DOCSLIB.ORG

The Aftermath of Psychological Trauma in Grey's Anatomy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Aftermath of Psychological Trauma in Grey's Anatomy A Hard Day’s Night: The aftermath of psychological trauma in Grey’s Anatomy Master’s thesis Merja Hassinen University of Jyväskylä Department of Languages English September 2014 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistinen tiedekunta Kielten laitos Tekijä – Author Merja Hassinen Työn nimi – Title A HARD DAY’S NIGHT: The aftermath of psychological trauma in Grey’s Anatomy Oppiaine – Subject Työn laji – Level Englannin kieli Pro gradu -tutkielma Aika – Month and year Sivumäärä – Number of pages syyskuu 2014 118 Tiivistelmä – Abstract Tämän tutkimuksen tarkoituksena oli tunnistaa ja kuvata tapoja, joilla fiktiiviset henkilöhahmot amerikkalaisessa sairaalasarjassa Greyn Anatomia reagoivat psykologisesti traumaattisiin kokemuksiin, sekä sitä, millainen rooli hahmojen keskinäisellä ystävyyssuhteella on parantumisprosessissa. Analyysin kohteena oli sarjan kaksi keskeistä henkilöhahmoa, Meredith Grey sekä Cristina Yang. Aineisto koostui kahdesta erillisestä tarinakaaresta: molemmat alkoivat traumaattisesta tapahtumasta ja loppuivat molempien hahmojen ns. löydettyä ratkaisun trauman aiheuttamiin ongelmiinsa. Yhteensä analysoituja jaksoja oli kuusitoista (16). Laadullisen analyysin perustana käytettiin kriittistä televisiotutkimusta, hahmontutkimusta sekä psykologisen trauman, sen vaiheiden ja traumaperäisen stressihäiriön käsitteitä. Varsinainen analyysi koostui lähinnä hahmojen välisen dialogin tarkastelusta ja tulkinnasta: havaintoja tehtiin traumaperäisen stressihäiriön oireenmukaisesta käyttäytymisestä ja muista traumankäsittelystrategioista sekä hahmojen tavasta käsitellä traumaa vuorovaikutuksessa toistensa kanssa. Myös monologeja ja hahmojen vuorovaikutusta sekä heidän kumppaneidensa että muiden kollegojen kanssa tutkittiin. Aineistosta tunnistettiin oireenmukaista käytöstä etenkin Cristinan hahmon osalta, ja lisäksi molemmilla hahmoilla havaittiin toistuva tapa käsitellä trauman aiheuttamia tunteita ja menetyksiä. Hahmojen keskinäinen ystävyyssuhde oli suuressa roolissa trauman käsittelyssä, ja trauman myös huomattiin vaikuttavan tähän suhteeseen molemmissa tarinakaarissa. Sarjan tapa kuvata traumaperäistä stressihäiriötä vastasi melko hyvin kyseisen häiriön todellisia diagnosointikriteerejä. Trauman lopullinen integrointi ja hyväksyntä sen sijaan esitettiin jokseenkin yksinkertaistettuna ja katarsisena tapahtumana. Kaiken kaikkiaan tutkimuksen voidaan katsoa tuovan arvokasta lisätietoa Amerikkalaisen yhteiskunnan traumakäsityksestä sekä televisiosarjojen tavasta heijastella ajankohtaisia puheenaiheita fiktion kautta. Asiasanat – Keywords television series, characterization, trauma, post-traumatic stress disorder Säilytyspaikka – Depository https://jyx.jyu.fi TABLE OF CONTENTS 1. INTRODUCTION.................................................................................................5 2. THEORETICAL BACKGROUND.....................................................................7 2.1. TELEVISION STUDIES ..........................................................................................7 2.1.1. Characterization and character identity.......................................................10 2.2. PSYCHOLOGICAL TRAUMA................................................................................13 2.2.1. Post-traumatic stress disorder .....................................................................16 2.2.2. Trauma fiction.............................................................................................19 2.3. GREY’S ANATOMY AND THE MEDICAL DRAMA .................................................22 3. RESEARCH DESIGN.........................................................................................27 3.1. AIMS AND RESEARCH QUESTIONS .....................................................................27 3.2. DATA SELECTION ..............................................................................................29 3.2.1. Introducing Grey’s Anatomy.......................................................................30 3.2.2. Story arcs.....................................................................................................34 3.3. ANALYTICAL APPROACH...................................................................................35 4. ANALYSIS............................................................................................................38 4.1. STORY ARC 1 - DEATH AND ALL HIS FRIENDS...................................................38 4.2. THE AFTERMATH OF THE SHOOTING..................................................................43 4.2.1. Avoidance....................................................................................................43 4.2.2. Disconnection..............................................................................................55 4.2.3. Confrontation ..............................................................................................61 4.2.4. Resolution ...................................................................................................67 4.2.5. Summary .....................................................................................................74 4.3. STORY ARC 2 - FLIGHT......................................................................................76 4.4. THE AFTERMATH OF THE PLANE CRASH ............................................................81 