九十年代美国情景喜剧中的种族性再现

Chapter1Introduction:ApproachingSitcomRepresentation

1.1TakingSitcomsSeriously

1.2TheoreticalFramework

1.2.1TelevisualText,AudienceandDiscourse

1.2.2TheoriesofComedy:Aristotle,KantandFreud

1.2.3RepresentationsofEthnicity

1.3Methodology

1.4Structure

1.5SelectionofTexts

Chapter2TheMakingofSitcom

2.1WhatisSitcom?

2.2CharacteristicsofSitcom

2.3TypesofSiteom

2.3.1DomesticandNon-domesticSitcoms

2.3.2FamilyandWorkplaceSitcoms

2.3.3Actcom,DomcomandDramedy

2.4IdeologyinSitcom

Chapter3EthnicityinAmericanSitcomsfrom1950sto

3.1ColorsinSiteom

3.1.11950s:AppearanceofColors

3.1.21960s:Dis-appearanceofColors

3.1.31970s:ReturnofColors

3.1.41980s:CelebratingColorBlack

3.2MajorFeaturesofRepresentationsinSiteoms

3.2.1DominationofWhiteness

3.2.2BlackandWhiteBinary

3.2.3NegativeImages

3.2.4AmbivalenceinEthnicDiscourse

3.3PoliticsofRepresentation

3.3.1ConstructingPositiveImages

3.3.2(Cultural)Assimilation

3.3.3LivingwithDifferences

Chapter4RepresentingEthnidtyinNon-whiteAmericanSitcomsinthe1990s

4.1The1990s:ADifferentWorld?

4.1.1GeneralSocialPoliticalContext

4.1.2DemographicGrowthandNon-whiteSpending

4.1.3TelevisionIndustry

4.2RepresentationsofEthnicityinNon-whiteSitcoms

4.2.1BlackSitcoms

4.2.1.1CommercialNetworksVyingfortheMarket

4.2.1.2BlacksPresenceandPortraits

4.2.1.3Multiplicity/Diversity/HeterogeneityinRepresentingBlackness

4.2.2AsianAmericanSitcoms

4.2.2.1AsianAmericansinthe1990s

4.2.2.2TelevisualRepresentationsofAsianAmericans

4.2.2.3All-AmericanGirl

4.2.3InvisibilityofHispanicandNativeAmericanSitcoms

Chapter5Representing"theOther"inWhiteSitcoms:AQuantitativeStudyofSeinfeldandFriends

5.1StoriesoftheWhites:PlotSummaryofSeinfeldandFriends

5.1.1Seinfeld:AShowAboutNothing

5.1.2Friends:AStoryofFriendshipandMore

5.2Methodology

5.3Categorization

5.3.1Race

5.3.2Gender

5.3.3Profession

5.3.4Class

5.3.5NameandArticulation

5.3.6PersonalRelations

5.4ResultsandDiscussion

5.4.1WhiteDomination

5.4.2UnbanlacedPresenceAmongPeoplesofColor

5.4.3DifferenceinGenderCasting

5.4.4WideRangeofProfessions

5.4.5MiddleClassPrivileged

5.4.6UnnamedandInarticulated

5.4.7ExtensiveInter-racialContact

Chapter6Representing"theOther"inWhiteSitcoms:AQualitativeStudyofSeinfeldandFriends

6.1WhiteSkinBlackMasks:RepresentationsofJewishness

6.2Perfect"Bitch":WomenofColor

6.3WinnerorLoser:ColoredMen

6.4WitchGirlandClownBoy:ColoredChildren

6.5Normalcy,Stereotyping,andRacism

Chapter7Conclusion:SitcomSituatesEthnidty

7.1KnowledgeDerivedFromtheStudy

7.2SitcomSituatesEthnicity

7.3ImplicationsforFutureSitcoms

7.4FurtherResearch

Bibliography

AppendixⅠ

AppendixⅡ

　　情景喜剧是美国经久不衰、最受欢迎的电视节目之一。尽管如此，情景喜剧却没有受到评论界足够的重视。本书从后殖民的视角，综合话语分析及符号学理论，定量分析与定性分析相结合，对20世纪90年代一些最有影响的黑人情景喜剧、亚裔人情景喜剧、白人情景喜剧进行了深入的探讨。　　情景喜剧是美国经久不衰、最受欢迎的电视节目之一。尽管如此，情景喜剧却没有受到评论界足够的重视。本书从后殖民的视角，综合话语分析及符号学理论，定量分析与定性分析相结合，对20世纪90年代一些最有影响的黑人情景喜剧、亚裔人情景喜剧、白人情景喜剧进行了深入的探讨。研究发现，90年代情景喜剧中的种族性再现是各种社会力量角逐的结果，是多种不同声音竞争话语权的产物。90年代情景喜剧深深地打上了白人至、父权为中心、资本主义的主流意识形态的烙印。情景喜剧是不同种族再现其存在、争夺其意义与快乐的空间、场所。