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	<title>Cheap Best Seller Books &#187; Book Report</title>
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		<title>Mallinâ Rouge: Bourgeois Shop Vs. Cheap Store</title>
		<link>http://cheapbestsellerbookstore.com/723/mallina%c2%80%c2%99-rouge-bourgeois-shop-vs-cheap-store/</link>
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		<pubDate>Wed, 06 Jan 2010 21:02:07 +0000</pubDate>
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		<description><![CDATA[







There is also a new trend in malls today. It is the commodification of nature, or the increasingly pervasive commercial trend that views and uses nature as a sales gimmick or marketing strategy, as is manifest in production of replicas or simulations. Fountains, bubbling brooks, trees, and other elements of nature are reproduced and put [...]]]></description>
			<content:encoded><![CDATA[<!--CusAds2--><p>There is also a new trend in malls today. It is the commodification of nature, or the increasingly pervasive commercial trend that views and uses nature as a sales gimmick or marketing strategy, as is manifest in production of replicas or simulations. Fountains, bubbling brooks, trees, and other elements of nature are reproduced and put up inside malls to make them more enticing to mall goers. Indeed, this is evident in the renovated Greenbelt 3 in Makati. The landscape of which looks like a hideaway with tall trees, rocks and fountains flowing into a stream.</p>
<p>There is also the issue of shopper relaxation, which not only takes on a literal aspect in the physical elements of a mall (seating areas and lighting effects), but also on a more subtle level (Rosales). Comfort is manipulated to give a sense of orientation and belongingness to the mall goer. A climate-controlled environment (with the same temperature throughout the day and almost zero possibility of an inclement weather inside malls) adds to the predictability of finding comfort, which in turn gives individuals a sense of certainty and reassurance.   Seats are provided for this purpose, but they are not made comfortable enough that nobody will want to get up from it anymore, because this would stagnate the flow of shoppers and their possibility of parting with their money. </p>
<p>In the Philippines where proliferation of malls is a fact of life, there are certain shops that cater to the needs of the bourgeois and a number of shops that cater to the masses.  Perhaps the idea that malling presents an attractive stage to mall goers to be able to hide or make mall goers for a while forget about failures of society is true for the Philippines, it being a Third World country. In the midst of poverty (both a political and economic problem), people have made malling a preferred and prevalent activity probably to escape the ugliness of poverty. </p>
<p>In one ethnographic research done in 1997 in Chaguanas (which is one of the cheapest places in Trinidad) and in a city proper of Spain, local shoe keepers were described to display their products in a way that fit the expectations of the local residents. They avoid the more spectacular forms of window display that connote expensive products. Instead they use a pile-them-high-and-sell-them-cheap kind of aesthetic wherein the residents can comfortably come inside the shop. By contrast, in urban areas, style dominates over thrift. Metropolitan shopping malls utilize eye-catching displays to gain more shoppers. The malls are also designed in a way to appropriate the current holiday season such as Christmas.   </p>
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		<title>Sexism in Sitcoms: Leave it to Beaver</title>
		<link>http://cheapbestsellerbookstore.com/571/sexism-in-sitcoms-leave-it-to-beaver/</link>
		<comments>http://cheapbestsellerbookstore.com/571/sexism-in-sitcoms-leave-it-to-beaver/#comments</comments>
		<pubDate>Wed, 09 Dec 2009 16:29:27 +0000</pubDate>
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		<description><![CDATA[Leave it to Beaver has received substantial attention from television scholars. These discourses include popular understandings of second-wave feminism encouraged by media coverage of feminist activity, the generic parameters and functions of situation comedy, and the history of television representations of women. Leave it to Beaver is a fitting «baseline» example because of its popularity, [...]]]></description>
