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Journal articles on the topic 'The Bridgertons series'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Pokulevska, Anna, and Anzhelika Nazaryan. "The transformation of contextual substitution in the translation of Julia Quinn's «The Duke and I» into German and Ukrainian: a comparative aspect." Bulletin of Luhansk Taras Shevchenko National University, no. 2 (361) (2024): 120–26. http://dx.doi.org/10.12958/2227-2844-2024-2(361)-120-126.

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The translation of German fiction is an urgent problem in Ukrainian translation studies today. Difficulties that arise in the process of translating German-language literature are primarily related to the ambiguity of German words. The translator should strictly adhere to the general theme of the text, the author’s style, and take into account the fact that there are almost no pure translation analogues. The events of the Bridgertons series of novels take place between 1813 and 1827, a collection of eight novels, each featuring one of the eight children of the Earl of Bridgerton. The first boo

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Herencia Grillo, Amalia. "¿Una oportunidad perdida? Multiculturalismo y razas invisibles en The Bridgertons." Textos, plataformas y dispositivos. Nuevas perspectivas para el análisis del discurso 9, no. 18 (2022): 291–312. http://dx.doi.org/10.24137/raeic.9.18.13.

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El cine y la televisión son medios de comunicación cuyo alcance permite contar historias, reflejar ideas, retratar sociedades y establecer debates en torno a diferentes temas como el multiculturalismo. A través del análisis de una serie como The Bridgertons (Shondaland, 2020), en la que la raza de sus actores no está asociada a la de los personajes que representan, queremos comprobar si este hecho supone un apoyo o un escollo al concepto de la invisibilidad de la raza como soporte del multiculturalismo. Para esto, realizamos un recorrido por el papel desarrollado por actores de razas minoritar

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Nayubi, Bhatia, and Gurpyari Bhatnagar Dr. "Bridging Romance and Representation Through Colour Blind Casting in the Bridgerton Series." Context 12, no. 3 (2025): 67–76. https://doi.org/10.5281/zenodo.15545147.

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The research paper examines <em>Bridgerton</em> as a transformative case study in adaptation and inclusive casting. The paper argues that <em>Bridgerton's</em> casting reshapes traditional narratives and challenges dominant representations in historical romance by analysing how the Netflix adaptation departs from Julia Quinn's original novel series. While Quinn's novels reflect the racial homogeneity typical of Regency-era fiction, the series reimagines the aristocratic world by integrating Black and Brown characters into the upper echelons of society. Bridgerton disrupts the Eurocentric frame

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Arjomand, Minou. "Performative Casting: Bridgerton from Regency Romance to Social Media." Journal of Dramatic Theory and Criticism 39, no. 1 (2024): 73–92. https://doi.org/10.1353/dtc.2024.a951645.

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Abstract: On January 6, 2021 Vikings, Roman gladiators, and American Revolutionary soldiers invaded the US Capitol Building. Meanwhile, Bridgerton , a Regency romance with a multiracial cast, became the most-watched Netflix series of all time. The series also inspired extensive user-generated social media content: on TikTok alone, #Bridgerton has 13.5 billion views as of this writing, more than an average of one and a half views per person on Earth. How can we understand this costume drama and its digital and live reenactments in relation to the white nationalist cosplay of January 6? Taking u

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Wyatt, Bethany. "‘You wish to follow your heart, and I wish to nurture my mind’: The figures of the spinster and widow in Bridgerton." Journal of Popular Television, The 11, no. 1 (2023): 45–53. http://dx.doi.org/10.1386/jptv_00092_1.

