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Not sure where this goes in the intersectional analysis of Father Ted


Not sure where this goes either, but it needs to be said.

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Is she saying she's a low status woman/girl here?

There is some scope ambiguity but men and women is a run-on phrase so low-status covers both. So yes, you're now on LP's same team, SpineyNorman, as a low status male, alongside low status women and girls, hence 'we'.

Low-status men, and especially women and girls, often don't have that expectation. We expect to be forgettable supporting characters
 
She's wrong then. I expect to be the hero in my story. And I am!

Are you writing a story? :confused:

If so, remember: "You cannot be a writer and have writing be anything other than the central romance of your life, which is one thing they don’t tell you about being a woman writer: it’s its own flavour of lonely. Men can get away with loving writing a little bit more than anything else. Women can’t: our partners and, eventually, our children are expected to take priority."
 
She has a degree in english literature from Oxford, yet she insists on reading novels as works about individual heroes and villains. How did she ever pass? I suppose it fits the worldview of 1)glamorous active types able to don different identities at will (the heroes) and 2) those trapped in one passive victim-identity forever (these are who the heroes do their heroing for) and 3) the villains who are really the heroes gone bad, or more accurately, the people who have the same range of identity and action option open to them - the other people with agency.
Have you read James Kelman's Elitism and English Literature? She has pinched it, filleted it of class politics and rendered it through the prism of 30k school and oxford privilege. I could be wrong but the bits about 'heroes' and 'expectations' might not be easily waved away as pure happenstance.
 
What does all this mean, especially this part


It doesn't mean anything, she just makes it up. I don't have an Eng Lit degree from Oxford but if I did I'm sure I would have read Thomas Hardy, Virginia Woolf, George Elliot, Jane Austen, maybe Doris Lessing, Angela Carter, Margaret Atwood, none of whom write forgettable, supporting female characters, and they're just a few off the top of my head. She'll have also done courses in critical theory, probably feminist critical theory, so she's more than capable of more 'sophisticated' analyses. It's almost like she's pretending to be less educated than she is. Why?

And I'd be very surprised if she's read James Kelman. They have nothing in common.
 
It doesn't mean anything, she just makes it up. I don't have an Eng Lit degree from Oxford but if I did I'm sure I would have read Thomas Hardy, Virginia Woolf, George Elliot, Jane Austen, maybe Doris Lessing, Angela Carter, Margaret Atwood, none of whom write forgettable, supporting female characters, and they're just a few off the top of my head. She'll have also done courses in critical theory, probably feminist critical theory, so she's more than capable of more 'sophisticated' analyses. It's almost like she's pretending to be less educated than she is. Why?

And I'd be very surprised if she's read James Kelman. They have nothing in common.

Her point, I think, was that male writers write only forgettable, supporting female characters so from the list it's solely Thomas Hardy who counts but I've never read him so I don't know.
The screenwriters for films which feature this sort of supporting love interest character - only mentions one film though :( - are male.
I think this is the claim, could be wrong.
 
I can't bring myself to watch her, so don't know - since they always get her in has she bothered to do much research? Can she reel off the numbers to cut through the bullshit or is it all just touchy-feely emoting?

no, she was talking about new 7 day waiting period for the dole

key points of attack she didnt know about

seems to work against universal credit, which is supposed to allow people to move in and out of work easily, hard to see how the two schemes can be matched up as they've been described

supposed to be about looking for work first, but impossible to find work with no money to travel to interviews, buy clothes, have haircuts etc

this is an attack on people in work, if you get made redundant you will have to wait for benefits however much NI you've paid etc

perverse incentive - makes it risky for people to take temporary work, she does mention this but only in passing towards the end and without the context of almost all current welfare reforms in practice making it harder for people to take work, this was the magic shut up you stupid tory twat you dont know what your talking about angle and she used it as a throwaway point

instead it was just oh think of the poor people blah blah, and even that she cant do with integrity because she's so fucking posh
 
Her point, I think, was that male writers write only forgettable, supporting female characters so from the list it's solely Thomas Hardy who counts but I've never read him so I don't know.
The screenwriters for films which feature this sort of supporting love interest character - only mentions one film though :( - are male.
I think this is the claim, could be wrong.


She talks about screenwriters but then also talks about stories, fiction in general. She doesn't say anything about male writers specifically when she's doing that. Maybe she just assumes that they're male which is bizarre from a woman who claims to live in world of books and did an Eng Lit degree.

Of course it's true that many male writers still rely on stereotyping for their female characters. It's not exactly news that actors find it hard to get good roles in US films. And I recently tried to read Snow, in which the main character, a poet, goes back to his home town in Turkey all the way from Germany to seek out a woman he used to have feelings for in order to marry her. I haven't figured out why yet apart from that she is beautiful. It pisses me off that 'serious' literature can still be based on a tale of man meets beautiful woman - I think, 'Are you kidding?'

I recognise the stereotype she writes about. I hate it too. It's just that she's not writing about the stereotype, pulling it apart, trying to understand it in it's historical, social context etc. It's just a fantasy, a geek's fantasy, the type of geek who fancies her. She's not writing about how that fantasy comes into being in the head of the geek or why it gets made into a film costing millions to produce because as usual she's not interested in the external world, she's only interested in talking about herself.
 
Her point, I think, was that male writers write only forgettable, supporting female characters so from the list it's solely Thomas Hardy who counts but I've never read him so I don't know.
The screenwriters for films which feature this sort of supporting love interest character - only mentions one film though :( - are male.
I think this is the claim, could be wrong.

You should read Hardy sihhi, if you're making time for fiction it's well worth it.
 
She talks about screenwriters but then also talks about stories, fiction in general. She doesn't say anything about male writers specifically when she's doing that. Maybe she just assumes that they're male which is bizarre from a woman who claims to live in world of books and did an Eng Lit degree.

Of course it's true that many male writers still rely on stereotyping for their female characters. It's not exactly news that actors find it hard to get good roles in US films. And I recently tried to read Snow, in which the main character, a poet, goes back to his home town in Turkey all the way from Germany to seek out a woman he used to have feelings for in order to marry her. I haven't figured out why yet apart from that she is beautiful. It pisses me off that 'serious' literature can still be based on a tale of man meets beautiful woman - I think, 'Are you kidding?'

I recognise the stereotype she writes about. I hate it too. It's just that she's not writing about the stereotype, pulling it apart, trying to understand it in it's historical, social context etc. It's just a fantasy, a geek's fantasy, the type of geek who fancies her. She's not writing about how that fantasy comes into being in the head of the geek or why it gets made into a film costing millions to produce because as usual she's not interested in the external world, she's only interested in talking about herself.

That last para is spot on i think.
 
There are meant to be four basic plots which most stories are based on and I guess that's one of them ...


Once upon a time, Kate travelled hundreds of miles from London to a really small town in the far north of Scotland. It was a painfully slow journey that gave her too much time to worry about whether Dave would marry her. The bus got stuck in a blizzard and she feared she might die. Kate hoped that this journey would be worth it because the last time she saw him he had a terribly nice arse. Stuck in London with writers block she dreamed that his arse would work its magic spell and unleash the poetry beast within. 'Oh, how I hope he'll marry me', she said to herself softly, drawing her blanket closely round her shoulders.
 
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