Soap Opera Research Articles

On nonce echo constructions expressing disapproval and annoyance

Abstract The aim of this paper is to explore and contrast the morphosyntactic and semantic features of two equivalent nonce echo constructions (NECs) expressing disapproval and annoyance (i.e. don’t (you) X me and ni X ni Y) in colloquial English and Spanish. A NEC is defined as a reactive clause containing duplicated words of the initiative, showing the property of nonceness, and having a communicative goal. Two types of NECs are found in both languages: an attitudinal echo construction and a referential one, the former being more idiomatic than the latter. Based on the premise that texts are necessarily dialogic, two sets of examples are obtained from English corpora (The Movie Corpus, The TV Corpus, and the Corpus of American Soap Operas); and from two Spanish corpora and a dataset (CREA, CORPES XXI, and the Dataset of Spanish Dialogic Texts Online). Findings suggest that both languages show negative and restricted syntactic templates. Variables are coinages that originate from the processes of conversion in English (e.g. don’t you John me) and gender polarity in Spanish (e.g. ni luna ni *luno). Hence, although both types of variables are morphologically novel and contextually meaningful, Spanish variables are generally ungrammatical and unlikely to exist outside the discursive frame under study.

Brazilian soap opera and American TV series: narrativity according Barthes

Abstract: This paper aims to compare two audiovisual tv products: a Brazilian soap operates “Avenida Brasil” (Brazil Avenue, 2012) and an American TV series Grey´s Anatomy (2005). The theoretical and methodological approach are structural narratology studies and French Semiotics, based on narratology studies influenced by Propp, Greimas and Barthes. The main goal is to analyze and compare the narrative structure of the first episodes of both TV productions by means the cardinal and catalyzer functions according to Roland Barthes narratives point of view.Keywords: brazilian soap opera, tv series, structural narratology, semiotics

Recognition, identification and appropriation of female stereotypes represented in Ecuadorian soap operas: the case of Sharon La Hechicera

The Latin American telenovela is a dramatized representation of reality, where the protagonism is for the female characters, and together with their characteristics and constructive narratives, they establish the ideal of women. In 2018, Ecuavisa Network premiered the telenovela Sharon La Hechicera as a tribute to the singer Edith Bermeo, victim of femicide and constituted as an iconic character in ecuadorian culture. The purpose was to identify female stereotypes in this TV series and to analyze the audience's reproduction of character behaviors. The methodological perspective was from the mixed approach and was carried out in three moments; the first, the female characters of the telenovela were characterized; the second, a survey applied in three locations in Ecuador (Quito, Guayaquil and Santo Domingo de los Colorados) and third, an in-depth semi-structured interview with the participants who saw the greatest, if not the entire series. A sample of 300 people, 100 subjects from each site, was used. 9 female characters were identified, such as Sharon and Santanera the most recognized, and 5 stereotypes, highlighting "women must suffer infidelity and mistreatment from their wives to maintain their marriage" (48%), "women who wear short clothes are easier and accessible "(46%), and "technocumbieras need to wear small clothes to get the attention of the public "(44%). Finally, the stereotypes embodied in the characters of a soap opera and their selection allow the establishment of these in the imaginary of the audience.

Reflejos de la identidad indígena andina en el videoclip narrativo de la música andina: caso Otavalo – Ecuador

Las producciones audiovisuales de los pueblos indígenas se enfocan en el documental y cine, así las reflexiones y los análisis se concentran en los dos ámbitos. Sin embargo, las producciones audiovisuales en otros formatos como: telenovelas, parodias, entrevistas y videoclips no son del interés de los investigadores. En ese marco, se selecciona al videoclip musical como un formato que creció en la última década y que diferentes grupos en la sociedad aprovechan para contar sus historias y propias representaciones de la realidad. Es el caso de la música andina indígena, que a través de la producción del video musical ven en las plataformas digitales los espacios para alojar y difundir la canción andina, promocionar la banda musical y representar la identidad cultural. Por esa razón, el objetivo de este artículo es analizar la relación de los tres componentes básicos de la estructura narrativa en el videoclip musical de los grupos artísticos indígenas de la ciudad de Otavalo en Ecuador. La metodología para el análisis parte desde un enfoque narrativo y se analizarán los personajes, los acontecimientos, las transformaciones y los ambientes. Las conclusiones aportarán conocer cuáles son las características, fortalezas y debilidades en la estructuración del video musical andino indígena.