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As a romantic drama fictionalizing the Regency marriage mart, Bridgerton () is a series which privileges women’s experiences. From the debutantes entering society, to their ‘ambitious mamas’, feminine narratives play out across the two seasons which have aired to date. Warranting particular attention are the figures of the widow and the ‘spinster’, whose representations this article explores. Bridgerton’s widows are presented as dynamic characters at the centre of their families and the ‘bon ton’, embodying the freedoms elite widows could enjoy. In contrast, the spinster is a topic of (negativ

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Gruber, Janelle L. H., and Valerie Lynn Schrader. "Burkean Identification and the “Ton:” A Thematic Analysis of the Netflix Series Bridgerton." Pennsylvania Communication Annual 79, no. 1 (2023): 53–75. http://dx.doi.org/10.5840/pcaa20237915.

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Bridgerton, a popular Netflix series produced by Shonda Rhimes and Chris Van Dusen, has garnered attention, much of which has been positive, for its diverse, color-conscious casting. Differing from the books on which it has been based, the Netflix series in-cludes main characters of various ethnicities, though it maintains its original storylines that often concern issues of class in the Regency era. In this analysis of the first two seasons of Bridger-ton, we argue that Bridgerton’s success is connected to its ability to create consubstantiality between its characters and viewers. We apply Ke

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Ivanova, A., and A. Poiasnyk. "STRATEGIES OF TRANSLATING OBSOLETE VOCABULARY AND PRESERVING HIGH STYLE IN UKRAINIAN TRANSLATION (BASED ON THE MATERIAL OF J. QUINN’S BRIDGERTONS NOVEL SERIES)." International Humanitarian University Herald. Philolog, no. 72 (2025): 218–21. https://doi.org/10.32782/2409-1154.2025.72.48.

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Angelia, Ni Putu Putri, and Agus Darma Yoga Pratama. "LANGUAGE BY GENDER IN AUDIOVISUAL ON BRIDGERTON SERIES." IJOLTL (Indonesian Journal of Language Teaching and Linguistics) 8, no. 1 (2023): 24–49. https://doi.org/10.30957/ijoltl.v8i1.726.

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This research aimed to find out womenâ€™s language features that used by female characters in Bridgerton series and how expressions affect in women language. This research used Lakoffâ€™s theory (1975) on womenâ€™s language features and Bakerâ€™s theory (2001) on semiotic channels. This research was using descriptive qualitative method and used note-taking as a technique to find the data. There were nine out of ten types of women language features used by female characters in Bridgerton Series. From ten womenâ€™s language features mentioned by Lakoff (1975), only nine women's language features

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Rahman, Aulia Afifa, Pratiwi Nur, and Muh Hasbi. "SEMIOTIC ANALYSIS OF THE REPRESENTATION OF RACISM IN THE SERIES QUEEN CHARLOTTE: A BRIDGERTON STORY." ELITERATE : Journal of English Linguistics and Literature Studies 4, no. 2 (2025): 202. https://doi.org/10.26858/eliterate.v4i2.74084.

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The purpose of this study is to describe the representation of race through movie scenes according to Roland Barthes' semiotic analysis and to reveal the message conveyed through audiovisual materials from the representation of race in the series Queen Charlotte: A Bridgerton Story. This research uses a qualitative approach with the Roland Barthes semiotic analysis method. The subject analyzed in this research is the series Queen Charlotte: A Bridgerton Story by Julia Quinn. The data collection techniques used are documentation and case studies regarding the content contained in the series Que

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Amani, Adibah Saesa, and Ni Luh Putu Setiarini. "Expressive Illocutionary Speech Acts Used in Queen Charlotte: A Bridgerton Story Series." JEdu: Journal of English Education 3, no. 3 (2023): 230–39. http://dx.doi.org/10.30998/jedu.v3i3.9727.

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This research discusses expressive speech acts identified in the Queen Charlotte: A Bridgerton Story series. The objective of this research are to find out the types of expressive speech acts and the most dominant types of expressive speech acts used in the Queen Charlotte: A Bridgerton Story series. The method used in this research was descriptive-qualitative. This research used theory from Searle and Vanderken (1985) to analyze the data. The data in this study were obtained from the utterances used by the character in Queen Charlotte: A Bridgerton Story. The results of this research showed t

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Froide, Amy M. "The history behind Bridgerton." Journal of Popular Television, The 11, no. 1 (2023): 55–60. http://dx.doi.org/10.1386/jptv_00093_1.

