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• W1508083806 abstract "Abstract This article seeks to highlight reality television's most popular rearticulation of Jezebel and Sapphire stereotypes while assessing its implications for African American women. Nearly eight decades after their inception in mass mediated culture, Jezebel and Sapphire stereotypes have been reborn in form of Tiffany Pollard, better known as York, and her mother Sister Patterson (respectively). Television acts as a powerful socialization agent, and thus plays a significant role in how audiences shape their racially stratified and gendered world. Researchers employed discourse analysis to provide rich contextual data necessary to capture effects of I Love New York; additionally, researchers will illustrate notions of patriarchy and hegemony. Further, authors seek to provide readers with motivation and materials to self identify, and more importantly, self-correct. Keywords: television, stereotypes, African American women Introduction This article seeks to highlight television's most recent rearticulation of Jezebel and Sapphire stereotypes and discuss its implications for African American women. Jezebel represents bad (black) girl. She is alluring and seductive; her sexual prowess mesmerizes and ultimately overpowers men (of all races). Sapphire, a feisty, wisecracking, emasculating, (black) woman is always eager to let everyone know it is she who is in charge. Mass media currently represent one of most pervasive agents of socialization. It is authors' contention that way media frame Jezebel and Sapphire impact real lives of African American women. Mediated depictions represent a means for members of different social, cultural and ethnic groups to learn about each other, whereas framing is the process of culling a few elements of perceived reality and assembling a narrative that highlights connections among them to promote a particular (Entman, 2007). Framing works to alter an audience's interpretation of a given concept, thus leading audience to feel or think in a particular way. The critical paradigm of framing suggests that frames act as tools for media to promote hegemonic values, or ideologies of dominant culture (McQuail, 2005). Because American public consumes television with such voracity, researchers presuppose that its framed messages represent a powerful socialization agent. Hence, television plays a significant role in how audiences shape their racially stratified and gendered world. This particular function of media is often described as reinforcement of social stereotypes (Fujioka, 1999; Wilson & Gutierrez, 1996). Researchers will employ discourse analysis to provide rich contextual data necessary to capture implications and repercussions of I Love New York's rearticulation of Jezebel and Sapphire. Research suggests that these caricatures are, at present, stereotypes that dominate media portrayals of black women (Jones, 2004; Givens & Monahan, 2005). Social reality is produced and made real through discourse, thus social interactions cannot be fully understood without references to discourses that give them meaning. As discourse analysts it is our task to explore relationship between discourse and reality (Phillips & Hardy, 2002). The 1970s represent a critical era with regard to mediated imagery of African American women. This period demarcates end of civil rights movement and emergence of black power and women's liberation movements. This unique era symbolizes a nexus of sorts for African American women, who were uniquely and intimately involved with/in all of these movements. This nexus of events resulted in a correlative shift in expectations of black women. African American women were eager to engage in arena's that were previously off limits to them and their new found influence was not overlooked by media. …" @default.
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• W1508083806 date "2008-11-20" @default.
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• W1508083806 title "I Love New York: Does New York Love Me?" @default.
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