the mother as a comical, level-headed supporting character is not unique to us, Jews and Italians have them too, and Latinos, I bet. Sometimes she’s the self-sacrificing figure who will do anything for her children, sometimes she’s neurotic and controlling, suppressing the growth and social development of her kids, who are typically the leads. Rarely has she ever taken front-of-stage.
ellauri147.html on line 257: Many French critics condemned the show for negatively stereotyping Parisians and the French. Charles Martin wrote in Première that the show unfairly stereotyped and depicted the French as "lazy individuals who never arrive at the office before the end of the morning are flirtatious and not really attached to the concept of loyalty, are sexist and backward, and, have a questionable relationship with showering".
ellauri152.html on line 603: And, oh f-ck, there is so much to talk about in this section. The importance of consent here, when Yentl lets Badass know she doesn’t need to do anything she doesn’t want to, both according to her husband and according to Jewish law—that’s good, that’s meaningful. Then we even get recognition that feminism doesn’t just mean validating women who don’t want sex, but also validating women who do want sex! Badass starts to have feelings for Anshel and proposes sleeping together herself, on her own terms. The movie is not always kind to Badass—in many ways she is a stereotype for Yentl to play off of—but this is a place where Yentl‘s feminism succeeds: Badass wants to have sex, and that’s fine.
ellauri155.html on line 368: The Washington Free Beacon reports that agents are today being educated on “the impact of stereotypes and unconscious biases” in a seminar hosted by Susan Fleming, who is described as an “expert in gender bias”. In other words, its some woke bullshit re-education camp.
ellauri163.html on line 48: He wrote the drama Got fun nekome (God of Vengeance) in the winter of 1906 in Cologne, Germany. It is about a Jewish brothel owner who attempts to become respectable by commissioning a Torah scroll and marrying off his daughter to a yeshiva student. Set in a brothel, the play includes Jewish prostitutes and a lesbian scene. I. L. Peretz famously said of the play after reading it: "Burn it, Asch, burn it!" Instead, Asch went to Berlin to pitch it to director Max Reinhardt and actor Rudolph Schildkraut, who produced it at the Deutsches Theater. God of Vengeance opened on March 19, 1907 and ran for six months, and soon was translated and performed in a dozen European languages. It was first brought to New York by David Kessler in 1907. The audience mostly came for Kessler, and they booed the rest of the cast. The New York production sparked a major press war between local Yiddish papers, led by the Orthodox Tageplatt and even the secular Forverts. Orthodox papers referred to God of Vengeance as "filthy," "immoral," and "indecent," while radical papers described it as "moral," "artistic," and "beautiful". Some of the more provocative scenes in the production were changed, but it wasn't enough for the Orthodox papers. Even Yiddish intellectuals and the play's supporters had problems with the play's inauthentic portrayal of Jewish tradition, especially Yankl's use of the Torah, which they said Asch seemed to be using mostly for cheap effects; they also expressed concern over how it might stigmatize Jewish people who already faced much anti-Semitism. The association with Jews and sex work was a popular stereotype at the time. Other intellectuals criticized the writing itself, claiming that the second act was beautifully written but the first and third acts failed to support it.
ellauri180.html on line 328: What are the high school stereotypes?
ellauri180.html on line 337: Be aware of stereotypes. ...
ellauri183.html on line 88: Roth contrasted Malamud’s protagonisz to the exuberant Jewish characters created by Saul Bellow, especially the picaresque Augie March, and his own hypersexual Alexander Portnoy. In effect, Roth said, Malamud had created Jews who were stereotypes, not fully realized human beings like him and Sal.
ellauri197.html on line 505: Sharon Thompson's research has demonstrated how the gold digger stereotype or image has been used against women in the negotiation of alimony cases. The gold digger stereotype was also deployed in public discussions about "heartbalm" legislation during the 1930s, particularly breach of promise cases. The popularity of the gold digger image was a contributing factor to the nationwide push to outlaw heart balm laws in the middle and late-1930s in the United States.
ellauri214.html on line 62: J. K. Rowling has lived atop a pyramid of admiration for many years. However, after learning the truth about the author, many fans have become ashamed they ever supported Rowling. Rowling’s books are not inclusive and the minorities that are included are either used to satisfy a diversity quota or fulfill a stereotype. Come to think of it, ALL types in the Potter series are stereotypes. It all becomes too obvious when they have no superpowers.