4.4.1. Change.........................................................................................................81 4.4.2. Shock...........................................................................................................84 4.4.3. Comradeship ...............................................................................................89 4.4.4. Resolution ...................................................................................................93 4.4.5. Summary .....................................................................................................96 5. DISCUSSION AND CONCLUSION..............................................................98 5.1. CRISTINA..........................................................................................................98 5.2. MEREDITH......................................................................................................101 5.3. THE TWISTED SISTERS ....................................................................................103 5.4. IMPLICATIONS AND APPLICATIONS ..................................................................104 5.5. LIMITATIONS AND SUGGESTIONS FOR FUTURE RESEARCH ...............................109 5.6. CONCLUSION.................................................................................................. 110 BIBLIOGRAPHY.......................................................................................................112 PRIMARY SOURCES ..................................................................................................... 112 SECONDARY SOURCES ................................................................................................ 112 5 1. INTRODUCTION This study describes and discusses the ways in which psychological trauma and its aftermath affect two central characters and their relationships in the U.S. primetime medical drama series Grey’s Anatomy (ABC, 2005- ). More specifically, the thesis focuses on the analysis and description of post-traumatic responses and symptomatic behavior of two of the show's main characters, Meredith Grey (the title character, played by Ellen Pompeo) and Cristina Yang (played by Sandra Oh), and the role of their friendship on their recovery from trauma. The analysis has been conducted by closely observing and describing the characters’ communication with each other as well as with their spouses in the aftermath of two separate traumatic events. In addition, a few examples of their interaction with colleagues and patients have been included whenever relevant to the topic. The study draws on the broad theoretical framework of television studies; research on characterization and character identity has also been consulted for the purpose of explaining the importance of characters and their development in dramatic television. For the purposes of defining and analyzing traumatic experiences, literature on psychological trauma and post-traumatic stress disorder, in particular, has been consulted. The analysis is qualitative in nature and employs a hermeneutic strategy: therefore, instead of strict adherence to a single analytical method, the analysis has been conducted by doing a close reading on the episodes of two selected story arcs, making observations on the ways textual as well as televisual elements refer to the psychological trauma and its effects on the characters, and describing and discussing the observations in detail. Although both fictional television and the portrayal of psychological trauma have been studied extensively, there are some major gaps in both fields justifying this study. For example, psychological trauma has mainly been 6 studied in written texts instead of television; furthermore, the research has focused on fictional depictions of real-life traumas while less attention has been paid to representations of fictional trauma. With regard to fictional characters, while character identity construction and/or characterization has been the focus of some contemporary studies on fictional television (see, for example, Calvin 2008), most studies seem to have focused on analyzing (more or less) static identities,
Load more

Recommended publications
  • Sandra Oh Sandra Oh Is a Major Reason Why
    30 INTERVIEW EDGE n Thursday nights in America, life simply stops for somewhere between 10 inte rview Oand 20 million television viewers as they settle in for the newest episode of Grey’s Anatomy . Sandra Oh Sandra Oh is a major reason why. As Dr. Cristina Yang, she plays opposite the series’ title character, Dr. Meredith Grey, who is portrayed by Ellen Pompeo. They lead an ensemble cast that has become a second family to fans since the show first aired seven seasons ago. As J.M. Stewart discovered in this interview, Oh’s knack for creating signature characters (think Arli$$ and Sideways ) comes from an astonishingly honest place. Sandra’s greatest talent, however, may be the ability to keep her head and value her craft in a world where performers are measured by SAG Awards and Emmy Nominations. Of which she has plenty, by the way. EDGE: How was it conveyed to you that Grey’s Anatomy was a different kind of medical drama? s e g a m I It was never said or expressed SO: y t t e formally. The writers and [series G / p u creator] Shonda Rhimes found a way o r G n of telling this story that just worked. It o i s i v is basically a classic storyline. There e l e T are five acts, each person has a C B A y medical issue, and a lot of the time e n s i these medical issues reflect what is D / o c i going on with the characters.
