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ially constructed by media participation. The boundaries of our seemingly absolute identities open to fade. The writers engage in this play with the audience in at least two different ways. 

First, they coercion us, through our identification with Homer, to acknowledge the ways in which we identify and all the more lose ourselves in the fictional characters we watch. And to generate trustworthy this speck is driven habitat, the writers pull the rug elsewhere from under us. 

In the forgetful pleasure of our beneficial identification with Homer, who in turn is identifying with the glamorous protagonist, the period switches the roles of the "televised" Homer Simpson from seductive hero to buffoon. Homer is left the fool, and we extremely must confront our own identification with Homer and "The Simpsons" present. 

At the same interval, the present alternately encourages us to identify with Homer's search for his absolute self and reminds us that the character we are closest and relating to is a cartoon invention himself. This is the push and pull of postmodern irony, at once pushing us to critical insights about the conventions of mould and at the same hour pulling us back to a safe level of detachment so that the stakes involved in unraveling our existential certainty about who we are do not become overly menacing. The phase further illustrates the crisis of the self from the perspective of content and form, as detailed by Giddens (1991) and Gergen (1991, 1992).

With regard to content, the phase shows us the myriad of ways in which Homer's meaning of self is pushed and pulled, spread out and contradicted. With regard to form, it never lets Homer's character-or our understanding of his character-settle into a stable, coherent self once his identity has been called into question-at least not until the epilogue of the program.

The period moves beyond illustration of the relational self to a critique of the challenges facing the relational self in many instances, and it is certainly in these instances where some of the unique, potentially consciousness raising efforts of "The Simpsons" flare through. The first dispute is when Homer goes to Hollywood to beg the production convention to give him back his dignity by recreating his television character. Despite Homer's protestations that he is a "human activity," the "By the Numbers Production Convention" is undeterred from shamelessly exploiting Homer's (cartoon) citizens. This scene suggests that the keys to our selfhood are held, in stuff, by uncaring corporations, willing to exploit us and our identity for their own gain. 

The second dispute is in the critically sophisticated decision to offer Homer a second chance at achieving a dignified self by literally constructing his meaning of self through total identification with the faculty setting of a hair dryer. In both cases, and exclusively in the hair dryer gag, these are subtle critiques that may or may not be processed by most viewers. Neither is amplified in any significant means semiotically or through the plot. Reading through the fan postings for the period on the Simpson's Archive speck, we foun本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。