Garfinkel’s What is Ethnomethodology? explains the concept of ethnomethodology by which it focuses on how people interpret their social reality through their knowledge. People use conversation and gestures or social interactions to retain their sense of reality in each situation. Ethnomethodology refers to how people reflect their activities through errors and examinations of their personal experiences as they become codified; the fragments of social reality become codified through past experiences. The ad hoc becomes part of ethnomethodology since ad hoc means something created for a particular goal that is subjective to change or rejected. Garfinkel mentions that ethnomethodology refers to a study of practical actions that prone to be problematic due to subjective rules given to people. An example to explain ethnomethodology is the jury. The jury determines what decisions to go with on their actions, to determine what may or may not work for desired results. The jury discourses on the evidence of the case and follow the rules they are given by society as a whole. The jury is looking for a rational approach that will function well enough to reach the case’s ultimate decision.
Ethnomethodology seems to focus on what is accountable as a method. This method helps people determine the goals they want to reach by whatever method seems to be accountable enough. The reasoning of the methodology is individualized, which means that it is subjective to each person using to study the social order. The common sense of ethnomethodology is by a person’s common sense of reality and their social reality compared to other people’s social reality. Each person’s social reality differs from personal upbringing and knowledge, by which Garfinkel seems to advocate scholars to recognize how their interpretation is subjective by nature.
The printed advertisement is for a pizza brand called Daiya, which the name Daiya sounds closer to the word dairy. According to babynamewizard.com, the name Daiya is also a Polish feminine name for “gift” or “present”. The ad is from a website called Adsoftheworld.com and published in July 2016 in the United States. I do not know if the ad exists elsewhere. The advertisement’s audience seems general, except its for those want dairy-free, like vegans and lactose-intolerant consumers. The message suggests that the taste of the pizza is exceptional good, by expressing humor. The socio-historical context of the text is that it is part of contemporary consumerism. Cultures differ from each other in advertisements by its signifiers. The ads may focus more on text rather than the image. Some ads may inform readers about the product by its advantages. Other ads may use aesthetic approaches to attract consumers. Ads can use humor or reflective storytelling to get consumers’ attention. It involves using a discourse with dominant ideas. Researchers can use a visual method as a communication tool as “border crossers” (Liebenberg 2009). We can deconstruct the semiotics by searching for its meanings, such as ironies or casual relations. The metaphors can serve as an analogy while metonymy as an association. The relevance of analyzing the ad is to understand what social groups are represented and hailed and their mythologies. Mythology involves associating a product with cultural meaning, as part of the strategy (Tolson 1996). The people representing in advertisements disclose cultural implications through gestures, traits, and fashion. The messages in advertisements reveal implicitly or explicitly cultural values or mythologies.
Syntagmatic Analysis The connotation is a romance novel, and the subject is pizza. The important signifiers are the people, location, and text. The ad seems to be a parody of an actual romance novel called The Princess and her Pirate by Lois Creiman. The couple is holding each other in a romantic pose. The man is feeding his partner a slice of pizza. The woman appears astonished as cheese is stretching from her mouth. The woman is holding a man passively while the man is holding the woman more assertively. They are on the cover of a book, hinting they are fictional people. The book appears to be on a marble table. The title of the book said, “A Yearning Supreme” Below, the book states, “CHEESIER THAN EVER” and features the brand logo, Daiya. The book with the title “Supreme” hints what type of pizza Daiya is advertising to the consumer. The cultural codes refer to romance novels and the medieval era. Romance novels are known to depict covers featuring a heterosexual couple. Romance novels written for and by heterosexual women tend to depict male heroes as hypermasculine, such as expressing dominance in relationships (Allan 2016). The woman appears feminine. Her dressing codes are long hair, white dress, and make-up. The man appears masculine. He has short hair, five-o-clock shadow, muscular, and wears a vest that exposes his chest. He also carries a sword around his waist, indicating protection for the woman. The ad reminds readers of heteronormativity by featuring a heterosexual couple following traditional gender roles. If the roles were switched, such as a muscular woman holding man assertively, the readers might interpret the couple’s gender roles as part of the message, likely humor. The couple appears white and physically fit; it also erases people of color and various body types. Humor is suggested by an ad based on its image and text. The line “CHEESIER THAN EVER” refers to the term cheesy. The term cheesy refers to inadequate quality. Romance novels are often mocked in culture for their book covers and contents. Many romantic covers tend to depict a couple with exaggerated gender expressions. An example is a man having large muscles and the woman expressing passive gestures. The theme of the book is medieval. The clothes and background suggest the book is about a medieval era. The man’s sword symbolizes the era. The castle is shown in the background. The woman’s dress appears medieval due to its sleeves and corset.
