Appropriate the Stereotype: Cultural Appropriations and the Queer, Lesbian, and Gay Spectatorships of Madonna and Martha Stewart
Bibliographic record
Abstract
What do Madonna and Martha Stewart have in common? Outward appearances indicate that they are antithetical paradigms of femininity. Madonna relies upon woman-as-sexual-object (or A¢â¬AwhoreA¢â¬Â) stereotype to engender her success. Stewart dons the mantle of the Angel of the House to propagate a lifestyle founded on domestic fecundity. The similarity between the two lies therein. Both women A¢â¬Atouch upon cultural hot buttonsA¢â¬Â (Lippert 28) through their appropriation (and apparent perpetuation) of feminine stereotypes in their quest for cultural popularity and capital gain. That queer audiences identify with both these seemingly polar figures lends us an opportunity to compare how these (pretty much) mainstream women cultivate (or have been cultivated by) an audience - untapped market - that remains Othered by dominant media. The following analysis will evince how issues of appropriation complicate the gay communitiesA¢â¬â¢ acceptance of Madonna and Martha Stewart. For instance, throughout MadonnaA¢â¬â¢s career, she has appropriated elements of queer culture in numerous projects, such as A¢â¬AVogueA¢â¬Â and A¢â¬AJustify My Love.A¢â¬Â Consequently, two camps of queer theorists debate the A¢â¬AappropriatenessA¢â¬Â of MadonnaA¢â¬â¢s appropriation. Some critics resist her images while others welcome the higher profile she creates for the gay community. Obviously, Martha StewartA¢â¬â¢s relationship with the gay community is constructed differently: a queer audience has appropriated Stewart for its own ends. She represents an Other figure who reinvents institutions, such as the A¢â¬AfamilyA¢â¬Â and certain special occasions. Ultimately, however, in whatever ways the queer community chooses to identify with Madonna and Martha Stewart, it matters little to these popular culture icons. While the women defy easy categorization, they may be understood as superficially divergent cultural icons, pursuing a common goal: sovereign control over career, personal life and capital gain.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.005 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.016 | 0.023 |
| Scholarly communication | 0.010 | 0.005 |
| Open science | 0.001 | 0.006 |
| Research integrity | 0.002 | 0.004 |
| Insufficient payload (model declined to judge) | 0.007 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".