Van Gogh’s ear: Rosie and the alternative cyborg in “The Jetsons”

Abstract

Devoid of its history, and seeing her be redeemed only from the second half of the twentieth because of the growth of the movement of minority rights, both women and african American (and other minorities schematically untreated here) still difficult and demand understanding of efforts to act and are situated politically active mode in postmodernity. When something or someone focuses exclusion of those memorials (female and black) plus a non-humanity, can be considered exemplary “another” extreme. Rosie incarnate, so a US unconscious creator of the Third World migrants: an “other” no text, no speech, no history or culture. In this sense, its ontology is closely linked to its political insertion relative to that society – subordinate (SPIVAK, 1988), peripheral and alternative. At the same time symbolically sting a slave past and a present of latent prejudices [image Black Mammy (KOWALSKI, 2009) is symptomatic of this trend and will also be treated here] and the social unpaid debts, points to a possible future convergences alternatives, both racial and ethical as (bio) policies. His power and his weakness share the same space. As the literature understood as peripheral or border constantly generate excesses in that geography melts and runs counter to the ontology, with the subjectivities put in check, and the historical development as background, we can understand that Rosie figure as a kind anti-Barbie mechatronics. Thus, from the Rosie character, the domestic robot television series The Jetsons, the paper reflects on the struggles of the peripheral subject (because non-male, non-white, non-religious and non-human) inserted in modernity. By articulating concepts such as cyborg and subordination, and stereotypes like the black Mammy, will seek to glimpse the presence of a hegemonic contradiscursivity embodied by Rosie, biotipicamente identified with the standard negroid and understood as devoid of the right to national history, a myth founder and a way of narrating the past itself. From this point of view, Rosie emerges as representative of alternative modernities present within the project of modernity.