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ratives" (p. 188). "The Simpsons" is saturated with this form of postmodern irony. On the other facilitate where does that leave media educators trying to duty with this enormously regular series? On the one artisan, media educators would prize to engage the series fully by practise of it raises various challenges to conventional ideas of mould and selfhood; on the other share, they are unwilling to lead students to examine media literacy as a form of deconstruction that leads only to meaninglessness or play. 

Some media scholars contemplate postmodern irony as a laborious challenge for teachers committed to linking media literacy with productive citizenship. Purdy, for dispute, laments that "between Madonna and the fist-fight between Jesus and Santa Claus that opened the cartoon series South Park, there is less and less left in society whose flouting can elicit shock." Irony, he concludes, "invites us to be self-absorbed, on the other facilitate in selves that we cannot believe to be particularly interesting or significant" (p. 26). 

Conway and Seery (1992) are similarly concerned about the implications of postmodern irony for engaged citizenship. "Although irony may equip the dispossessed with much-needed critical perspective and all the more underwrite a minimal political agenda," they draw up, "it is generally regarded as irremediably parasitic and antisocial" (p. 3). Hutcheon (1994) further shares this episode, noting that irony can be "both political and apolitical, both conservative and radical, both repressive and democratizing in a pathway that other discursive strategies are not" (p. 35). 

Gergen (1991) frames the challenge of postmodern irony in terms of its challenge to forming a coherent self. If all serious projects are reduced to satire, play, Studies in Media & Counsel Literacy Education, Tome 1, Subject 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 5 or nonsense, "all attempts at authenticity or earnest ends become empty-merely postures to be punctuated by sophisticated self-consciousness" (p. 189). If this is the poser that "The Simpsons" raises in its manipulate of both critical and postmodern irony, to what room is it contributing to a social consciousness with a practicable for social process, as opposed to contributing to a cynical numbness founded on ironic detachment?

What solutions does the series offer for resolving this disagreement? Are there any alternative solutions that acknowledge the postmodern challenge to identity? Exploration of Self in "Homer to the Max" With these concerns in meaning, we see an phase of "The Simpsons" that originally aired on February 7, 1998. The period focuses with particular vehemence on the quest for identity and asks the closest questions: † How is the sense of the self understood in relationship to the blizzard of media images, symbols, and values? † How does irony fit into the exploration and resolution of identity issues? † How do we understand "The Simpsons" confrontations with the self and identity in terms of what has been called the postmodern process? 

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