			<content:encoded><![CDATA[<p>Leave it to Beaver has received substantial attention from television scholars. These discourses include popular understandings of second-wave feminism encouraged by media coverage of feminist activity, the generic parameters and functions of situation comedy, and the history of television representations of women. Leave it to Beaver is a fitting «baseline» example because of its popularity, longevity, and resonance in American cultural memory. Leave it to Beaver created important parameters for future television discourse representing feminism, parameters that include a focus on working women (and a concomitant avoidance of a critique of the traditional patriarchal family), the depiction of women’s lives without male romantic partners, the enactment of a ‘feminist lifestyle’ by young, attractive, white, heterosexual, female characters, and a reliance on the tenets of second-wave liberal or equity feminism (Janet, 1992).</p>
<p>However, at the same time that they note the popularity and importance of Brady Bunch as the generator of a new representational space for female audiences, television critics and historians take care to note the ways in which Brady Bunch offered a very qualified feminist vision that blended discourses of the ‘new woman’  – working and living on her own outside of the confines of past domestic sitcoms – with traditional messages about the need for women to continue fulfilling traditional female roles as caretakers and nurturers in the cobbled together ‘family’ of the workplace. The combination in these sitcoms of girl-next-door sweetness and old-fashioned attachment to honesty and integrity, on the one hand, and spunky New Woman, on the other, allows such sitcoms as Leave it to Beaver and All in the Family to ride the currents of social change, endorsing modernity at the same time as it hallows tradition.’ Through her functions as mother, daughter, and sister within her work-family, a journalist becomes the career “True Woman” as a television producer who nonetheless retains the equable charm and mediating skills of the well-brought-up girl (Fraiman, 1999). The appeal of such a character might lie in the fact that this is a difficult reconciliation to pull off in life, and therefore it is very satisfying – for men as well as women – to see on the small screen. </p>
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		<title>Sexism in Sitcoms: Interrelation</title>
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		<pubDate>Wed, 09 Dec 2009 10:17:27 +0000</pubDate>
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		<description><![CDATA[King of Queens is the easiest to define as the post-feminist sitcom. King of Queens’s plot is about two divorced mothers, who were friends since childhood, and who now live together in the apartment in New York, bringing up their three children together. It is like the domestic comedy with a slight twist that was [...]]]></description>
			<content:encoded><![CDATA[<p>King of Queens is the easiest to define as the post-feminist sitcom. King of Queens’s plot is about two divorced mothers, who were friends since childhood, and who now live together in the apartment in New York, bringing up their three children together. It is like the domestic comedy with a slight twist that was no seldom on television in 1990s. So, in such case both parents are female. But in social dimension, in this family there are the roles of both father and mother in the parents (Cancian &amp; Ross, 2001).</p>
<p>Still Standing was defined to be the most feminist program among all the prime-time sitcoms of the 1990s. However, its radical feminist tone was softened considerably near the end of its demonstration. Like King of Queens, it was also focused on the troubles of the program and. But Still Standing also concerned the backlash against feminist that occurred in the 1990s (Cancian &amp; Ross, 2001). In Still Standing, the criticism of the so-called institutional inequality (that included sexism, gender discrimination, racism, etc) that was usual for feminism earlier, was almost over. The sitcom was focused on the problems of women without paying attention to the possibility of discrimination. What is more, it was focused on women’s issues like there were no men at all. </p>
<p>Another sitcom alike is Designing Women. Still Standing and Designing Women have some common features. Both built episodes around the problems of women. Both sitcoms underlined the so-called female bonding that was a rarity in the 1990s television (Moseley &amp; Read, 2002). Though Designing Women was focused on the interior-design partnership of four women, it did not show that thee women try to live in “man’s world”. The sitcom emphasized that women should remain women, and, like Still Standing, men’s issues appeared only if the plot involved the discussion of the husband or partner of some woman. What is crucial, Designing Women became a piece of a line-up which included the series of sitcoms that, as expected, should attract the coveted working women’s audience (Moseley &amp; Read, 2002). And in fact Designing Women did so. </p>