ellauri214.html on line 72: Though Rowling’s transphobia has been publicized the most, fans have also begun to notice prejudice in her writing. Very few people of color are featured in J. K. Rowling’s books, and those that are have few lines and no detailed story arcs. One of the people of color given more thought was Cho Chang, Harry Potter’s love interest who was first introduced in the third book, Harry Potter and the Prisoner of Azkaban. Rowling’s racism toward Asians and lack of knowledge of Asian culture is clearly evident from just the name Cho Chang, which is a mix of Korean and Chinese surnames. Korea and China have a longstanding history as political adversaries and each country has a distinct culture. While Rowling went to great efforts in creating a wonderfully immersive wizarding world, she gave no thought to what Cho’s ethnicity is. Cho was also sorted into Ravenclaw house, the school house for those of high intelligence, playing into a common stereotype of Asians. The only other Asian characters mentioned in the series are Indian twins Padma and Pavarti Patil. While Rowling appears to have given more thought to these characters, placing Padma in Ravenclaw and breaking the Asian stereotype by placing Pavarti in Gryffindor, she ultimately fails to adequately write Asian characters. While Pavarti, as a member of Harry Potter’s house, was given more depth than Cho or her sister, many South Asian fans were irritated by the girls’ dresses in the fourth movie, Harry Potter and the Goblet of Fire. The twins wore dull and unflattering traditional Indian attire, which many saw as a mockery of Indian culture. Cho herself wore an East Asian style dress in this movie which was a mix of different Asian styles. Rowling continued her habit of stereotyping Asians in the Fantastic Beast Movies, the first of which was released in 2016 and set in the 1920’s, several decades before the Harry Potter series. In this pre-series, the only Asian representation is displayed in the form of a woman who has been cursed to turn into a beast. Fans may remember the villain Voldemort’s pet snake, Nagini, who served him throughout the Harry Potter series. Fans were surprised to learn when watching The Crimes of Grindelwald, the second movie in the Fantastic Beasts series, that Nagini was not always a snake, but was actually a woman who had been cursed to turn into a snake. In the movie, Nagini, in human form, is caged and forced to perform in a circus. Though we do not know how Nagini came to meet Voldemort, we do know that she became his servant and the keeper of a wee snakelike portion of his soul. This is more than slightly problematic. Not only was Nagini the only Asian representation in the film, but she was also a half-human who was forced to serve an evil white man for a great part of her existence. Author Ellen Oh commented on Nagini’s inclusion in the film saying “I feel like this is the problem when white people want to diversify and don’t actually ask POC how to do so. They don’t make the connection between making Nagini an Asian woman who later on becomes the pet snake of an EEVIL whitish man.”
ellauri214.html on line 74: J.K. Rowling did not limit herself to being racist, she also included anti-semitic stereotypes in her books. Many readers have noticed how the descriptions of the goblins in the Harry Potter series bear striking resemblance to anti-semitic stereotypes. The goblins are hooked-nosed creatures who work at the wizarding bank Gringotts and are obsessed with gold and money.
ellauri245.html on line 441: ordenstjenesten, og at det bidrar til at den stereotype oppfatningen i befolkningen likner mer deres arbeid.
ellauri257.html on line 67: Taras Bulba (1962), yhdysvaltalainen sovitus, pääosissa Yul Brynner ja Tony Curtis ja ohjaaja J. Lee Thompson. The tale of a Cossack chief who has sworn to be the eternal enemy of the treacherous Poles. So, when his son falls for a beautiful Pole who has saved his life, the father is faced with the dilemma of whether to kill his own flesh and blood as a traitor. This film reinforced the Brynner stereotype as king of the Asiatic wide open spaces.
ellauri262.html on line 308: The scholar Patrick Curry, defending Tolkien against the feminist scholar Catherine R. Stimpson's charge that "Tolkien is irritatingly, blandly, traditionally masculine....He makes his women characters, no matter what their rank, the most hackneyed of stereotypes. They are either beautiful and distant, simply distant, or simply simple", comments that "it is tempting to reply, guilty as charged", agreeing that Tolkien is "paternalistic", though he objects that Galadriel and Éowyn have more to them than Stimpson alleges.
