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f-reflection, how are we to regard them? What response can we generate? Is it simply an invitation to play and a surrender of any form of critical examination or something else?" 

As he argues, when one's activity is constantly doubted and its constructed and contingent character is made evident, "then daily area as an objectively given self is threatened" (p. 137). With these concerns in meaning, we conclude by examining how the critical issues raised in the beginning of the "Police Cops" phase regarding the self, the media, and consumer culture are resolved. Not surprisingly, the period withdraws from its sophisticated illustrations of the challenges of postmodern culture in habitual and its more specific explorations of dilemmas of the self. It further withdraws from its application of critical postmodern irony to the more soothing romantic judgment of the self-contained and absolute self, as well as to the nostalgic sense that the "traditional" family is a "haven in a heartless area." Let's contemplate at this turn absent from criticism in a bit more naked truth.

A central site of this essay has been that the existence of "The Simpsons" forces media educators to stretch beyond the basic premises of media literacy to confront the postmodern vastness of the series and its postmodern implications for understanding media literacy. To this speck, we focused on two postmodern media representational issues: the relational self and postmodern irony/irony overload. In the conclusion of this phase, it appears that the critical dimension of each of these pedagogical moments is surrendered. 

First, the sense of the relational self is rejected. When Homer turns to Marge as they lie in bed and says "I learned you gotta be yourself," we are comforted with the most obsessively repeated summary of romantic individualism in the vocabulary of habitual culture. The threat of the blurring borders between one's absolute self and one's mediated self is contained. The threat of one's confusion over "who I am" and "what I own" is contained. Moreover, it is contained literally within the confines of the marriage bed, a symbol of the modernist utopia of intimacy between two self-sufficient individuals in a committed Studies in Media & Info Literacy Education, Tome 1, Controversy 1 (February 2001), 1-12 # University of Toronto Press. DOI: 10.3138/sim.1.1.002 9 "relationship." In this modernist judgment, to be in a "relationship" or not to be in a "relationship" is a choice. 

A relationship is not viewed as the inescapable foundation of a "self " with its closest responsibilities, obligations, and joys. The sense of the relational self, which could serve as the rationale for a nonmarket ethic for both personal and social relationships, is lost. Although Homer's final "I learned you gotta be yourself " could further be recite ironically, it stands as the final narrative handhold for the viewer to resolve the phase. Second, the separation of regular and private-particularly in the realm of identity and relationship-is scrupulously maintained. Again, this follows the modernist judgment. Homer's activism 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。