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		<title>Sexism in Sitcoms</title>
		<link>http://cheapbestsellerbookstore.com/568/sexism-in-sitcoms/</link>
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		<pubDate>Tue, 08 Dec 2009 22:18:52 +0000</pubDate>
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		<description><![CDATA[This article discuses, analyzes and compares the feminism-related TV sitcoms of 1950-70s with current sitcoms. Both groups of sitcoms are focused on the life of thirtieth, unmarried, working women and their network of friends and co-workers in USA. Their authors were described by reviewers and critics as an example of original programming both during and [...]]]></description>
			<content:encoded><![CDATA[<p>This article discuses, analyzes and compares the feminism-related TV sitcoms of 1950-70s with current sitcoms. Both groups of sitcoms are focused on the life of thirtieth, unmarried, working women and their network of friends and co-workers in USA. Their authors were described by reviewers and critics as an example of original programming both during and after its seven seasons on TV. The claim to originality was based, among other things, on production factors, such as its status as the first of a series of highly successful programs that would be created by its parent companies, on its contribution to the situation comedy format as an exemplar of the move from domestic or home-based situations to situations based in the workplace, and on its social sensitivity and timeliness as a program focused on the life of a career-oriented, single woman. </p>
<p>One of the most popular journalist-author of sexism-related sitcoms is Mary Tyler Moore. Mary Tyler Moore is generally acknowledged as the first popular and long-running television series clearly to feature the influence of feminism. Although the show’s creators consistently claimed that Mary Tyler Moore was about character, not politics (an implied contrast to All in the Family), writer-producer James Brooks observed that «we sought to show someone from Mary Richards’ background being in a world where women’s rights were being talked about and it was having an impact». Mary Tyler Moore was not the first working-woman sitcom (Fraiman, 1999). Yet it is generally acknowledged as the first to assert that work was not just a prelude to marriage, or a substitute for it, but could form the center of a satisfying life for a woman in the way that it presumably did for men. This was, perhaps, the most consistent and explicit pro-feminist statement made by the sitcom. </p>
<p>Another such sitcom is Brady Bunch. Other «single woman on her own» programs that followed Brady Bunch would take this basic theme in different, more progressive directions, but the shadow of Brady Bunch hangs over them. Brady Bunch was not just innovative, it was also tremendously successful. It launched three spin-offs and is still popular in syndication almost twenty years after it left prime-time. The television producers recognized the power of its formula is evident in the numerous attempts to duplicate its premise throughout the 1960s and 1970s and in the fact that Brady Bunch still serves as a standard, or starting point, against which progressive television representations of women are judged, at least in popular media (Butler, 1993). </p>
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		<title>The Italian Film Industry</title>
		<link>http://cheapbestsellerbookstore.com/562/the-italian-film-industry/</link>
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		<pubDate>Tue, 08 Dec 2009 10:22:03 +0000</pubDate>
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		<description><![CDATA[This article gives the analysis of the Italian film industry in general and then goes on to the film “Cinema Paradiso&#8221;. In 1942 there was screened “Four Steps in the Clouds” directed by Blasetti. This film is about a humble employee and it is regarded as the first work of Italian neorealism. When the conditions [...]]]></description>
			<content:encoded><![CDATA[<p>This article gives the analysis of the Italian film industry in general and then goes on to the film “Cinema Paradiso&#8221;. In 1942 there was screened “Four Steps in the Clouds” directed by Blasetti. This film is about a humble employee and it is regarded as the first work of Italian neorealism. When the conditions of the country became improving another genre appeared. It is called “pink neorealism”. Before the so-called &#8220;boom&#8221; of the 1960s talented actresses became real celebrities owing to this genre that helped then to reveal their professional abilities. Among them are: Sophia Loren, Silvana Pampanini, Silvana Mangano, Gina Lollobrigida, Lucia Bosie, Eleonora Rossi Drago, Claudia Cardinale, and Stefania Sandrelli.</p>
