By Scott F. Stoddart
AMC's episodic drama Mad males has develop into a cultural phenomenon, detailing America's preoccupation with commercialism and snapshot within the Camelot of Sixties Kennedy-era the United States, whereas self-consciously exploring present preoccupations. The 12 serious essays during this assortment provide a large, interdisciplinary method of this hugely proper tv convey, reading Mad males as a cultural barometer for modern matters with consumerism, capitalism and sexism. issues comprise New Historicist parallels among the Sixties and the current day, psychoanalytical techniques to the convey, the self as commodity, and the "Age of Camelot" as an "Age of Anxiety," between others. an in depth solid checklist and episode consultant are integrated.
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Extra resources for Analyzing Mad Men: Critical Essays on the Television Series
Most importantly, these intimate scenes are the only moments when Don seems truly at ease, the only time when Don discusses his past with anyone; there is peace for Don in this impossible relationship, a peace he, like Huck, cannot attain through the “normal” channels presented by society. Ultimately it is Jay Gatsby whom the series so clearly evokes through Don. The farm boy who dreams of achieving more and changes his name, an act that of self-conception that allows him to rewrite his past and enter into a world of money, women and excess that once seemed impossible: this is Don as much as it is Gatsby.
Cooper’s so-called “man without a cross,” free from the outdated European customs carried over to the new world, nevertheless retains the civilization of a more cultivated people, but has adapted to his new environment by appropriating some of the qualities of his “noble” savage friends and companions. He mediates both worlds and grows beyond both, viewing the native Indian on the decline and romantically lost to history and Europe as slowly decaying. America, however, was fresh and burgeoning — and he was the master of this so-called “new” world.
Unnatural” or “monstrous” women, on the other hand, include those who are not angels. 7 The fallen woman is a familiar warning to the Victorian reader, but the plight of this ﬁgure is much farther reaching. Peggy, for example, is merely another in a long literary tradition of fallen women. British letters alone gave rise to infamous eighteenth- and nineteenth-century examples of fallenness: Clarissa, Moll Flanders, Lady Dedlock, Tess Durbeyﬁeld, Ruth, Esther Waters, and the Lady of Shalott (to name just a few).
Analyzing Mad Men: Critical Essays on the Television Series by Scott F. Stoddart