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While the Bridgerton () series does not present itself as historically accurate, shows set in the past always lead to historical questions. In this article I argue for using fictional historical series as a tool in the classroom and to engage with the public. Bridgerton is a useful entrée into topics it emphasizes, such as the British aristocracy, fashion and design, courtship and marriage and the British colony of India, as well as those that it ignores: male monarchy, patriarchy, singleness and Atlantic slavery.

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Handayani, Sartika. "Casual and Intimate Style Uttered by Eloise Bridgerton in “Bridgerton 2” TV Series." Humanitatis : Journal of Language and Literature 9, no. 2 (2023): 307–18. http://dx.doi.org/10.30812/humanitatis.v9i2.2561.

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This research focused on finding out the use of casual style and intimate style from Eloise Bridgerton character’s utterances in “Bridgerton 2” TV series. The aim of this research is to get understanding how close and intimate Eloise's relationship is with her family and friends. Joos's (1967) theory of language style was used in this research. And then, the researchers also conducted the speech functions theory from Holmes & Wilson (2017). The researchers employed descriptive qualitative method as the method of the research which is proposed by Creswell & Creswell (2018). For collecti

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Darmawati, Dwita, and Sajarwa Sajarwa. "Pragmatic Equivalence of Expressive Speech Act in Television Series Bridgerton." LITE 18, no. 1 (2022): 43–53. http://dx.doi.org/10.33633/lite.v18i1.5630.

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This article aims to identify pragmatic equivalence in the translation of expressive speech acts. Descriptive and comparative methods were used in this study to analyze the data. Data collection is done by analyzing documents with the technique of observing and note-taking. The data is in the form of utterances containing expressive speech acts on the subtitles of the Bridgerton TV series in English and Indonesian. The data is obtained through accessing the Netflix platform with a personal account. Found 123 data of expressive speech acts on the Bridgerton TV series subtitle with the functions

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Taddeo, Julie Anne. "The Bridgerton effect: Introduction to a Special Issue on Netflix’s TV series." Journal of Popular Television, The 11, no. 1 (2023): 3–6. http://dx.doi.org/10.1386/jptv_00089_2.

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This special mini-issue on Netflix’s TV series, Bridgerton (2020–present), highlights the power of period drama television in its interrogation of historical and contemporary issues. The authors represent different disciplines, from literature and history to communications and media studies, and the formal and reflective essays that follow, combine our perspectives as both academics and fans of the period romance genre. Lastly, this issue describes how the ‘Bridgerton experience’ represents the multiple ways in which fans consume this series as it continues to shape our fantasies about the pas

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Sugita, Nabila Meidy. "Politeness Strategies of Romantic Conflicts in Bridgerton’s Netflix Series (2020)." Language Horizon: Journal of Language Studies 12, no. 1 (2024): 1–12. http://dx.doi.org/10.26740/lh.v12n1.p1-12.

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Romantic conflicts can be managed with the use of politeness strategies. Therefore, this study was carried out to investigate the usage of politeness strategies performed by main male and female characters in Bridgerton’s Netflix Series (2020) while dealing with romantic conflicts. The aims of this present study are at identifying the types of politeness strategies employed by main male and female characters in Briedgerton’s Netflix Series (2020) and revealing politeness strategies impact romantic conflicts of main male and female characters in Bridgerton’s Netflix series (2020). In order to c

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Cahya, Eka Sulistia, and Sandra Damar Siswanti. "Transactive Criticism on Bridgerton TV Series: Norman N. Holland’s Perspective." Nusa: Jurnal Ilmu Bahasa dan Sastra 19, no. 2 (2024): 14–28. https://doi.org/10.14710/nusa.19.2.14-28.