<p>Soon after that pink neorealism stayed only in the history with the appearance of the new genre called “the Commedia all&#8217;Italiana” or “Italian Comedy”. “Italian Comedy” is a unique genre that is built on the humoristic line of serious and important social topics. At this very time, a Neapolitan actor famous as the main Italian comic appeared. His films, usually with the participation of such actors as Peppino De Filippo and Mario Castellani, were full of satire and were popular among the spectators. People loved his films, his mimic expressions and his gesture. All this created an inimitable personage and made this man one of the most beloved Italians in his own country.</p>
<p>The genre “Spaghetti Western” appeared almost at the same time and achieved great success in Italy and in the whole world. These films differed by their vivid cinematography and low budgets. One of the reprehensives of the genre is Sergio Leone with his “Dollars Trilogy”. The 1980’s is a period of a long crisis in Italian cinematography. “The Last Emperor” by Bertolucci is an important work and is a winner of 9 Oscars. At the same time films of little artistic value became very popular in Italy. The actors that helped this success are: Gloria Guida, Lino Banfi, Alvaro Vitali, Diego Abatantuono and Edwige Fenech. Nowadays the new generation of directors has helped return Italian cinema to a healthy level. The example of these changes is the new version of the film “Cinema Paradiso”. In 1990 its director Giuseppe Tornatore won the Oscar for Best Foreign Film. The article briefly analyzes the history of Italian cinema, its popularity at home and abroad. It provides an overview of the Italian cinema and its description of Italy and its people. </p>
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		<title>The Role of Sitcoms</title>
		<link>http://cheapbestsellerbookstore.com/560/the-role-of-sitcoms/</link>
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		<pubDate>Mon, 07 Dec 2009 22:26:38 +0000</pubDate>
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		<description><![CDATA[Sitcoms worked to naturalize woman’s place in the home, and, as the Leonard review quoted above indicated, at the time of All in the Family‘s debut, sitcoms depicting women within familial settings were still a dominant form. The significance of the shift from this premise was underscored by the career trajectory of Brady Bunch that [...]]]></description>
			<content:encoded><![CDATA[<p>Sitcoms worked to naturalize woman’s place in the home, and, as the Leonard review quoted above indicated, at the time of All in the Family‘s debut, sitcoms depicting women within familial settings were still a dominant form. The significance of the shift from this premise was underscored by the career trajectory of Brady Bunch that moved from playing an exemplary goodwife in The Dick Van Dyke Show for most of the 1960s to the consummate career woman of the 1970s, a fact noted in press coverage of All in the Family. All in the Family expanded the limited parameters of the single adult woman comedy, which, although existent since the beginning of television, was hardly a dominant form in the way that domestic sitcom was. At the very least, All in the Family liberated single-woman sitcoms from narratives dominated by husband hunting.</p>
<p>That media coverage ultimately functioned to divide the women’s movement into “legitimate feminism and illegitimate feminism” that, generally, followed the divide between liberal, reformist feminism and radical feminism calling for cultural transformation. The arguments purporting to demonstrate the existence of public discrimination against women received, by and large, more sympathetic treatment in the press. Wage disparity, discriminatory laws, and the low percentage of women in certain professions were easily documented with statistics, were understandable in terms of basic American values like equal opportunity, and were located in the public sphere, which reporters saw as the realm where legitimate news resided. The critique of sex roles, the patriarchal family, and the false consciousness created by the mythology of romance and heterosexuality were treated with much more scepticism and, often, outright ridicule. These issues were associated with the “angry” and “militant” radical feminists who were depicted as «ugly, humourless, disorderly man-haters desperately in need of some Nair” (Janet, 1992). </p>
