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d no evidence that these critiques had been taken up. In act, there was petty recognition of any of the identity issues discussed above, other than the humorous confusion over the label Max Force. 

On the other hand, these scenes infuse the phase with an influential critical credible, expressly from the speck of judgment of media educators. They allow us to think about the crisis of the self in connection to the meaning of relational identity as well as within the dispute of what critical postmodernism has identified as Studies in Media & Info Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 8 the ever- intensifying movement to turn everything into a commodity.

All the more one's meaning of self is commodified, reducing us to believing that we really are only what we own. In other contents, while "The Simpsons" can certainly be enjoyed without any participation of postmodernism, viewers knowledgeable about some of the basic tenets of postmodern sense may more fully appreciate the twists and turns of its inventive plot lines. Defusing Critical Themes Nearly a decade ago, Collins (1992) reviewed a short vignette within a "Simpsons" period that was constructed in all the more the same pathway as the "Homer to the Max" phase discussed above. 

Homer and Bart are watching Macy's Thanksgiving Hour parade on television and discussing whether the cartoon characters appearing on the balloon-floats deserve such immortality. Just as Homer tells Bart that if "you plain building a balloon float for every flash-in-the-pan cartoon character, you'll turn the parade into a farce," a Bart Simpson balloon float passes by. Collins wanted to know about the factor of "hyperconscious irony" on television viewers: is its persist effect "emancipatory, salient to a recognition that television's representations are social constructions rather than value-neutral reflections of the 'real' existence? Or does this irony generate a disempowering apathy, in which no image is taken at all seriously?" (p. 36).

Collins' subject is all the more with us today, exclusively by rationale of "postmodern" television shows demonstrate no memo of disappearing. We are attracted to the resources of media literacy moments that such shows practise visible, on the other facilitate we further realize that these programs often deconstruct the validity and importance of those same media literary guideline. 

It is the postmodern dimension of nowadays media fare prize "The Simpsons" that requires that we select the sense and uses of irony further seriously, that we carefully attend to the quality of hope that is offered to media audiences after the deconstructive play of postmodern ironies has left us laughing and numbed. 

If we can no longer trust any genuine realities, if traditional moralities keep revealing their human limits, does this mean that the only credible options are to retreat into nostalgia, go shopping, or go shopping for nostalgia? Linking these concerns to identity issues, Gergen (1991) asks: "Once we are aware of the ironies of sel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。