Home > Topic > the portrayal
1 " (on the portrayal of women in literature) Men have had every advantage of us in telling their own story. Education has been theirs in so much higher a degree "
2 " According to Mark, it was a custom of the Roman governor during the feast of Passover to release one prisoner to the Jews, anyone for whom they asked. When Pilate asks the crowd which prisoner they would like to have released—Jesus, the preacher and traitor to Rome, or bar Abbas, the insurrectionist and murderer—the crowd demands the release of the insurrectionist and the crucifixion of the preacher. " Why?" Pilate asks, pained at the thought of having to put an innocent Jewish peasant to death. “What evil has he done?” But the crowd shouts all the louder for Jesus’s death. " Crucify him! Crucify him!" (Mark 15:1–20). The scene is absolutely nonsensical. Never mind that outside the gospels there exists not a shred of historical evidence for any such Passover custom on the part of any Roman governor. What is truly beyond belief is the portrayal of Pontius Pilate—a man renowned for his loathing of the Jews, his total disregard for Jewish rituals and customs, and his penchant for absentmindedly signing so many execution orders that a formal complaint was lodged against him in Rome—spending even a moment of his time pondering the fate of yet another Jewish rabble-rouser. "
3 " from: The Portrayal of Child Sexual Assault in Introductory Psychology Textbooks - Elizabeth J. Letourneau, Tonya C. LewisOne of the central questions surrounding the debate on memories of CSA is how often false or repressed memories actually occur. The APA working group (Alpert et al., 1996) and other experts (e.g., Loftus, 1993a) noted that no reliable method can distinguish between accurate and inaccurate memories. Therefore, no one can determine the prevalence of false or repressed memories. Nevertheless, six texts (30%) implied that false memories occur frequently (see Table 1). Of these, three included the opinionated suggestion that a " witch hunt" may be occurring in which innocent parents are routinely accused of, and then severely punished for, CSA. Two texts suggested that false memories of CSA must occur because an entire support group (the FMSF) has been formed for falsely accused parents. These authors apparently failed to consider that some members of the FMSF may actually have sexually assaulted children but are motivated to appear innocent. (85) "
4 " And against whom is this censorship directed? By way of answer, think back to the big subcultural debates of 2011 – debates about how gritty fantasy isn’t really fantasy; how epic fantasy written from the female gaze isn’t really fantasy; how women should stop complaining about sexism in comics because clearly, they just hate comics; how trying to incorporate non-Eurocentric settings into fantasy is just political correctness gone wrong and a betrayal of the genre’s origins; how anyone who finds the portrayal of women and relationships in YA novels problematic really just wants to hate on the choices of female authors and readers; how aspiring authors and bloggers shouldn’t post negative reviews online, because it could hurt their careers; how there’s no homophobia in publishing houses, so the lack of gay YA protagonists can only be because the manuscripts that feature them are bad; how there’s nothing problematic about lots of pretty dead girls on YA covers; how there’s nothing wrong with SF getting called ‘dystopia’ when it’s marketed to teenage girls, because girls don’t read SF. Most these issues relate to fear of change in the genre, and to deeper social problems like sexism and racism; but they are also about criticism, and the freedom of readers, bloggers and authors alike to critique SFF and YA novels without a backlash that declares them heretical for doing so.It’s not enough any more to tiptoe around the issues that matter, refusing to name the works we think are problematic for fear of being ostracized. We need to get over this crushing obsession with niceness – that all fans must act nicely, that all authors must be nice to each other, that everyone must be nice about everything even when it goes against our principles – because it’s not helping us grow, or be taken seriously, or do anything other than throw a series of floral bedspreads over each new room-hogging elephant.We, all of us, need to get critical.Blog post: Criticism in SFF and YA "
― Foz Meadows
5 " Cabinet is a conscious, explicit attempt to portray the Doctor himself as myth. “He’s a mischief, a leprechaun, a boojum,” says one character, bookseller and collector of incunabula, Syme. “The Doctor is a myth. He’s straight out of Old English folklore, typical trickster figure really.”29 Neither part of an ongoing narrative, nor specifically located within the series’ past, Cabinet is in a position to challenge the portrayal of the Doctor. "
6 " When I was an adolescent in England, at school we had to read 'Death of a Salesman.' I remember feeling incredibly moved by the portrayal of these people and the idea with which Miller broached the whole subject of failure or failed systems, or the way that people are crushed by a system in which they find themselves. "
7 " The irony is that the more specific you are in the portrayal of character, the more like other people you are. In the same way, the more you think about how alone you are in this life, you realise how much a brother and sister everyone else is. "