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	<id>https://iskomunidad.upd.edu.ph/api.php?action=feedcontributions&amp;feedformat=atom&amp;user=Jvkitane</id>
	<title>Iskomunidad - User contributions [en]</title>
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	<updated>2026-06-20T12:05:02Z</updated>
	<subtitle>User contributions</subtitle>
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	<entry>
		<id>https://iskomunidad.upd.edu.ph/index.php?title=Romancing_Cultural_Difference&amp;diff=22965</id>
		<title>Romancing Cultural Difference</title>
		<link rel="alternate" type="text/html" href="https://iskomunidad.upd.edu.ph/index.php?title=Romancing_Cultural_Difference&amp;diff=22965"/>
		<updated>2012-03-27T07:48:38Z</updated>

		<summary type="html">&lt;p&gt;Jvkitane: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;ABSTRACT &lt;br /&gt;
&lt;br /&gt;
“Representation is found at the heart of mediation.” (Siapera, 2010) Yet, in the &lt;br /&gt;
context of mediating cultural difference which is inherently complex and  diverse, &lt;br /&gt;
misrepresentations may occur. Hence, one must always ask—are there stereotypes in this &lt;br /&gt;
representation? Does this portrayal contain racist or prejudiced views? &lt;br /&gt;
&lt;br /&gt;
This study questioned the representation of Visayan women in Philippine &lt;br /&gt;
telenovelas from 2007 to 2011, namely MariMar (Philippines), My Girl (Philippines), &lt;br /&gt;
and Agua Bendita. The texts were examined using Critical Discourse Analysis, alongside &lt;br /&gt;
the theories of Representation, Identity, Stereotyping and Hegemony. &lt;br /&gt;
 &lt;br /&gt;
Findings showed that majority of representations portrayed Visayan women as &lt;br /&gt;
members of the lower economic strata, and were either unemployed or working in &lt;br /&gt;
service-oriented positions. They were also portrayed, character-wise, as either irrational &lt;br /&gt;
or servile, justifying the oppression and discrimination exercised by the representations. &lt;br /&gt;
Also, in order to contain difference, the folkloric characteristics, i.e. external symbols of &lt;br /&gt;
culture were highlighted, thus depicting the other as quaint, distant, and picturesque, and &lt;br /&gt;
therefore not threateningly different.  &lt;br /&gt;
&lt;br /&gt;
All these, according to Siapera, belong to certain “regimes of representation,” &lt;br /&gt;
loosely based on Foucault’s (1997) “regimes of truth.” In a nutshell, these regimes denote &lt;br /&gt;
the convergence of certain ideas and discourses with certain power structures and &lt;br /&gt;
mechanisms that sustain such representations. &lt;br /&gt;
&lt;br /&gt;
Kitane, J.O.V. (2012). Romancing Cultural Difference: A Study on the Representation of &lt;br /&gt;
Visayan Women on Philippine Television. Unpublished Undergraduate Thesis, College of &lt;br /&gt;
Mass Communication, University of the Philippines-Diliman. &lt;br /&gt;
 &lt;br /&gt;
Keywords: Visayan, Cultural Diversity, Representation, Stereotyping, Hegemony&lt;br /&gt;
&lt;br /&gt;
[http://iskwiki.upd.edu.ph/flipbooks/Romancing View Thesis]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:CMC Thesis]][[Category:Department of Broadcast Communication Thesis]][[Category:Student Papers]][[Category: Theses]]&lt;/div&gt;</summary>
		<author><name>Jvkitane</name></author>
	</entry>
	<entry>
		<id>https://iskomunidad.upd.edu.ph/index.php?title=Romancing_Cultural_Difference&amp;diff=22964</id>
		<title>Romancing Cultural Difference</title>
		<link rel="alternate" type="text/html" href="https://iskomunidad.upd.edu.ph/index.php?title=Romancing_Cultural_Difference&amp;diff=22964"/>
		<updated>2012-03-27T07:42:59Z</updated>