Paradigmatic Analysis The central oppositions suggested in the text are the brand and advertisement. Readers can see the logo of the product below the novel. The fonts of the novel appear Edwardian Script, and it is glowing white. The fonts represent the binary of the novel and logo. The font of the novel represents fantasy, while the font below the novel is reality. The couple’s outfits suggest history while outside of the novel is present. History involves the concept of what was then versus now. The realism of the image is subjective to readers. The book cover appears to be a digital drawing rather than a photo and appears hyper-realistic. The logo includes an image of pizza; the image appears to be photo rather than a drawing. Many pizza products feature a photo of pizza as part of the box cover. The oppositions have importance by its symbolic meanings. The pizza in the novel represents the commercial itself. The readers are aware they are looking at an ad. We are reminded that reading fiction is to escape reality. People enjoy reading fiction to relax and experience emotions by its story. The pizza in the book cover signals to readers that eating pizza can be part of our leisure. The cheese dripping out of the woman’s mouth represents how sensual eating pizza can be for people, like kissing. Readers can see the logo, which is also a box cover for the pizza. The image hints readers what the box cover looks like so that they can remember it when they are shopping. If the ad presents its product differently, like just an image of the product within the book cover while a fictional couple is reading the book together, it may not get the reader’s attention. It could indicate pizza as part of daily life, and it could tell readers what they can do if they want pizza by showing them a couple reading about Daiya pizza. A book about Daiya pizza could suggest how the product is interesting enough for people to read a book about it.
Reading Against the Grain The ideological messages endorsed by the advertisement is its simplistic meanings. The ad gives readers simple messages. The image has few lines of words, mainly on humor. Although the pizza states it is dairy-free, with “cheesier than eveR”, implying that its has more cheese than cheese itself, by the brand logo below the novel, the ad lacks further information about the product. I do not know what the exact ingredients nor health benefits of the product presents. The image seems to explicitly encourage readers to only focus more on taste through symbolic messages. The ad also wants readers to associate pizza with romance through a parody of romance novels. Some consumers enjoy romance novels as a form of escapism, as novels allow readers to escape bleak reality by focusing their fantasy. The ad reminds readers how pizza can associate with love life, even it is still fictional. The pizza seems to represent exceptional food by presenting it as a love potion. The woman’s facial and body gestures suggest that she is amazed by its taste. The slice of pizza seems to serve as a kiss from the man. People enjoy reading or watching romantic genres for various reasons. People may desire an ideal partner or sensual moments of stories. The aspect of the reality is that the novel hides are the relationships of the couple. The reader knows the couple as fictional characters in the novel, but we do not know how they met or what happens exactly in the story afterward. The novel subtly reminds readers that it is fictional. The novel itself is not a real novel to buy. It is a fictional-fictional work of art. As the reader, I am looking at the novel lying on the table. The text below the book suggests for me to interpret the novel as cheesy. The term cheesy also makes me think about the cheese itself besides its metaphorical meaning. The social implication of the ad is that I am a savvy consumer. My role in the advertisement is that I am someone looking for healthy food and better cultural taste than those reading those sorts of novels. Enjoyment. The psychological implication of the ad is that the humor of the ad will make me curious about the product. The image also suggests that the quality of food, particularly its cheese, will be part of my motivation to buy it. The camera position I see as a reader is that I am looking at a book. The book is centered, as well as the slice of pizza. The pizza seems to be the main aspect of the image. The pizza appears brighter and seems unusual in a setting like the novel. The pizza appears strange because pizza does not represent the medieval period as caste or sword does. The couples are looking at each other, ignoring the reader. They seem more fixated on each other. The message may be that they are just fictional characters. The reader is focusing on the slice of pizza of the book cover, which is between the couple.
