![]() ![]() ![]() This will include the prescriptive norms of the ideal motherhood present in the public discourse, encompassing the official expert discourse of parenting, as well as the ‘private’ discourse of internet forums covering the issues of parenting and child rearing. Furthermore, the research will also paint a broader picture of the ideology and representations of motherhood. This paper will analyse different representations of motherhood, the contradictions and inconsistencies between motherhood as an idea and ideology and everyday maternal practices and behaviours, with special attention being paid to the concept of maternal ambivalence and the expression of violent impulses towards children. In each case, the mother of the child(ren) was the perpetrator. These programs' exploration of the female investigator suggests what it means to mother in a world where women are expected to juggle and navigate between numerous identities with ease and grace.įour filicide cases that occurred in Croatia in 2014-17 received wide national media coverage and caused strong public reactions. While certain programs condemn the professional woman as a neglectful mother, others allow for a more nuanced exploration of maternal ambivalence, treating maternal identity as a complex and imposing abstraction. grieving mother, Mama Bear), to effectively explore, stabilize, and even vilify maternal ambivalence. ![]() Close examination of Broadchurch, Happy Valley, and The Fall, featuring strong maternal (or staunchly non-maternal) figures, demonstrates the professional-domestic conflation in the female investigator figure, using several maternal character tropes (e.g. Since motherhood is not simply an unquestionable part of female identity, but an institution naturalized through dominant patriarchal structures, the female investigator figure in crime TV is a particularly rich subject in the exploration of maternal ambivalence and how it plays out in crime TV representation of motherhood. Its writers, their protagonists and supporting characters, have become obsessed with maternal ambivalence, specifically, conflicting feelings of love and hate that mothers feel toward their children. Contemporary crime television in the early twenty-first century demonstrates a fixation with maternal identities relating to professional, working women. ![]()
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