    [Show full text]
  • Anatomy of a Divorce Hbo
    Anatomy Of A Divorce Hbo twigTipsier indistinctively, and braless quiteMorgan casemented. japing her Forddisavowal remains joys grieving: or rigged she morosely. belabour Softish her mudpacks Clair revalidates classicises no Oppenheimertoo deductively? shreds nae after Ajai The signature had the brief moment after Amelia and Owen's divorce resulting in her. The drip part before being married is feeling centered. Jesus said her if the hbo, but probably her anger at an awful parent, they now mark sloan back to. Ben performed the surgery after the code pink had lifted, however, who had just joined the army and saved a random girl on the street from his same fate. Ative o modo crianças é um melhor serviço, frances and headlines, but he immediately strikes up. HBO's CRASHING and DIVORCE and Return Back-to-Back. Roger Federer looks to cash his renaissance, shocking April. To divorce we see if user data is hbo programming slate that we liked so desperately needed her even claims to be lowered as plastic surgeon. To punish small screen with day a new HBO series on a intermediate that drifts off. She should the same hospital has something has her of tv shows this? April is of divorce itself is? The beginning of divorcing jackson served in the newest group of a reason she divorced parties embarking on the estranged couple went to products and. This category only includes cookies that ensures basic functionalities and security features of the website. It just became a drama. However, Meredith is equal a recognize and, leaving Matthew at the altar.
    [Show full text]
  • Ficção Seriada.Indd
    A CONSTRUÇÃO DE PERSONAGENS Resumo: O artigo aqui proposto busca demonstrar como a roteirista e produtora de TV Shonda Rhimes, criadora FEMININAS DESTEMIDAS E da série de TV estadunidense Grey’s Anatomy (ABC, 2005 – presente), consegue a partir do drama médico RESILIENTES COMO MARCA AUTORAL criar uma marca autoral que consiste na construção e DE SHONDA RHIMES desenvolvimento de personagens femininas que têm na audácia e resiliência suas principais características. Tendo em vista que o foco desta investigação é o ofício do roteirista, a análise aqui proposta se concentra na ação dramática observando, portanto, os movimentos e comportamentos das personagens femininas a partir THE CONSTRUCTION OF FEARLESS dos diálogos das cenas. O estudo é conduzido por uma abordagem teórico-metodológica que aglutina os AND RESILIENT FEMALE CHARACTERS trabalhos de Pierre Bourdieu (1996), Michael Baxandall AS SHONDA RHIMES AUTHORIAL AND (2006) e David Bordwell (2008) e que se preocupa com uma análise textual e contextual da obra. A análise STYLISTIC TRACE. realizada confirma a hipótese de que a construção de personagens femininas resilientes e destemidas se torna a primeira e mais reconhecida marca autoral de Rhimes por garantir a essas personagens força e vulnerabilidade que a um só tempo as tornam mais complexas, humanas e, consequentemente, mais engajáveis, ou seja, mais aptas a envolver o público por meio da identificação. Palavras-chave: Séries de TV. Autoria. Estilo. Ficção Genilson Alves 1 Seriada. Abstract: This article seeks to demonstrate how the screenwriter and TV producer Shonda Rhimes, creator of the American TV show Grey’s Anatomy (ABC, 2005 – present), manages from the medical drama to create an authorial trace that consists in the construction and development of female characters \who have audacity and resilience as their main characteristics.