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In the new criticism, the reading process is involving both reader and the work. This study aimed to find what makes a work become popular based on readers' responses. By using the Bridgerton first series, this study was analyzed using transactive criticism by Norman N. Holland. According to Holland, in the reading process, there are 4 modalities used by the audience as the step to understand the process of making meaning in Holland’s perspective, there are defense, expectation, fantasy, and transformation. The data was gathered from the comments of the audience in IMDb. The results found that

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Nabilah, Hana, and Mytha Candria. "Charlotte’s Language Style in Queen Charlotte: A Bridgerton Story Series (2023)." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 7, no. 2 (2023): 33–42. http://dx.doi.org/10.14710/ca.v7i2.20823.

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Queen Charlotte: A Bridgerton Story is one of the popular Netflix series in 2023. This series is famous for being the aftermath of the two Bridgerton series that were released previously. The story, which is set in the British Empire at the end of the 18th century, attracts the attention of audiences. It is prominent to apply into the theory used because the various social factors and dimensions in the series can provide the samples of the five types of language styles according to Joos (1967), from frozen styles to intimate styles. The data used in this study are Charlotte’s utterances to the

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Sari Nur Rizki Fitria. "The Transformation of Intrinsic Elements in The Adaptation of The Viscount Who Loved Me into TV." TRANSFORM : Journal of English Language Teaching and Learning 14, no. 1 (2025): 47–61. https://doi.org/10.24114/tj.v14i1.67335.

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This study analyzes the transformation of intrinsic elements in The Viscount Who Loved Me novel into the TV series entitled Bridgerton Season 2 by Shondaland through the adaptation theory by Linda Hutcheon. Transformation in the adaptation process leads to the ideology contained in novel and TV series. Mythology by Roland Barthes is used to uncover the ideology behind the adaptation, and it will bring us to the motive of the adaptation. The data are in intrinsic elements such as character, characterization, and plot were taken from the texts in The Viscount Who Loved Me and the TV Series Bridg

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Kezyana, Natalia, Nelfis Ndruru, and Ismarini Hutabarat. "FIGURATIVE LANGUAGE IN BRIDGERTON SERIES SEASON 2 SELECTED EPISODES." JURNAL LITTERA: FAKULTAS SASTRA DARMA AGUNG 3, no. 1 (2024): 16. http://dx.doi.org/10.46930/littera.v3i1.4349.

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Tujuan dari penelitian ini adalah untuk menjelaskan bahasa kiasan yang memiliki makna dalam Bridgerton Series Season 2 Episode Pilihan. Metode penelitian kualitatif digunakan dalam penelitian ini. Identifikasi dilakukan dengan meninjau dialog yang telah ditranskrip dan memeriksa bahasa kiasan dalam setiap dialog. Hasil dari penelitian ini terdapat delapan jenis bahasa kiasan, yaitu 21 ujaran (40,38%) untuk eufemisme, 9 ujaran (17,31%) untuk ironi, 7 ujaran (13,46%) untuk ironi, 7 ujaran (13,46%) untuk ironi, 7 ujaran (13,46%) untuk idiom, dan 7 ujaran (13,46%) untuk idiom. 46%) untuk idiom, 6

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Rubio-López, Beatriz P. "Developing EFL Students’ Multimodal Communicative Competence Through Lady Whistledown’s Society Papers: A Teaching Proposal." Profile: Issues in Teachers' Professional Development 26, no. 1 (2024): 185–206. http://dx.doi.org/10.15446/profile.v26n1.107896.

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This paper focuses on integrating multimodal communication into the English-as-a-foreign-language classroom to enhance the development of students’ multimodal communicative competence, multiliteracies, and 21st-century skills. To do so, I compiled a corpus of authentic materials from Lady Whistledown’s Society Papers in Julia Quinn’s novel The Viscount Who Loved Me (2000), her appearances as narrator in the Netflix series Bridgerton (2022), and some tweets posted by @Bridgerton. This corpus was used to plan and design a game-based teaching proposal. Finally, the paper offers a critical analysi

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Davisson, Amber, and Kyra Hunting. "From private pleasure to erotic spectacle: Adapting Bridgerton to female audience desires." Journal of Popular Television, The 11, no. 1 (2023): 7–25. http://dx.doi.org/10.1386/jptv_00090_1.