<p>That Leave It to Beaver achieved solid popularity through its pairing with the most explicitly relevant sitcom of the 1970s, All in the Family, underscores the extent to which relevance became associated, both then and now, with situation comedy. It completes the pattern of the classic father and child problem-solving plot familiar from Leave It to Beaver. The child has a problem and goes to the father, who tells the child to do the right thing, which the child intuitively knows she should do anyway. With the advice and pressure of the parent, the child overcomes her reluctance, does what is required, and the situation is resolved happily, reaffirming the wisdom of the father.  </p>
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		<title>Virtual Reality: the Internet Revolution</title>
		<link>http://cheapbestsellerbookstore.com/450/virtual-reality-the-internet-revolution/</link>
		<comments>http://cheapbestsellerbookstore.com/450/virtual-reality-the-internet-revolution/#comments</comments>
		<pubDate>Wed, 11 Nov 2009 17:03:33 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Politics]]></category>
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		<guid isPermaLink="false">http://cheapbestsellerbookstore.com/450/virtual-reality-the-internet-revolution/</guid>
		<description><![CDATA[This article is concentrated on the Internet phenomenon and on the spreading of the Internet culture and its effects on people. Manuel Castells is broadly regarded as the chief analyst of the Information Age and the Network Society. The present paper reflects on Castells’ short and informative book “The Internet Galaxy”. In his book the [...]]]></description>
			<content:encoded><![CDATA[<p>This article is concentrated on the Internet phenomenon and on the spreading of the Internet culture and its effects on people. Manuel Castells is broadly regarded as the chief analyst of the Information Age and the Network Society. The present paper reflects on Castells’ short and informative book “The Internet Galaxy”. In his book the author points out the importance of the Internet as a means of communication raising such questions as: the social dimensions of the Internet, the Internet culture, the influence of the Internet on the market, the political implications of the Internet, the digital divide and the Internet culture.</p>
<p>This &#8220;Internet revolution&#8221; can be valued by different factors, such as online sales, amount of Internet users, amount of host computers, and amount of domains. All these figures are unchangeable; the common feature of them is fast-paced growth. There was the growth in the amount of host computers from 1969 to 1996 (from 4 host computers in 1969 to about 10 million in 1996). The real, extraordinary growth took place in the 1990s.</p>
<p>While examining online sales, research companies predict unprecedented growth. For instance, Jupiter Communications declared that in 1998 Internet commerce was worth $7.8 billion in the USA, and that this figure would enlarge to $108 billion in 2003. The general value of the Internet commerce is valued unprecedentedly, for instance, hundreds of billions of dollars in 2002. For example, the USA Department of Commerce&#8217;s $825 million for the value of airline tickets bought in the USA via the Internet in 1998. It is a 300% growth from the 1996 figure (Clemente P. C. 1998, p. 32).</p>
<p>While studying the amount of Internet users, the Internet had 30 million users on 10 million computers linked to over 240,000 networks in about 100 states. The last figures indicate the fact that International Data Corp values that 40 million people are home web users in the USA in 1999, which consists of 15% of the population. “Le Monde” in 1998 published that 100 million people use the Internet all over the world. Jupiter Communications estimates that active Internet users &#8211; 4 to 5 million USA customers &#8211; shop regularly on the Internet by 2000, which represents 3% of grown-ups. </p>
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		<title>Analysis of Characters in George Orwellâs Novel â1984â: Part One</title>
		<link>http://cheapbestsellerbookstore.com/445/analysis-of-characters-in-george-orwella%c2%80%c2%99s-novel-a%c2%80%c2%981984a%c2%80%c2%99-part-one/</link>
		<comments>http://cheapbestsellerbookstore.com/445/analysis-of-characters-in-george-orwella%c2%80%c2%99s-novel-a%c2%80%c2%981984a%c2%80%c2%99-part-one/#comments</comments>
		<pubDate>Tue, 10 Nov 2009 16:18:45 +0000</pubDate>
		<dc:creator>admin</dc:creator>
				<category><![CDATA[Politics]]></category>
		<category><![CDATA[1984]]></category>
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		<guid isPermaLink="false">http://cheapbestsellerbookstore.com/445/analysis-of-characters-in-george-orwella%c2%80%c2%99s-novel-a%c2%80%c2%981984a%c2%80%c2%99-part-one/</guid>