Allan, Jonathan A. “The Purity of His Maleness.” The Journal of Men’s Studies, vol. 24, no. 1, 2016, pp. 24–41., doi:10.1177/1060826515624382. Liebenberg, Linda. “The Visual Image as Discussion Point: Increasing Validity in Boundary Crossing Research.” Qualitative Research, vol. 9, no. 4, 2009, pp. 441–467., doi:10.1177/1468794109337877. Tolson, Andrew. Mediations Text and Discourse in Media Studies. TPB, 1996.
Sociologist Oyèrónkẹ́ Oyèwùmí’s The Invention of Women (1997) discusses the Western notion of gender onto the Yorùbá culture, that presupposes the histories of bodies through the catalog of Other, through body-reasoning (5). The body, a person’s body, is already interpreted by people by our given notions, such as passing. Passing, like passing as cisgender and white, is our collective notion that we accept as natural or universal by suppressing ideas that contradict the hegemonic concept and the concept’s origins. Sex and gender, biology and culture, are one subject rather than opposing forces, as they depend on each other as a comparison, what makes them different from one another. Terms like light and dark, good and evil, men and women are examples of binary hierarchal roles through a Eurocentric perspective. It is what we sense, which differs significantly by methods and knowledge, ranging from biological determinism to postmodernism. Whether they are anti-nativist or nativists, African scholars subconsciously presuppose Western notions onto their African studies (17-27). Their colonized world-sense displays in language, values, identity, and practices.
Oyèwùmí discusses aspects of Yorùbá that are colonized compared to what is not colonized, particularly language since language is a social construction by its functionality, such as reinforcing cultural beliefs. The Yorùbá put strong emphasis on age through their language and kinship, as seniority, is a social ranking, granting the person more authority by their experiences, knowledge, and leadership (40-43). The cognatic marriage in the Yorùbá culture did not affect anyone’s social ranking nor property, as the bride’s partner did not have to be biologically related to their children. Children’s survival was the most important aspect in marriage, as procreation was a crucial part of marriage. Polyamory was accepted for procreation, and postpartum abstinence was encouraged (50-55). The terms obínrin and okùnrin, women and men, do not have the same meaning as the English translation, as there is no social status nor similar cultural components (32-34). Scholars created terms like obínrin and okùnrin to fit the Western notion onto people by assigning gender, a social institution, onto them. A person, a woman of color, becomes colonized twice as the Other by their race and gender. An example is a study on the Yorùbá religion, conducted by researcher Ayodele Ogundipe. Despite being a woman of color, Ogundipe uses inappropriate language, such as portraying the religious followers who are what she describes as females less respectfully than followers who are what she describes as males (168-174). Scholars inventing words that refer to Western terms, like king or daughters, to describe Yorùbá, a genderless culture, for Western translation, creates misinterpretation for the Yorùbá’s culture, along with conscious or subconscious bias. For instance, the gender for Èṣù, a deity, portrays as dualistic and switchable through emotions and personality (173). Worse, the masculine pronouns are ungendered, as default in language, while feminine pronouns are gendered, as part of being the Other (172). The distortion of language recreates the history through collective false memory of the past, enabling colonization by erasing Yorùbá history.
Thus, a marginalized group are more marginalized, subalterns, if they cannot speak, as they are written out in history by those in power, even by intellectuals with good intentions, as they objectify the subalterns through mythicization (de Kock, 1992; 29-47).
How does societal acknowledgment and acceptance for non-binary relate to The Invention of Women? Does non-binary decolonize gender in Western countries?
Oyèwùmí discusses how African societies are often subject to generalization and Western interpretation; in what other ways has this affected other studies or even policies, such as an imperialistic or Eurocentric analysis and strategy on immigration or beauty?
Leon de Kock. “Interview with Gayatri Chakravorty Spivak: New Nation Writers Conference in
South Africa.” Ariel: A Review of International English Literature 23:3 (July 1992): 29-47
Oyèwùmí, Oyèrónkẹ́. The Invention of Women: Making an African Sense of Western Gender