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In this article, we look at how medium and genre shaped the Netflix adaptation of the first two Bridgerton novels and mediated the depictions of sex and desire to fit medium-specific expectations surrounding sexual content made for women. The showrunners for Netflix’s Bridgerton (2020–present) articulated a desire to depict sex from a female perspective, and with a ‘female gaze’, but the series is also instrumental in defining that perspective in ways that often differ from the approach of the novels’ female author. The contrast between the original and the adaptation reveals social norms and

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Ekasiwi, Alvia Nurrahma, and Barli Bram. "Exploring Euphemisms in Bridgerton: Diamond of the First Water." IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature 10, no. 1 (2022): 240–48. http://dx.doi.org/10.24256/ideas.v10i1.2599.

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The development of language affects speech cultures and modes of communication. Politer terms were created to avoid misunderstanding. This phenomenon is called euphemism. Employing euphemisms while discussing sensitive topics can help people express their ideas politely. This present study aims to determine the types of euphemism used in a famous television series entitled Bridgerton. The research was conducted only on the first episode of the series. This qualitative research employed content analysis as the research methodology. The research findings showed six types of euphemism identified,

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Cuenca Orellana, Nerea, and Francisco-Julián Martínez-Cano. "Iconos femeninos actuales en las series de ficción de autoría femenina: estudio de caso de Bridgerton (Shondaland, 2020)." Desigualdades de género en la comunicación y cultura digitales, no. 16 (October 27, 2021): 121–41. http://dx.doi.org/10.24137/raeic.8.16.7.

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La representación de la mujer en las narrativas de ficción ha evolucionado desde la primera ola del Feminismo. Dado que las ficciones no han roto todavía con los estereotipos de género, el presente trabajo plantea un análisis de los tres personajes femeninos de la serie de Netflix Bridgerton (Shondaland, 2020), a través de una metodología cualitativa que aplica la tabla de análisis de personajes femeninos propuesta por Mar Chicharro (2018, p. 95). Esta herramienta se basa en variables clave en la construcción de personajes desde el punto de vista narrativo, pero además incluye cuestiones descr

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Camilo, Andreina Lorrany de Jesus, and Juliana Cunha Menezes. "Book 1 and season 1 from the series “Bridgerton” intersemiotic translation and ethnic-racial issues." Tradterm 46 (February 24, 2024): 72–86. http://dx.doi.org/10.11606/issn.2317-9511.v46p72-86.

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This article analyzes the first season of the Netflix series "Bridgerton," which was adapted from the first book in the "Bridgerton" series, "The Duke and I," written by Julia Quinn. It does so by drawing on a variety of viewpoints to offer fresh perspectives and promote intercultural conversations. The categories of "alteration," "omission," and "addition", adapted from interlingual translation, are used to discuss the changes that resulted from the translation of one sign into another. In this work of bibliographical origin, writers with experience in translation were chosen, and as the stud

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Sharma Timsina, Bibechana. "Lady Whistledown: A Modern Tiresias in Bridgerton Bibechana Sharma Timsina." Spectrum 2, no. 1 (2024): 53–66. http://dx.doi.org/10.3126/spectrum.v2i1.64769.

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This paper explores Lady Whistledown in the Netflix series, Bridgerton, as a modern Tiresias. The series tells a story of people, especially the socio-economic life of people living in the Regency Era. Throughout the entire series, the character: Lady Whistledown narrates people’s lives through her society paper that exposes the scandalous secrets of people living in the society. Drawing on insights from Joshep Cambell's notion of myths, the paper argues that Whistledown’s narrativization of people’s secrets embeds mythical prominence as it deals with the complexities of people and is indeed a

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Jenner, Mareike. "Netflix, nostalgia and transnational television." Journal of Popular Television 9, no. 3 (2021): 301–5. http://dx.doi.org/10.1386/jptv_00058_1.