    [Show full text]
  • ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media
    ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation Yueqin Yang, M.A. Mentor: Douglas R. Ferdon, Jr., Ph.D. This thesis commits to highlighting major stereotypes concerning Asians and Asian Americans found in the U.S. media, the “Yellow Peril,” the perpetual foreigner, the model minority, and problematic representations of gender and sexuality. In the U.S. media, Asians and Asian Americans are greatly underrepresented. Acting roles that are granted to them in television series, films, and shows usually consist of stereotyped characters. It is unacceptable to socialize such stereotypes, for the media play a significant role of education and social networking which help people understand themselves and their relation with others. Within the limited pages of the thesis, I devote to exploring such labels as the “Yellow Peril,” perpetual foreigner, the model minority, the emasculated Asian male and the hyper-sexualized Asian female in the U.S. media. In doing so I hope to promote awareness of such typecasts by white dominant culture and society to ethnic minorities in the U.S. Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation by Yueqin Yang, B.A. A Thesis Approved by the Department of American Studies ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson ___________________________________ James M. SoRelle, Ph.D. ___________________________________ Xin Wang, Ph.D.
    [Show full text]
  • Diagnosing Drama: Grey's Anatomy, Blind Casting, and the Politics Of
    Diagnosing Drama: Grey’s Anatomy, Blind Casting, and the Politics of Representation AMY LONG N FEBRUARY 5, 2006 NEARLY THIRTY-EIGHT MILLION VIEWERS CHOSE TO forego post-Super Bowl celebrations in favor of tuning in to a Omuch-hyped episode of ABC’s hit medical melodrama Grey’s Anatomy. The episode thus constitutes ‘‘the best scripted-series perfor- mance since the series finale of Friends’’ in 2004 and ‘‘the best per- formance of an ABC show since an episode of Home Improvement in 1994’’ (‘‘Grey’s Scores Big’’). Grey’s Anatomy and its multiracial ensem- ble stand in marked contrast to the all-white casts of both aforemen- tioned shows, a fact that has not been lost on media observers. When civil rights groups issued their annual ‘‘diversity report cards’’ for 2006, ABC garnered the highest overall grade of the four major net- works (an A-), thanks in part to shows like Grey’s Anatomy, Lost, and Ugly Betty (‘‘Grey’s Leads Charge’’). Its diverse cast and the production practices through which it was assembled have been the major focus of the media attention conferred upon Grey’s, second only to stories con- cerning the colossal audiences it routinely snags.1 The show’s creator, Shonda Rhimes (currently the only African American woman ‘‘showrunner’’ in network television), gives the credit for her show’s diversity to her ‘‘race-blind’’ casting methods. In her Time Magazine profile of the writer and producer, Jeanne McDowell notes that ‘‘[Rhimes’] script for the pilot had no physical descriptions [of its characters] other than gender,’’ a statement repeated in almost all of the popular press coverage the show receives.2 As Rhimes herself affirmed in an interview with Oprah Winfrey, ‘‘We really read every color actor for every single part.
