![]() First, the differences between these two types are discussed in terms of use, interpretation, and misinterpretation. Irony strategies are categorized into two general types, based on the relationship between the expressed and the intended meaning (Type 1: meaning reversal and Type 2: meaning replacement). the inability to recognize ironic utterances. This paper presents a contrastive approach to the presence of two distinct types of verbal irony in real (natural, unscripted) versus fictional (scripted) discourse, with a special focus on irony blindness, i.e. A more complex constellation of representations has evolved in both mainstream and Spanish-language media, among them new platforms for production and resistance, including social media (e.g., Facebook, Instagram, Snapchat), radio podcasts and streaming services (e.g., Hulu and Netflix), and a more active and engaged audience that consumes media in Spanish, English, and even Spanglish. At the start of the 21st century, the idea of Latina/os in media revolved around a handful of Latina/o stars in Hollywood who often performed stereotypical representations, a racialized and marginal Spanish-language radio industry, and two Spanish television networks, Univision and Telemundo. If the notion of media revolves around a technological means of communication, it also encompasses the practices and institutions from within which the Latina/o communities are imagined, produced, and consumed. ![]() It also requires a confrontation with the cultural history of representations and stereotypes of Latina/os, particularly in radio, TV, film, and the internet, and the transnational aesthetics and dynamics of media produced by and/or for Latina/os in the United States. To reflect upon the emergence of the industry is to consider the politics of the labeling of the Latina/o community and the eventual con figuration of a market audience. (Many people watched this as kids and just didn’t get it, until they watched it again years later.) The writers remember this as their first real “watercooler” moment-everyone was claiming to be “master of my domain” the next day, and the expression, like so many from Seinfeld, endures to this day.Developments in contemporary Latina/os media are the result not only of an exponential ly growing Latina/o population in the United States but also of the synergy between trans formations in the global political economy and the emergence of new media platforms for production, distribution, and consumption. ![]() ( Friends producers would later call “no fair!” when they wanted to show an empty condom wrapper and were denied.) Granted, the magic of “The Contest” is that it never uses the word “masturbation” it’s the euphemisms that make it hilarious. When NBC didn’t, they knew they had earned the chance to do anything they wanted. This fourth-season episode also marks one of the few times the writers were worried the network would interfere with their plans. storyline is exceptional, quintessential ’90s New York. This is Seinfeld‘s specialty, making the unspeakable speakable … and funny. They also take a taboo topic and give us a way to talk about it: Those who have held out claim to be “master of my domain” (or, alternatively, “queen of the castle”). This has everything a classic Seinfeld has: Through their contest to see who can go the longest without masturbating, the four characters make the mundane absurd. It’s the rare time when all four characters share one overarching storyline (though each is on his or her own unique journey through it, as ever).
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