		<summary type="html">&lt;p&gt;Jvkitane: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;ABSTRACT &lt;br /&gt;
&lt;br /&gt;
“Representation is found at the heart of mediation.” (Siapera, 2010) Yet, in the &lt;br /&gt;
context of mediating cultural difference which is inherently complex and  diverse, &lt;br /&gt;
misrepresentations may occur. Hence, one must always ask—are there stereotypes in this &lt;br /&gt;
representation? Does this portrayal contain racist or prejudiced views? &lt;br /&gt;
&lt;br /&gt;
This study questioned the representation of Visayan women in Philippine &lt;br /&gt;
telenovelas from 2007 to 2011, namely MariMar (Philippines), My Girl (Philippines), &lt;br /&gt;
and Agua Bendita. The texts were examined using Critical Discourse Analysis, alongside &lt;br /&gt;
the theories of Representation, Identity, Stereotyping and Hegemony. &lt;br /&gt;
 &lt;br /&gt;
Findings showed that majority of representations portrayed Visayan women as &lt;br /&gt;
members of the lower economic strata, and were either unemployed or working in &lt;br /&gt;
service-oriented positions. They were also portrayed, character-wise, as either irrational &lt;br /&gt;
or servile, justifying the oppression and discrimination exercised by the representations. &lt;br /&gt;
Also, in order to contain difference, the folkloric characteristics, i.e. external symbols of &lt;br /&gt;
culture were highlighted, thus depicting the other as quaint, distant, and picturesque, and &lt;br /&gt;
therefore not threateningly different.  &lt;br /&gt;
&lt;br /&gt;
All these, according to Siapera, belong to certain “regimes of representation,” &lt;br /&gt;
loosely based on Foucault’s (1997) “regimes of truth.” In a nutshell, these regimes denote &lt;br /&gt;
the convergence of certain ideas and discourses with certain power structures and &lt;br /&gt;
mechanisms that sustain such representations. &lt;br /&gt;
&lt;br /&gt;
Kitane, J.O.V. (2012). Romancing Cultural Difference: A Study on the Representation of &lt;br /&gt;
Visayan Women on Philippine Television. Unpublished Undergraduate Thesis, College of &lt;br /&gt;
Mass Communication, University of the Philippines-Diliman. &lt;br /&gt;
 &lt;br /&gt;
Keywords: Visayan, Cultural Diversity, Representation, Stereotyping, Hegemony&lt;br /&gt;
&lt;br /&gt;
[http://iskwiki.upd.edu.ph/flipbooks/ACaseStudy5217/ View Thesis]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:CMC Thesis]][[Category:Department of Broadcast Communication Thesis]][[Category:Student Papers]][[Category: Theses]]&lt;/div&gt;</summary>
		<author><name>Jvkitane</name></author>
	</entry>
	<entry>
		<id>https://iskomunidad.upd.edu.ph/index.php?title=Romancing_Cultural_Difference&amp;diff=22963</id>
		<title>Romancing Cultural Difference</title>
		<link rel="alternate" type="text/html" href="https://iskomunidad.upd.edu.ph/index.php?title=Romancing_Cultural_Difference&amp;diff=22963"/>
		<updated>2012-03-27T07:41:19Z</updated>

		<summary type="html">&lt;p&gt;Jvkitane: New page: ABSTRACT  Kitane, J.O.V. (2012). Romancing Cultural Difference: A Study on the Representation of  Visayan Women on Philippine Television. Unpublished Undergraduate Thesis, College of  Mass...&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;ABSTRACT &lt;br /&gt;
Kitane, J.O.V. (2012). Romancing Cultural Difference: A Study on the Representation of &lt;br /&gt;
Visayan Women on Philippine Television. Unpublished Undergraduate Thesis, College of &lt;br /&gt;
Mass Communication, University of the Philippines-Diliman. &lt;br /&gt;
 “Representation is found at the heart of mediation.” (Siapera, 2010) Yet, in the &lt;br /&gt;
context of mediating cultural difference which is inherently complex and  diverse, &lt;br /&gt;
misrepresentations may occur. Hence, one must always ask—are there stereotypes in this &lt;br /&gt;
representation? Does this portrayal contain racist or prejudiced views? &lt;br /&gt;
 This study questioned the representation of Visayan women in Philippine &lt;br /&gt;
telenovelas from 2007 to 2011, namely MariMar (Philippines), My Girl (Philippines), &lt;br /&gt;
and Agua Bendita. The texts were examined using Critical Discourse Analysis, alongside &lt;br /&gt;
the theories of Representation, Identity, Stereotyping and Hegemony.  &lt;br /&gt;
 Findings showed that majority of representations portrayed Visayan women as &lt;br /&gt;
members of the lower economic strata, and were either unemployed or working in &lt;br /&gt;
service-oriented positions. They were also portrayed, character-wise, as either irrational &lt;br /&gt;
or servile, justifying the oppression and discrimination exercised by the representations. &lt;br /&gt;
Also, in order to contain difference, the folkloric characteristics, i.e. external symbols of &lt;br /&gt;
culture were highlighted, thus depicting the other as quaint, distant, and picturesque, and &lt;br /&gt;
therefore not threateningly different.  &lt;br /&gt;
All these, according to Siapera, belong to certain “regimes of representation,” &lt;br /&gt;
loosely based on Foucault’s (1997) “regimes of truth.” In a nutshell, these regimes denote &lt;br /&gt;
the convergence of certain ideas and discourses with certain power structures and &lt;br /&gt;
mechanisms that sustain such representations. &lt;br /&gt;
 &lt;br /&gt;
Keywords: Visayan, Cultural Diversity, Representation, Stereotyping, Hegemony&lt;/div&gt;</summary>
		<author><name>Jvkitane</name></author>
	</entry>
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