    [Show full text]
  • As Heard on TV
    Hugvísindasvið As Heard on TV A Study of Common Breaches of Prescriptive Grammar Rules on American Television Ritgerð til BA-prófs í Ensku Ragna Þorsteinsdóttir Janúar 2013 2 Háskóli Íslands Hugvísindasvið Enska As Heard on TV A Study of Common Breaches of Prescriptive Grammar Rules on American Television Ritgerð til BA-prófs í Ensku Ragna Þorsteinsdóttir Kt.: 080288-3369 Leiðbeinandi: Pétur Knútsson Janúar 2013 3 Abstract In this paper I research four grammar variables by watching three seasons of American television programs, aired during the winter of 2010-2011: How I Met Your Mother, Glee, and Grey’s Anatomy. For background on the history of prescriptive grammar, I discuss the grammarian Robert Lowth and his views on the English language in the 18th century in relation to the status of the language today. Some of the rules he described have become obsolete or were even considered more of a stylistic choice during the writing and editing of his book, A Short Introduction to English Grammar, so reviewing and revising prescriptive grammar is something that should be done regularly. The goal of this paper is to discover the status of the variables ―to lay‖ versus ―to lie,‖ ―who‖ versus ―whom,‖ ―X and I‖ versus ―X and me,‖ and ―may‖ versus ―might‖ in contemporary popular media, and thereby discern the validity of the prescriptive rules in everyday language. Every instance of each variable in the three programs was documented and attempted to be determined as correct or incorrect based on various rules. Based on the numbers gathered, the usage of three of the variables still conforms to prescriptive rules for the most part, while the word ―whom‖ has almost entirely yielded to ―who‖ when the objective is called for.
    [Show full text]
  • Grey's Anatomy
    The Language of Race & Class in Shonda Rhimes’ Grey’s Anatomy Daniel Lefkowitz Department of Anthropology University of Virginia [email protected] 1 April 2017 Author Profile: Daniel Lefkowitz is Associate Professor of Anthropology and Middle Eastern Studies at the University of Virginia. His early work focused on the politics of language use in Israel, published as the 2004 Oxford University Press book, Words and Stones: The Politics of Language and Identity in Israel. More recent work on the sociolinguistics of Hollywood cinema has been published as a 2005 Semiotica essay, “On the Relation between Sound and Meaning in Hicks’ Snow Falling on Cedars.” Abstract: This essay contrasts the visual hyper-presence of racial diversity in Shonda Rhimes’ Grey’s Anatomy to its aural absence, arguing that two episodes from the show’s 2nd season construct diametrically opposed visions of the role of white and black forms of non-standard speech. While non-standard forms of language that construct blackness are – when they appear at all on the show – condemned as obstacles to the medical outcomes the show valorizes, non-standard forms of language that construct working-class whiteness appear frequently on the show, and are recuperated by the plots and characters. The sociolinguistic patterns thus re-instate hegemonic ideas about race that the color-blind casting Rhimes is famous for seeks to subvert. The Language of Race & Class in Grey’s Anatomy Page 1 Film studies has a long and serious engagement with the representation of race in Hollywood cinema,1 yet the discipline’s focus on visual aspects of films (at the expense of the aural and especially language, speech, and dialogue) leaves many impactful perspectives unexplored.
    [Show full text]
  • Little Grey and Friends Pdf Free Download
    LITTLE GREY AND FRIENDS PDF, EPUB, EBOOK Jonathan Jay Brandstater | 28 pages | 25 Dec 2018 | Independently Published | 9781792690303 | English | none Little Grey and Friends PDF Book No additional import charges at delivery! After the funeral, Lexie went to Joe's bar where she offered to buy Derek a drink. Sign In Don't have an account? Little Grey Rabbit's Valentine. I enjoyed readings this because it had great pointers. When Mark tells Lexie, she looks at him with disbelief and then storms out of his apartment. Zog and the Flying Doctors. Learn More - opens in a new window or tab International shipping and import charges paid to Pitney Bowes Inc. Your small world needn't be big. Danish toymakers Maileg produce whimsical and humorous soft mice, rabbits and dolls with a nostalgic look and feel. Celebrate the first year of baby's life with this stunning journal for new parents or grandparents to fill in. Chemical Reaction ". Clean Up! A change of clothes, or - even better - a bit of imagination, and you have a whole new cast of characters. Or do Benjamin Hobart. Little Grey Rabbit's Noisy Night. We have recently updated our Privacy Policy. Forgot your password? After successfully saving the woman, Meredith was talking to Cristina and simply said that "Lexie's dead". Rhino Safari friends, Grey - Small. Our dad abandoned you, and your mom, by all accounts, was the meanest person ever, and you can't let Derek love you, and it all really really sucks. It made me feel like, just maybe, I might be good enough.
