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Friends, Lovers, Co-Workers, and Community analyzes how television narratives form the first decade of the twenty-first century are powerful socializing agents which both define and limit the types of acceptable interpersonal relationships between co-workers, friends, romantic partners, family members, communities, and nations.

Over the last half of the twentieth century, television has become the predominant medium through which the public accesses information about the world. Through the news, situation comedies, police dramas, and commercials, we learn about the world around us, and our role within it. These genres, narratives, and cultural forms are not simply entertainment, but powerful socializing agents that show the world as we might never see it in real life. How Television Shapes Our Worldview brings together a diverse set of scholars, methodologies, and theoretical frameworks to interrogate the ways through which television molds our vision of the outside world. The essays include advertising and public relations analyses, audience interviews, and case studies that touch on genres ranging from science fiction in the 1970s to current “reality” television. Television truly provides a powerful influence over how we learn about the world around us and understand its social processes.

Sitting prominently at the hearth of our homes, television serves as a voice of our modern time. Given our media-saturated society and television’s prominent voice and place in the home, it is likely we learn about our society and selves through these stories. These narratives are not simply entertainment, but powerful socializing agents that shape and reflect the world and our role in it. Television and the Self: Knowledge, Identity, and Media Representation brings together a diverse group of scholars to investigate the role television plays in shaping our understanding of self and family. This edited collection’s rich and diverse research demonstrates how television plays an important role in negotiating self, and goes far beyond the treacly “very special” episodes found in family sit-coms in the 1980s. Instead, the authors show how television reflects our reality and helps us to sort out what it means to be a twenty-first-century man or woman.

Media Depictions of Brides, Wives, and Mothers, edited by Alena Amato Ruggerio, explores how television, film, the internet, and other media variously perpetuate gender stereotypes. The contributors to this volume bring a variety of feminist rhetorical and media criticism approaches from across the communication discipline to their analyses of how television, film, news coverage, and the Internet shape our expectations of the performance of women’s identities. This collection includes studies of Bridezillas, Jon & Kate Plus 8, Sex and the City, Sarah Palin, Nancy Pelosi, The Devil Wears Prada, Practical Magic, “momtini” blogs, and Mad Men fan websites. Readers will learn to apply the insights from each chapter to their own sets of myths, stereotypes, and assumptions about gendered roles, and to recognize the possibilities for both liberation and domination when women’s practices of marrying, mating, and mothering are represented and misrepresented in the media. This collection is an essential contribution to media studies and criticism of gender stereotypes in contemporary culture.

While previous methodological studies have suggested that coding is a useful technique for analyzing qualitative data, there is a stark lack of discussion about the incongruities that inevitably arise as researchers accomplish the actual work of coding. This article explores the complexities of the coding process, and how incongruities get resolved as researchers accomplish the practical work of coding. Three primary themes emerged from this study: , , and . These three activities are grounded in the naturally evolving work of coding, and are rendered visible through an ethnomethodological investigation into this work.

Recombinant television, a common television practice involving recycled, prepackaged formulas, updated to create programming that is perceived as novel, impacts more than industry processes. While the industry uses recombinants to reduce risk by facilitating aspects of production and audience affiliation, the inadvertent outcomes include a litany of narratives and characters that influence our worldview. As did the myths of earlier oral societies, television serves as one of our modern storytellers, teaching what we value and helping us make sense of our culture. This study focuses on how the prevalence of recombinant television limits portrayals of women and the discourse of feminism in three popular, female cast American sitcoms. This study comparatively examines the recombinant narratives and characters in Golden Girls, Living Single, and Sex and the City . While these programs are seemingly about very different modern women, older White women in suburban Florida; twenty-something African-American women in Brooklyn; and thirty-something, White, professional women in Manhattan, respectively, the four main characters in each show represent feminine archetypes found throughout Western mythology: the iron maiden, the sex object, the child, and the mother. First, a content analysis determines if a relationship exists between the characters and archetypes. Then, a comparative textual analysis reveals the deeper meanings the archetypes carry. Finally, a comparative narrative analysis examines the similarities and differences among the series. The findings reveal that a relationship exists between each modern character and her corresponding ancient archetype, reflecting particular meanings and discourses. The iron maiden archetypes, for example, generally bring forth a feminist discourse, whereas the child archetypes exhibit traditional values. While the sex object archetypes are self-absorbed, consumed with their own beauty and sexual conquests, the mother archetypes seek psychological wellness for themselves and those around them, generally providing much of the emotional work for the group. As reflected in these popular U.S. television series, the similarities among the archetypes and narratives depict limited views of women's lives, while the variance indicates differences among age, race, and class demographics. These recombinant portrayals of ancient archetypes as modern women suggest that our understanding of women's lives remains antiquated, reductionist, and conventional.

A GIANT, standing more than two metres tall, will eventually smash the nine-second barrier in the 100 metre sprint for men.