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This article offers an overview of the various kinds of nostalgia Netflix engages with. The focus here is self-produced originals and the way nostalgic elements are used to create different kinds of political outlooks within a transnational television environment. An underlying question is: in what ways can nostalgia be political within the transnational context of Netflix? The article explores this question while giving an overview of nostalgia’s use in different series, such as the culturally regressive politics of The Crown (2016‐present), the progressive social justice project of Sex Educa

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Ferriss, Suzanne. "Review of The Buccaneers, Apple TV+." Edith Wharton Review 40, no. 1-2 (2024): 78–91. http://dx.doi.org/10.5325/editwharrevi.40.1-2.0078.

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Abstract On 8 November 2023, Apple premiered an adaptation of The Buccaneers, created by Katherine Jakeways. The series revives the nineteenth century using lush production and costume design to comment anew on class division, race relations, and, above all, gender imbalances. Inevitably compared to Netflix’s smash Regency romance, Bridgerton, the series is more like Sofia Coppola’s Marie Antoinette, for it incorporates deliberately anachronistic music and contemporary speech to emphasize that the romantic and familial struggles of its characters resemble those of contemporary women. While it

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Šporčič, Anamarija. "A Metamodernist Utopia: The Neo-Romantic Sense and Sensibility of the Bridgerton Series." Acta Universitatis Sapientiae, Film and Media Studies 22, no. 1 (2022): 122–38. http://dx.doi.org/10.2478/ausfm-2022-0015.

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Abstract The paper addresses the cultural paradigm of metamodernism as conceived by Timotheus Vermeulen and Robin van den Akker (2010). Ontologically, metamodernism is perceived as oscillating between the modern and the postmodern, whereby the tools of postmodernism (such as irony, sarcasm, parataxis, deconstruction, scepticism and nihilism) are employed to counter (but not obliterate) modernist naivety, aspiration and enthusiasm. This oscillation results in what the above authors have termed “informed naivety,” a phrase denoting a state of wilful pragmatic idealism that allows for the imagini

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Ha, Thuy Tien, and Thi Phuong Quynh Vu. "A MAN IN ROMANCE: THE PORTRAYAL OF THE MALE PROTAGONIST IN NETFLIX’S SERIES “BRIDGERTON” SEASON 1 (2020)." VNU Journal of Foreign Studies 40, no. 4 (2024): 142–59. http://dx.doi.org/10.63023/2525-2445/jfs.ulis.5330.

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Gender research in the media focuses more on the representation of women and neglects that of men (Brooks & Hébert, 2006; Kimmel et al., 2004). Little research has been conducted to examine the representation of men’s psychological aspects, such as feelings, affection and personality. This paper analyzes Netflix's series Bridgerton Season 1 using a critical discourse analysis approach, to explore how the male protagonist is portrayed visually and linguistically in romance. The findings reveal that while the male protagonist is portrayed as having vulnerabilities and insecurities in love an

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Ventour-Griffiths, Tré. "The “Whites” Who Loved Me: How Bridgerton Facilitates Digital Lynching." Genealogy 9, no. 2 (2025): 45. https://doi.org/10.3390/genealogy9020045.

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Although the opening series of Bridgerton, a nineteenth-century mixed romance, was celebrated for the casting of Black characters, its use of white–Black inter-marriage is part of UK–US storytelling traditions that treat mixed relationships as worthy of screentime only if they involve a white person—what Derrick Bell in 1980 coined as ‘interest convergence’: when Black people are only allowed to progress with the interests of white peoples. Discussing Bridgerton as part of a wider anti-Black brand of Equality, Diversity, and Inclusion [EDI], this paper argues that the way its Black characters

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Fauziah, Afifah Nur Rizki, Abd Hanan EF, and Hasbi Assiddiqi. "THE STRUGGLE OF WOMEN’S CHARACTER AGAINST PATRIARCHAL TRADITION IN QUEEN CHARLOTTE BY TOM VERICA." Lire Journal (Journal of Linguistics and Literature) 9, no. 1 (2025): 161–73. https://doi.org/10.33019/lire.v9i1.426.