Recognition, identification and appropriation of female stereotypes represented in Ecuadorian soap operas: the case of Sharon La Hechicera

Los medios de comunicación han favorecido la construcción de estereotipos de género, de tal forma que las personas son capaces de adoptarlos por su representación en los medios y se instauran en el imaginario colectivo como correctos y son transmitidos, legitimados y reproducidos en entornos personales, familiares y sociales. Las personas nacen en una sociedad estereotipada. Los niños encuentran estereotipos en sus juguetes; los adolescentes, con la ropa y los adultos, con sus oficios. Y todo esto visualizado en contenidos comunicacionales, como los programas de televisión, la publicidad, los libros, etc. El objetivo de esta investigación fue identificar los estereotipos femeninos representados en la telenovela ecuatoriana “Sharon La Hechicera”, determinando si estos han sido apropiados por su audiencia. El 52% de las personas que visualizaron la telenovela fueron de Santo Domingo de los Colorados; el 30%, fueron de Guayaquil y el 18%, fueron de Quito. Entre los estereotipos que mayormente asimilan los ecuatorianos se encuentra que “las mujeres deben soportar infidelidades y maltratos de sus esposos, para mantener su matrimonio” y “las mujeres que usan prendas cortas son más fáciles y accesibles”. Y finalmente, con las entrevistas se pudo determinar que sí existe una reproducción de comportamientos, influenciados por la visualización de la telenovela. Como principal conclusión, los estereotipos femeninos identificados en la telenovela tienen relación con el aspecto físico, las prendas de vestir principalmente, las apariencias y la posición económica. No todas las mujeres entrevistadas conocen el significado de un estereotipo, pero sí son capaces de identificarlos, reproducirlos y asimilarlos en su construcción social.

“He should so be in jail”: An Empirical Study on Preverbal So in American English

This paper explores the use of so-called GenX so as a modifier of verb phrases, as exemplified in “He should so be in jail” (SOAP, DAYS, 2005). Drawing on over 1350 relevant tokens retrieved from the Corpus of American Soap Operas (SOAP) (Davies 2011-, 100 million words from 2001-2012), the main purpose of the present study is to provide robust empirical evidence for various findings yielded by small-scale studies and by introspection. The results corroborate some of the previous findings, while others, particularly those based on introspection, are challenged in light of empirical (counter)evidence. The data show that preverbal so is very flexible in that it can occur in various syntactic slots and with a large number of different verbs (wide collocational range) and with different kinds of verbs (full, modal, auxiliary). In a large data set (such as that from SOAP), GenX so is even attested in questions, before auxiliaries in affirmative uses, and after the negator not. Moreover, preverbal so is expanding its functional range from intensification to emphasis.

INTERFERENSI MORFOLOGI BAHASA JAWA KE DALAM BAHASA INDONESIA PADA TUTURAN DALAM SINETRON BANYAK JALAN MENUJU RHOMA TINGKAT 2 DI INDOSIAR

This study examines the morphological interference of Javanese into Indonesian which is found in the speech in the soap opera Many Paths to Rhoma Level 2 in Indosiar. This study aims to (1) determine the form of Javanese Morphological Interference into Indonesian. (2) to determine the factors that cause the Morphological Interference of Javanese into Indonesian which is carried out in the speech in the soap opera, There are Many Paths to Rhoma Level 2 in Indosiar. This research uses a qualitative descriptive research approach. The data were analyzed using the Matching method using the basic technique of Sorting the Determining Elements (PUP). The results of this study are in the form of Morphological Interference and the causes of Morphological Interference. The form of Morphological Interference contained in the speech on the soap opera Many Paths to Rhoma Level 2, namely in the form of Morphemic process interference and also Morphophonemic process interference. The factor that causes the Morphological Interference of Javanese into Indonesian in Speech in the soap opera Many Paths to Rhoma Level 2 is due to the habit of speakers using the first language.