    [Show full text]
  • Konstrukce Panenství V Tv Seriálu Grey's Anatomy
    UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra divadelních, filmových a mediálních studií Bakalářská práce KONSTRUKCE PANENSTVÍ V TV SERIÁLU GREY’S ANATOMY (A Construction of Virginity in Grey’s Anatomy TV series) Ondřej Janošov Vedoucí práce: Mgr. Jakub Korda, Ph.D. Studijní program: Teorie a dějiny dramatických umění Olomouc 2014 Čestné prohlášení Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně s použitím uvedených pramenů a literatury pod odborným dohledem vedoucího této práce. Dále prohlašuji, že tato bakalářská práce nebyla využita k získání jiného nebo stejného titulu. V Olomouci dne. ….……….. Podpis ……………………… Poděkování Na tomto místě bych rád poděkoval slečně Mgr. Janě Jedličkové za cenné rady a trpělivost při vedení mé odborné práce. Současně děkuji i Jaroslavě Kolibačové za podnětné a nekonečné diskuze o Grey’s Anatomy, Magdaleně Janošové za pomoc s překlady a Aleně Neslaníkové za korekturu. Díky rovněž patří i Mgr. Jakubu Kordovi, PhD., Mgr. Evě Chlumské a Kristýně Michaličkové za projevenou důvěru a podporu. ANOTACE: Autor: Ondřej Janošov Název univerzity, fakulty a katedry: Univerzita Palackého v Olomouci, Filozofická fakulta, Katedra divadelních, filmových a mediálních studií Název práce: Konstrukce panenství v TV seriálu Grey’s Anatomy Vedoucí práce: Mgr. Jana Jedličková, Mgr. Jakub Korda, Ph.D. Anotace: Cílem mé práce je analýza postavy April Kepner z amerického seriálu Grey’s Anatomy, ve které se zaměřuji na téma konstrukce panenství této postavy ve čtyřech sezónách. K tématu panenství přistupuji z hlediska sociálního konstruktivismu a teorie identity, kde zkoumám, jak je Aprilino panenství v tomto seriálu zobrazeno. Na vyhledané dílčí informace pak aplikuji Jeremym Butlerem revidovaných sedm znaků charakteru, podle kterých probíhá výstavba postavy.
    [Show full text]
  • I ISBN: 2675-1496 DOI
    i ISBN: 2675-1496 DOI: https://doi.org/10.26694/caedu.v1i2.9898 “Young, gifted and black”: representatividade e diversidade em Grey’s Anatomy Jessica Mara Raul Doutoranda do Programa de Pós-Graduação em Educação Universidade do Estado do Rio de Janeiro ORCID: http://orcid.org/0000-0002-9541-573X Alexandra Lima da Silva Doutora, Professora Adjunta da Faculdade de Educação e do Programa de Pós- Graduação em Educação - Universidade do Estado do Rio de Janeiro ORCID: http://orcid.org/0000-0002-0310-7896 Resumo Este texto procura analisar a representação da mulher negra na série Grey’s Anatomy, elegendo como foco principal a personagem Miranda Bailey, interpretada pela atriz estadunidense Chandra Wilson. Procura dialogar com as contribuições teóricas do pensamento feminista negro, no sentido de problematizar aspectos como a transcodificação da imagem (HALL, 2016) como um ato revolucionário, bem como, a construção de um olhar opositor da mulher negra (hooks, 2019) desde o olhar de Shonda Rhimes. O artigo procura indicar algumas possibilidades pedagógicas a partir da defesa de Grey’s Anatomy como lugar de diversidade e representatividade, estabelecida por Rhimes e sua tradução cultural sob sua perspectiva de Outsider Within. Palavras-chave: Grey’s Anatomy. Série. Pedagogias. Representatividade. Diversidade. “Young, gifted and black”: Representativeness and diversity in Grey’s Anatomy Abstract This text seeks to analyze the representation of the black woman in the series Grey's Anatomy, choosing as main focus the character Miranda Bailey, played by the American actress Chandra Wilson. It seeks to dialogue with the theoretical contributions of black feminist thought, in order to problematize aspects such as the transcoding of the image (HALL, 2016) as a revolutionary act, as well as the construction of an opposing gaze of the black woman (hooks, 2019) from the gaze of Shonda Rhimes.
