Abstract
This essay examines Showtime’s television program Homeland, along with several examples of what Jonathan Gray calls paratexts, arguing that meanings produced through the intersection of text and paratexts create a preferred interpretation of the show’s main character, Carrie Mathison, which aligns with neoliberal and post-feminist ideologies surrounding affective labor. Using textual cartography to map meanings, I locate a preferred interpretation of Homeland that recognizes the instrumental value of affective labor while writing off the deleterious effects as individualized personal issues. This read supports a neoliberal, post-feminist interpretation of Carrie as a pathologically flawed individual woman inept at emotional self-management.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