Soap Operas and Fertility: Evidence from Brazil

Soap Operas and Fertility: Evidence from Brazil

A Study on the Framework of Analyzing Female Portrayal on OTT Screen (Especial Reference to Indian Web Series)

“It is fascinating, it cringes, and it is OTT”. With over 300 million active users per months per the Brand Equity Foundation, 2020 OTT has become one of the largest platforms in existence. With the establishment of digital media platforms like Amazon Prime, Netflix, Disney Hot star and other OTT streaming services, the web stories are viewed as an absolute platform for narrating female-centric stories and reflecting their ideology. Such web-series culture initiates the new wave of narrating women-centric stories reflecting their realities and also break the stereotype culture of women in India. A number of shows, series and a creative content such as Aarya, four more shots please, Tribhanga, Delhi crime that have done well and exploring a lot of female oriented narrative. The rise of digital content in the form of web series began abruptly in 2014. These web series were not only acknowledged womanhood but also focus on topic that are not raised up by mainstream media such as LGBTQ issues, dysfunctional relations, untold stories. Web series have embarked to highlight gender identity, normalize sexuality and showcase women real stories. The study aims to illustrate the ideology of Feminism in the selected Indian web series. This paper aims to analyze the content centered around the aspirations and struggles of women. The researcher has taken some Indian web series for this analysis and examine how they represent Feminism philosophy and also explore their blemish breaking content. The research is conducted by summarizing the data gathered from Web series through textual analysis and observation. This study helps in understanding the change in women centric content and also Scrutinize how these Web series are breaking the chain of T.V. soap operas and Stereotype of women Identity.

"For the Good of Their Souls": Performing Christianity in Eighteenth-Century Mohawk Country by William B. Hart

Reviewed by: "For the Good of Their Souls": Performing Christianity in Eighteenth-Century Mohawk Country by William B. Hart Darren Bonaparte (bio) "For the Good of Their Souls": Performing Christianity in Eighteenth-Century Mohawk Country By William B. Hart. Amherst: University of Massachusetts Press, 2020. Native Americans in the Northeast. 288 pages, 6 halftones, 6" x 9". $90.00 cloth, $26.95 paper, $26.95 ebook. I grew up in Akwesasne, one of the three Mohawk communities in the valley of the St. Lawrence River. My ancestors left the old homeland in the seventeenth century to be a part of the mission villages of New France. They forged a new alliance with the Natives already there, placing themselves at the head of it. It is said that two out of three Mohawks were in Canada by the end of the century, but those who remained in our homeland did not dwindle away and disappear. The fire of the Mohawk Nation continued to burn just as brightly back in the old Mohawk Valley. The Mohawk Valley Mohawks, as I tend to call them, loom large in the history of the century that followed. They were a vital factor in how events unfolded in the colony of New York, first with the military conflicts with the French and then in the American Revolution. The people of these relatively small villages played such a critical role in the Revolutionary War that they had to stop living in them. Their descendants are now in Canada at the Six Nations Reserve on the Grand River and the Tyendinaga Mohawk Territory at the Bay of Quinte. [End Page 420] When they still lived along the Mohawk River, the Mohawks of the homeland continued to participate in confederacy affairs uninterrupted and undeterred by the absence of their wayward northern kin. They were still considered the "keepers of the eastern door" of the "extended lodge" that symbolized the League of the Iroquois. They would attend grand councils at Onondaga and join the rest of the confederacy in diplomatic or military endeavors. One might assume that because of that relationship, they maintained all of their traditional beliefs and eschewed Christianity, but that did not happen. Their close proximity to European colonists of New York brought the Protestant faith to their doorstep, which they found expedient to entertain. Much like the French and their Jesuits in Canada, the English and their ministers made for a similar chess game back in the homeland. This aspect of Mohawk history has been largely overlooked by historians, who typically gravitate to the soap opera romance of Sir William Johnson and his Mohawk wife, Molly Brant, or the warrior exploits of her hot-head younger brother, Joseph. John Wolfe Lydekker's The Faithful Mohawks, published in 1938, was the first book-length study of the subject, but it was not exactly something you'd take to the beach. William B. Hart brings a fresh, new focus to the subject of Christianity in the old Mohawk Valley in "For the Good of Their Souls": Performing Christianity in Eighteenth-Century Mohawk Country. Since there is a whole century (and a fair bit of the previous one) to cover in 288 pages, Hart goes about the work methodically, stepping back from the subject a bit to put it all in its proper perspective, then focusing in on a few key moments that illustrate his points as he crafts his narrative. The seasoned researcher might find some of the stops along the way to be repetitive of other scholarship, such as his take on the journey of the "Four Kings" to England in 1710, who were not really the big chiefs they were made out to be. But for those who might be new to the subject, he has written a great introduction to a complex topic. The author handles his sources very well for the most part, but I did notice one error that jumped out at me. He confuses two notable Mohawk leaders from the seventeenth century, the "Great Mohawk," Kryn, also known as Joseph Togouiroui, with Canaqueese, also known as Smiths John and the "Flemish Bastard," describing them as the same person. In his source citation...