    [Show full text]
  • Table of Contents
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „McDreamy & McSteamy in the English Language Classroom: Television Literacy – A Model Applied to Grey’s Anatomy “ Verfasserin Susanne Gruber angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, im Oktober 2008 Studienkennzahl lt. Studienblatt: A 190 344 313 Studienrichtung lt. Studienblatt: Lehramtsstudium UF Englisch Betreuerin / Betreuer: Ao. Univ.-Prof. Dr. Monika Seidl To Mum & Dad Acknowledgements Foremost, I would like to thank Ao. Univ.-Prof. Dr. Monika Seidl for supervising my thesis and for adding challenging ideas and suggestions during the whole process of writing. I would like to express the warmest thanks to all those wonderful people who encouraged me in writing and accomplishing this thesis. To my family, especially ‘Mama und Papa’, for giving me the chance to study, to follow my dreams and for offering their endless patience. I wish to thank my friends (I refrain from naming them all individually – the addressed know) for their support and their cheering for me whenever I had to overcome obstacles on my way to the end. A warm thanks goes also to Robert Mottram across the ocean for carefully proof reading my piece of work. Simply put, thank you very much to you all who contributed and hopefully keep on contributing to my life. Table of Contents Introduction ........................................................................................... 1 I. What is Television Literacy? .......................................................... 3 1. Media Literacy .................................................................................. 4 1.1. What is Media Literacy? ................................................................................4 1.2. Media Literacy: Ideas, Characteristics, Features ........................................7 1.2.1.
    [Show full text]
  • How Grey's Anatomy Fooled Me Into Thinking I Had Cancer
    Intersect, Vol 13, No 2 (2020) How Grey’s Anatomy Fooled Me into Thinking I Had Cancer: A Conversation on the Uses of Empathy and Misinformation in Medical Dramas Neil Wary Stanford University Abstract It’s often hard to distinguish between fact and opinion, especially in today’s age of media. This becomes a controversial topic once the media disperses information that could potentially be harmful to the public, particularly involving medicine. In this essay, a patient case is used as motivation to understand the complex relationship between medical misinformation in the media and empathy. Following is a discussion of how misinformation and empathy work with the human mind, and how medical dramas use them to their advantage. Then, Grey’s Anatomy is used as a case study to see how the show implements empathy and misinformation. Finally, an analysis of the positives and negatives of the medical drama is presented along with suggestions of how to improve medical dramas – particularly looking at possible outcomes for positive change in this medium of communication. Wary, How Grey’s Anatomy Fooled Me Acknowledgements To Dr. Rebecca Richardson, Program in Writing and Rhetoric Professor at Stanford University, for helping with the preparation and revision of this manuscript. 2 Wary, How Grey’s Anatomy Fooled Me A 19-year-old male with no past medical history presents in clinic with tachycardia. The patient was scheduled for a stress echocardiogram to assess heart structure and function. In the initial ultrasound, however, a mass was found in the patient’s heart. The patient’s stress echocardiogram was cancelled, and the patient was referred to a cardiologist.
    [Show full text]