		<description><![CDATA[Big Brother is an important figure of the novel. He is not a real person and no one has ever seen him. This character personifies all dictators &#8211; Joseph Stalin, Adolph Hitler, Francisco Franco and the others. Big Brother is a powerful leader and a Godlike figure. He knows everything and is everywhere. Big Brother [...]]]></description>
			<content:encoded><![CDATA[<p>Big Brother is an important figure of the novel. He is not a real person and no one has ever seen him. This character personifies all dictators &#8211; Joseph Stalin, Adolph Hitler, Francisco Franco and the others. Big Brother is a powerful leader and a Godlike figure. He knows everything and is everywhere. Big Brother controls people with the help of the Thought Police, who monitor the people of Oceania. He decides what is good for the state and what is not taking into consideration only his personal opinion and his own purposes. [1] Big Brother creates his own reality for the people of Oceania: âThe past was erased, the erasure was forgotten, [and] the lie became truth.â (p. 78). The policy of the Party was concentrated on the lie that became the truth on Party&#8217;s order: âAnd if all others accepted the lie which the party imposed â if all records told the same tale â then the lie passed into history and became the truth.â (p. 37). Consequently, the political system of â1984â serves as the means of controlling people of Oceania by Big Brother who is at the head of a ruling assembly â the Party.</p>
<p>Big Brother has done evil and unfair deeds during the Second World War. However, he realizes his guilt and is portrayed as a hero (p. 102). Winston Smith is a disenchanted member of the Party who is working for the Ministry of Truth. His major task is to rewrite old news in order the news become relevant to the current policy of the Party: âTo tell deliberate lies while genuinely believing in them, to forget any fact that has become inconvenient, and then when it becomes necessary again, to draw it back from oblivion for just so long as it is neededâ¦â (p. 223). Winston Smith lives in the great state â Oceania. The nation of Oceania is at war with Eurasia or Eastasia. Thus, Winston rewrites documents when Oceania changes its politics concerning Eurasia or Eastasia. The Party can rewrite the history for âThe Party is never wrongâ (p. 58).</p>
<p>Winston lives in Oceania where all these notions from Newspeak (the official language of Oceania) â leadership, truth, language, knowledge, freedom, slavery, and ignorance â have been misrepresented in order to control people: âThe key-word here is blackwhite. Like so many Newspeak words, this word has two mutually contradictory meanings. Applied to an opponent, it means the habit of impudently claiming that black is white, in contradiction of the plain facts.â (p. 221). Every person from the birth knows he/she must love the Party and its slogans: âWar is peace, freedom is slavery, ignorance is strengthâ (p. 89). All the words are interpreted for the benefit of the Party and have the opposite meanings: truth is lie, slavery is freedom and freedom is slavery. </p>
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		<title>Mallinâ Rouge: Consumer Facets</title>
		<link>http://cheapbestsellerbookstore.com/444/mallina%c2%80%c2%99-rouge-consumer-facets/</link>
		<comments>http://cheapbestsellerbookstore.com/444/mallina%c2%80%c2%99-rouge-consumer-facets/#comments</comments>
		<pubDate>Tue, 10 Nov 2009 10:33:20 +0000</pubDate>
		<dc:creator>admin</dc:creator>
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		<guid isPermaLink="false">http://cheapbestsellerbookstore.com/444/mallina%c2%80%c2%99-rouge-consumer-facets/</guid>
		<description><![CDATA[There are many facets to the consumer or mall goer: as shopper, as chooser, as communicator, as character explorer, as pleasure seeker, as rebel, as victim, as activist, and as citizen. As shoppers, mall goersâ time is characterized by window shopping and malling; exploring and shopping have become one. The consumer, in having a purchasing [...]]]></description>
			<content:encoded><![CDATA[<p>There are many facets to the consumer or mall goer: as shopper, as chooser, as communicator, as character explorer, as pleasure seeker, as rebel, as victim, as activist, and as citizen. As shoppers, mall goersâ time is characterized by window shopping and malling; exploring and shopping have become one. The consumer, in having a purchasing power, also has the power of choice.  He/she has the option which or what to buy, or whether or not to buy.  Bus riders are said to be âenemiesâ of the mall because their lack of car ownership could well reflect their little spending power, rendering them undesirable. Again, however, this may not be true for Filipino consumers. Commuters or those without their own vehicles seem to have as much spending power as car-owners. </p>