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This study examines the resistance of female characters against patriarchal traditions in Queen Charlotte: A Bridgerton Story. The research explores how gender, race, and social status shape the struggles of Queen Charlotte, Lady Danbury, and Princess Augusta in navigating patriarchal constraints such as social expectations, legal limitations, and political hierarchies. Employing a qualitative descriptive method with close reading and thematic analysis, this study investigates the characters’ different strategies of resistance—negotiation, rejection, and manipulation—within the monarchical sys

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Calhoun, Claudia. "The Great Experiment: race and authorship in Shonda Rhimes’s Queen Charlotte: A Bridgerton Story." Adaptation, December 5, 2024. https://doi.org/10.1093/adaptation/apae027.

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Abstract In 2023, Shonda Rhimes’s Queen Charlotte premiered on Netflix. The series is a prequel to the streamer’s hit series, Bridgerton (2020–present), itself an adaptation of Julia Quinn’s popular series of romance books. In Bridgerton’s colour-conscious British Regency setting, the marriage of Queen Charlotte, who is Black, and King George, who is white, led to the racial integration of elite society. Queen Charlotte, written and produced by Rhimes, gives the context for their love story. Although Rhimes is known for the diversity of her television shows, this series represents her most sus

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Prescott, Amanda-Rae. "Race and Racism in Austen Spaces: Notes On A Scandal: Sanditon Fandom’s Ongoing Racism And The Danger Of Ignoring Austen Discourse On Social Media." ABO: Interactive Journal for Women in the Arts, 1640-1830 11, no. 2 (2021). http://dx.doi.org/10.5038/2157-7129.11.2.1290.

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Sanditonfans have used social media more than many other past Jane Austen adaptations to discuss the series and to share news developments about the series. This was partially due to the COVID-19 pandemic preventing in-person marketing and fandom gatherings, but also due to some traditional Austen discussion platforms ignoring or banning pro-Sanditon discussions. White women from the UK and Europe dominated these online communities and set the tone for discussions of the plot as well as news about the series. BIPOC fans repeatedly clashed with white fans because the promises of an “inclusive”

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Ajith, Ankitha, and Sreena K. "REPRESENTATION OF CULTURAL DIPLOMACY IN THE BRIDGERTON SERIES." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1SE (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i1se.2023.508.

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This paper is an attempt to analyse the implicit and explicit rendering of cultural diplomacy in the popular Netflix series Bridgerton. This series is written by Chris Van Dusen and two seasons of the show titled Bridgeton have been premiered, the latest release of the series is Queen Charlotte: A Bridgerton Story. The television series is an adaptation of the Bridgerton novel series written by Julia Quinn and is produced under Shondaland productions. In this paper, the second season of the series is taken into consideration, in which the representation of Indian culture and its portrayal duri

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KULAK, Önder. "Tarih Ekranda Nasıl Yeniden Yazılır: Bridgerton (2020)." ViraVerita E-Dergi, June 5, 2022. http://dx.doi.org/10.47124/viraverita.1090758.

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This article aims to explain, with an example, how historical dramas, under the scope of culture industry, rewrite history on the screen through distorting it. For this purpose, in the first chapter, it is defined who the subject that interprets and recreates the past is. Then, in the second chapter, a Netflix series, Bridgerton (2020) is taken as a recent example in connection with the previous chapter to reveal the instrumental historiography at the back of the production. Thus, it becomes possible to enlighten the intention and the motivation of such a historiography along with the mechanis

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KULAK, Önder. "Tarih Ekranda Nasıl Yeniden Yazılır: Bridgerton (2020)." ViraVerita E-Dergi, June 5, 2022. http://dx.doi.org/10.47124/viraverita.1090758.