Colonial Imaginary and Radio Soap Opera: The Case of Se abren las nubes and the Spanish Guinea

Colonial Imaginary and Radio Soap Opera: The Case of Se abren las nubes and the Spanish Guinea

How the Pandemic Changed Theater

How the Pandemic Changed Theater Michael R. Jackson (bio) and Lileana Blain-Cruz (bio) In 2019, michael r. jackson's A Strange Loop was the first musical by a Black writer to win the Pulitzer Prize for Drama. The play dramatizes the inner life of a queer Black musicaltheater writer named Usher, who works as an usher at a Broadway theater and is struggling to write his own metafictional musical. The other cast members personify his "Thoughts" as he wrestles with his dismal job, his creative ambitions, and his alternatingly loving and homophobic family. Lileana Blain-Cruz is the current resident director of Lincoln Center Theater. Her directing credits include Anatomy of a Suicide at Atlantic Theater Company and Marys Seacole at LCT3, for [End Page 162] which she won an Obie Award. Blain-Cruz is currently directing Jackson's newest musical, White Girl in Danger, which excavates the experience of a young Black woman named Keesha living in a fictional "soap opera town" called Allwhite. After years of being relegated to the town's "Blackground," where she is forced to perform stock roles reserved for Black characters, Keesha refashions herself as a protagonist by appropriating the narratives of the white girls around her. White Girl in Danger, like A Strange Loop, juxtaposes bright, earwormy music with complex social commentary on race, gender, and representation. Development of White Girl in Danger proceeded during the pandemic; throughout, Jackson and Blain-Cruz spoke extensively about unconventional narratives and the future of theater. In late August, over Zoom, the two artists discussed epic stories, the economics of working in theater, and their dreams for cultural change. Their conversation has been edited for style and clarity. —the editors lileana blain-cruz I've been feeling particularly attuned to the idea of "liveness" after having lived inside a pandemic bubble alone for so long. What does it mean to be in the presence of other human beings in the midst of story? What stories are speaking to us right now, creating a reverberation of the spirit? If theater is a spiritual and a civic practice that requires an act of gathering, what are we gathering about? When the stakes of gathering now are so high—when doing so can actually risk death—then why am I really here? What is the importance of this story that needs to be told? When I enjoy my experiences in the theater, I feel all those questions reverberating. When I walked into Playwrights Horizons to see A Strange Loop in 2019, my jaw dropped. It was two hours of being flooded and overwhelmed: by my sensory experience, my tracking of character and thought and argument, my emotions around family and relationships, my core desires and needs as a [End Page 163] human being. The musical posed this fundamental question: What does it mean to be an artist, to strive against seemingly impossible odds? What was truly remarkable about the show was watching a consciousness laid bare—completely uncensored, hilarious, ugly, messy, vulnerable—and in that exposure being also completely free. The ideals of liveness and theater activate us on all of those different levels of experience at once. michael r. jackson I feel so gratified to hear that said out loud. When I found out that I had the opportunity to do A Strange Loop at Playwrights Horizons in association with Page 73 Productions, I didn't know when I'd ever get the mic again to do something like it. Because who knows when there would be another opportunity to see a high-profile Black queer musical by a Black musical-theater writer? That doesn't happen all the time. If I and Stephen Brackett, Raja Feather Kelly, and Rona Siddiqui, the core creative team, were going to do it, we had to make it count. That meant taking nothing about the show or its production for granted. Usher's story had to be interrogated and rehearsed with open hearts and minds. We also had to be fearless about what the show was saying and doing at every turn. Coming out of or continuing through the pandemic, my mission statement now is that life and time are...