ellauri263.html on line 387: This kind of blurring brings to mind US war-on-terror films such as Zero Dark Thirty, with its depiction of Osama bin Laden’s capture serving as a PR exercise for the use of torture during interrogations. Meanwhile, Fauda’s Isis storyline stretches credibility, at the same time feeding the worst stereotypes. “It’s a bit lazy. Isis is not really active in Gaza or the West Bank,” says Stern. Buttu adds that the effect is to reinforce the absence of a Palestinian cause. “We don’t have any legitimate grievances. It’s all Islamic-driven,” she says, noting that it “turns Palestinians into irrational figures who want only to kill Israelis”.
ellauri264.html on line 154: Asyia Iftikhar of PinkNews noted in her reflection of audience reception that the show has become the subject of "relentless criticism", and noted that it has been "accused of perpetuating stereotypes against South Asian women, criticised for poor attempts at self-aware comedy and slammed for losing the essence of what people love about the "Scooby Doo gang". Eli se koiro puuttui, ja isänmaallisuus oli ihan hukassa.
ellauri264.html on line 156: Brahmjot Kaur of NBC News wrote that the accusations of stereotypes had been rebutted by some who noted characters in other television shows invented by Kaling shared similar personality traits to the titular protagonist, while citing Kaling's past influences.
ellauri269.html on line 576: Goblins are your brooklyn stereotypes but brooklyn has been home to many jewish people so… there you go.
ellauri390.html on line 611: Calvert told Caitlin Stasey she wanted to debunk stereotypes about female sex workers, "What I can say is that not all sex workers are the stereotype people want to believe. Many of us are college educated, feminists, and absolutely love what we do."
xxx/ellauri059.html on line 358: The stereotype of the Jew as a mean, dishonest money-grabbing individual has persisted, even into the twenty-first century. And Shakespeare has been accused of being anti-Semitic as a result of his portrayal of Shylock in that way in The Merchant of Venice.
xxx/ellauri154.html on line 95: Sand was one of many notable 19th-century women who chose to wear male attire in public. For this, she was better known in anglo-saxon circles than Balzac and Hugo in the 1830´s. In 1800, the police issued an order requiring women to apply for a permit in order to wear male clothing. Some women applied for health, occupational, or recreational reasons (e.g., horse riding), but many women chose to wear pants and other traditional male attire in public without receiving a permit. They did so as well for practical reasons, but also at times to subvert dominant stereotypes and to practice same sex relationships.
xxx/ellauri199.html on line 1073: But some aspects of Seuss’s work have not aged well, including his debut, which features a crude racial stereotype of an Asian man with slanted lines for eyes. “Mulberry Street” was one of six of his books that the Seuss estate said it would stop selling this week, after concluding that the egregious racial and ethnic stereotypes in the works “are hurtful and wrong.”
xxx/ellauri268.html on line 347: Watto, the hook-nosed, greedy small-businessman in “Star Wars: Episode I — The Phantom Menace” even “happens to have a thick Yiddish accent,” as Bruce Gottlieb wrote in Slate. Hans Gruber in “Die Hard” is a foreign, sneering, anti-Christmas villain who murders for gold. Then there are the skeletal-like shape-shifting aliens in John Carpenter’s “They Live,” who combine stereotypes of Jewish greed with tropes of Jewish alienness and shape-shifting assimilation. The parallel here was so blatant that neo-Nazis embraced the movie as their own, much to Carpenter’s horror.
xxx/ellauri268.html on line 366: Still, Jewish stereotypes and prejudice persist. That is reflected, and to some degree advanced, by fictional narratives and imagery that (unconsciously or otherwise) associate goodness with Christian charity and evil with supposed Jewish greed. In his "lighthearted" criticism of Rowling, Stewart reminded us that our fantasies remain structured around antisemitism. As long as that’s the case, Jewish people will be at risk, and defeating Voldemort will be that much harder.
xxx/ellauri304.html on line 515: There is a hierarchy of character. Minor characters, you let vanish. Usually you bring them alive for a moment by using stereotypes. Stereotypes are not necessarily evil or bad; they are boring characters who are typical members of a group and your readers know the group… Cabbie, cop, waitress, nigger, telephone operator, prostitute, lawyer, doctor, politician, drunken Irishman (What? Are there still some of those?), Italian who talks with his hands. We might not like stereotypes of groups to which we belong but as writers they work. These are place-holding characters; they do their job and disappear into the night. Writers of pulp fiction, say.
32