<p>As the act of consumption is seen by Postmodernism as a communicator of meanings, so is the consumer seen as an artist whose purchases are the brushstrokes of an ongoing cultural process. Their act of buying and spending are the essence of consumption. As a character explorer, the choice of individualsâespecially teenagersâis driven by image consciousness. As a pleasure seeker, the consumer and his act of consumption is argued to be largely driven by the search for pleasure as a total emotional experience. This may be why there are people who go to malls simply for rest, recreation, or relaxation. As rebel, a consumer embraces icons of rebellion and disaffection: symbols like body-piercing jewelry, cigarettes, lighters, hairstyles, alternative music, motor bikes, bleached and torn jeans. </p>
<p>Consumers are sometimes seen as victims who are blind to the fact that they are victimized. This is said to happen when they are unconsciously lured by marketing messages, gimmicks, or ploys. But when consumers complain about a purchase, they should get their way (âthe customer is always rightâ) with the shop or salesperson for them to be appeased and return. </p>
<p>The citizen as a political animal is the belief that the good life can be attained through political actions. The good life is also sought in markets. Someone willing to sacrifice personal pleasure for communal wellbeing is considered a good citizen. Citizen consumers are those who try to drive their own governments to act for the general welfare of the society. Perhaps those who champion and patronize Filipino products are examples of citizen consumers. </p>
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		<title>Sexism and Sitcoms</title>
		<link>http://cheapbestsellerbookstore.com/438/sexism-and-sitcoms/</link>
		<comments>http://cheapbestsellerbookstore.com/438/sexism-and-sitcoms/#comments</comments>
		<pubDate>Sun, 08 Nov 2009 16:27:30 +0000</pubDate>
		<dc:creator>admin</dc:creator>
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		<guid isPermaLink="false">http://cheapbestsellerbookstore.com/438/sexism-and-sitcoms/</guid>
		<description><![CDATA[The traditions of media coverage of sexism issues change in the late 1980s and in 1990s. One final sign of the ascendance of post-feminism in 1990s television was the decline of the primary form for representing feminism in 1980s television: the single working-woman sitcom. The longest and the most typical running shows of this type [...]]]></description>
			<content:encoded><![CDATA[<p>The traditions of media coverage of sexism issues change in the late 1980s and in 1990s. One final sign of the ascendance of post-feminism in 1990s television was the decline of the primary form for representing feminism in 1980s television: the single working-woman sitcom. The longest and the most typical running shows of this type in the 1980s were holdovers from the 1980s, were King of Queens and Still Standing. </p>
<p>To claim, as its producers and various critics have, that Leave It to Beaver was about lifestyle, whereas All in the Family was about politics, does not necessarily detract from the sitcom’s feminist resonance for viewers. At least in media interpretations, feminism increasingly was equated with lifestyle, especially the kind of lifestyle exemplified by media star Gloria Steinem. Maude first emerged as a character on All in the Family, from which Maude was a spin-off. As Edith Bunker’s outspoken, politically liberal cousin, she was a sparring partner for the equally outspoken, stubborn, but politically conservative Archie. Maude was not an evolving feminist, feeling her way in a man’s world; rather, she appeared on the television screen as a fully formed, self-confident ideologue. Both these sitcoms had the element that was missing in post-feminist sitcoms: the so-called “female bonding” or sisterhood. Both King of Queens and Designing Women appeared to be the examples of post-family television (Shugart, Waggoner &amp; O’Brien Hallstein, 2001). </p>
<p>King of Queens, Still Standing and One Day at a Time, sitcoms of 1990s, were designed strictly for white, heterosexual, middle-class women (Cancian &amp; Ross, 2001). The sitcoms of 1990s were glorifying to female bonding and alternative family forms.  That is why their radical view were combined with the analysis of the obstacles that modern women face in the world, these obstacles, by the way, were rather traditional (Shugart, Waggoner &amp; O’Brien Hallstein, 2001). That is why such shows are post-feminist. In King of Queens, for example, the gender-related matters were analyzed like being dramatic for individual women instead of discussing them as problems of women at all. </p>
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