Alternate Archives in US Daytime TV Soap Opera Historiography

Alternate Archives in US Daytime TV Soap Opera Historiography

«Миру — мир, а Господу — слава». О некоторых мотивах творчества Любови Майковой

The works of L. M. Maikova are one of the most striking pages of Russian naive art, which we understand as the work of people of folklore consciousness beyond the genres that exist in folklore consciousness. But in oral folk art, there are works that resemble the poetic compositions of non-professional authors (poetic memoirs, letters in verse, poems with soap opera plots). And painting as such is absent in folk art. Therefore, the pictorial material makes it possible to most clearly differentiate naive amateur creativity and primitivism as a style of author's professional creativity. Naive creativity is not a form of leisure activity, which presupposes the existence of leisure organizations and their management. Naive creativity is a form of leisure practice that denies leadership and any organizational forms. As a phenomenon of leisure practice, naive creativity ceases to be anonymous, becomes authorial and competitive, which means that it becomes art. In Maikova's paintings, as the works of a naive artist, the role of verbal text is higher than in the works of a professional author, so the title is placed in the visual space of the painting itself and performs the function not of the textual frame, but of the text itself. Finally, in the work of a naive artist, ideological layers of different origins are organically combined, sometimes even opposing each other.

Between the stereotype and invisibility: lesbian/queer representations in Colombian soap operas

Este trabajo analiza la estética y las representaciones de mujeres lesbianas/queer en las telenovelas colombianas Los Pecados de Inés de Hinojosa (1988), Decisiones (2006), Tiempo Final (2008) y La Venganza de Analía (2020). Dentro de este artículo se argumenta que las representaciones dentro de producciones audiovisuales culturales son un vehículo ideológico que permiten consolidar y construir la cultura, de la misma forma en que ella se afianza a través de este mismo contenido audiovisual. Goffman (1972) afirma que a través del cine el arte y la escritura es como se forman muchos ideales, cánones de belleza, estereotipos o estilos de vida. Y así como lo que se muestra tiene ese poder sobre la cultura, Entman (1993) afirma que el poder de la información que se deja en la oscuridad también es crítico. Bajo una metodología cualitativa se analiza la representación lésbica/queer en las producciones colombianas previamente mencionadas, y dentro de ellas las tramas y estereotipos que tienen estas producciones en común. También podemos ver el concepto de passing, el cual, según Samuels (2015) consiste en que grupos marginados se hacen pasar por aquellos de la mayoría con el fin de reducir el estigma con el que cargan y cultivar una noción de igualdad, y por último el tipo de actrices que se escogen para estos papeles. De esta manera, podemos entender mejor cómo las representaciones afectan y han afectado la noción que tiene la sociedad en torno a la cultura lésbica en diferentes ámbitos; político, económico, cultural, entre otros. A lo largo de la investigación se hace evidente que en Colombia existe una conexión significativa entre el tipo de representación lésbica en los medios, y la manera en la que culturalmente se percibe a la comunidad lésbica/de mujeres que gustan de otras mujeres.