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Abstract:

This article aims to explain, with an example, how historical dramas, under the scope of culture industry, rewrite history on the screen through distorting it. For this purpose, in the first chapter, it is defined who the subject that interprets and recreates the past is. Then, in the second chapter, a Netflix series, Bridgerton (2020) is taken as a recent example in connection with the previous chapter to reveal the instrumental historiography at the back of the production. Thus, it becomes possible to enlighten the intention and the motivation of such a historiography along with the mechanis

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Shafira Ramadian, Ummi, and Diana Chitra Hasan. "Metaphors and Their Meanings in Lady Whistledown's Utterances in the Television Series Bridgerton." KnE Social Sciences, March 22, 2022. http://dx.doi.org/10.18502/kss.v7i6.10625.

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   Metaphors are used to understand the basic function of a term through another term, where there are some similarities or correlations between the two terms. Figurative language including metaphors is commonly used in dialogue, narrative text, and even in movie and television dialogue, where the dialogue can become more sparkling by the use of metaphors. The goal of this study was to examine Lady Whistledown’s metaphorical expressions in the Bridgerton television series and to explain the meanings of the metaphors. This was a qualitative study and the data were analyzed usi

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Adriano, Hannah. "Coloring History." Motley Undergraduate Journal 2, no. 1 (2024). http://dx.doi.org/10.55016/ojs/muj.v2i1.78789.

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Since its release, the Netflix show, Bridgerton, has been a hit series among its mass audiences as it harnesses an average of 103,550,000 views per season and currently holds fourth place in Netflix’s most popular English-language series (Tudum, 2024). The show has gained immense popularity not only because of its captivating plotlines but also because of the diverse cast of characters placed within the Regency Era. From this, it is critical to dissect and understand how race is represented within the show to discern the discourses being perpetuated to its viewers. Throughout this essay, I wil

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Murphy, Scott. "An Eightfold Taxonomy of Harmonic Progressions, and Its Application to Triads Related by Major Third and Their Significance in Recent Screen Music." Journal of Music Theory, March 14, 2023. http://dx.doi.org/10.1215/00222909-10232093.

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Abstract A hybridization of two recent innovations in music theory—a focus on the progression of two triads as a unitary analytical object, and a component-wise formation of a set of equivalence classes—brings together under one conceptual and labeling system eight different approaches to the classification of harmonic progression. A holistic adoption of these eight approaches, each already preexisting within music scholarship in some partial or complete form, affords precise and gradated statements regarding the styles, associative meanings, and hermeneutics of music for recent multimedia. To

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Higueras-Ruiz, María-José, and José-Patricio Pérez-Rufí. "Presence and representation of mental health in fiction TV series: King George in «Queen Charlotte» (Netflix, 2023)." Communication & Society, February 3, 2025. https://doi.org/10.15581/003.38.1.009.

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The representation of disabled people in TV series remains limited, and characterised by stereotypical portrayals. However, over the past decade VOD platforms have promoted a qualitative and quantitative increase in the production of series featuring such characters. This can be attributed to the enhanced visibility of mental health in contemporary society, as well as the obligation of television to serve as a reflection and socialisation instrument. This paper presents a review of the presence and representation of disability in television fiction series produced in the United States. The mai

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Hackett, Lisa J., and Jo Coghlan. "The History Bubble." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2752.

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Introduction Many people’s knowledge of history is gleaned through popular culture. As a result there is likely a blurring of history with myth. This is one of the criticisms of historical romance novels, which blur historical details with fictional representations. As a result of this the genre is often dismissed from serious academic scholarship. The other reason for its disregard may be that it is largely seen as women’s fiction. As ‘women’s fiction’ it is largely relegated to that of ‘low culture’ and considered to have little literary value. Yet the romance genre remains popular and lucra

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