Representações do Trabalho na Velhice

Este trabalho discute aspectos da representação de personagens idosos na telenovela e sua relação com a aposentadoria, invalidez e dependência financeira. Analisa-se A dona do pedaço, telenovela de 2019 realizada pela TV Globo, no momento que se aprovava uma ampla reforma no sistema previdenciário. É a telenovela com o maior número de atores idosos no ar. Ao se levantar aspectos característicos da narrativa folhetinesca, quer-se debater de que forma são construídos discursos de identidade familiarizados socialmente a respeito dos idosos.

A encenação da violência obstétrica: (dis)junções entre ficção e realidade

Este artigo se propõe a analisar cenas de parto exibidas em telenovelas brasileiras, criteriosamente selecionadas, com o objetivo de identifiar as representações de diferentes formas de violência obstétrica, explícitas ou veladas. Para tanto, optamos por dois métodos complementares: a análise de conteúdo e a análise de imagens em movimento. Como resultado, identifiamos três eixos que abarcam as diferentes expressões midiatizadas da violência contra a parturiente: violência pela situação, violência pelo abandono e violência direta. Na discussão, pontuamos consonâncias e dissonâncias entre fição e realidade, além da falta de problematização acerca do tema, o que, de forma sintomática, contribui para a sua naturalização.

Contradictions and Tensions Between Old and New: An Audience Perception of Indigenous Culture Representation in Soap Opera

There is a perception that soap operas are progressively infusing dominant social values and ideas while constructing and positioning indigenous cultures as peripheral and inconsistent with modernity. This article aims at ascertaining audience perceptions of and attitudes toward the construction and representation of indigenous cultures in Generations: The Legacy within the framework of indigeneity and audience reception theories. Using quantitative methodology, 350 questionnaires were distributed to a randomly selected sample. Findings showed the majority of the audience felt the soap represents indigenous cultures as the ‘insignificant other’ and perpetuates stereotypes about traditional indigenous groups. This process creates cultural tensions.

Sobre o estilo narrativo do cinema brasileiro: notas baseadas em roteiros de filmes da década de 1950

Este artigo tem como objetivo destacar algumas características do cinema brasileiro com foco no estilo narrativo, por meio da análise dos seguintes roteiros dos anos 1950: O grande momento (1958), O homem do Sputnik (1959), Agulha no palheiro (1953) e Esquina da ilusão (1953). Apesar dos esforços em termos de industrialização e padronização do cinema brasileiro na década, paradigmas clássicos como a estrutura de três atos parecem ser de pouco interesse ou inaplicáveis a essa produção cinematográfica. De modo geral, a influência do teatro e do rádio brasileiros, juntamente com o crescente impacto das novelas, pode ser mais relevante para os roteiros brasileiros dos anos 1950 do que a estrutura aristotélica e outros conceitos e estratégias narrativas bem conhecidos.

Acceptability of the "Love, Sex, & Choices" HIV Prevention Intervention by Hispanic Female College Students.

Hispanic women are affected by HIV. "Love, Sex & Choices" (LSC) is an innovative 12-episode urban soap opera video series targeting young adult Black women streamed to smartphones. This study purpose was to determine whether LSC is an acceptable HIV prevention intervention for female Hispanic college students in South Florida. After institutional review board approval, female Hispanic college students were recruited from two campuses to watch the LSC video series and complete an online evaluation survey. Study participants (n =101) evaluated LSC as definitely/probably important for women (97.0%), helpful for making relationship decisions (86.2%), changing attitudes about having sex (79.2%), asking partners to use a condom (80.2%), leaving partners who won't use condoms (74.2%), handling oneself in tough situations in a relationship (79.2%), and getting an HIV test (83.2%). Participants liked/related to LSC and thought their friends would also like the series. Results indicated that young Hispanic women related to the video series, were likely to get HIV tested after watching the video series, found the story lines realistic, and thought their friends would like the series. The next step is to test the effectiveness of LSC to change behaviors of young Hispanic women at risk of HIV.