A counterstereotype is an idea or object that goes against a standardized mental picture that is held in common by members of a group and that represents an oversimplified opinion, prejudiced attitude, or uncritical judgment.
Although counterstereotypes arise in opposition to
stereotypes, they may eventually become stereotypes themselves if they are too popular.
American popular literature in the 19th century contained
stereotypical images of
black people as grotesque and servile. In protest, a counter-stereotype arose which showed black people as graceful and wise.[3]
In the United States during the 1970s, in response to
feminist criticism, advertising agencies chose to display counter-stereotypical images of women as sexually assertive and intellectual.[4]
In
comic books, when the
superhero began in the 1930s, he was an invulnerable, unalterably benevolent figure. However, a desire for increased
dramatic potential led to a move away from this
stereotypical character, until in the 1980s and 1990s, the counterstereotypical
angst-ridden
anti-hero had become so popular as to constitute a new stereotype.
Michael Moorcock's character
Elric of Melniboné—a tormented, sickly
albino sorcerer with a demonic sword and a sizeable evil streak—was intended to be the polar opposite of the typical fantasy heroes of the time, who were almost universally muscular,
Conan-like figures. As in the above example, Elric's success was such that he inspired an explosion of similar characters in popular fiction.
Scott Adam'sDilbert featured the character Antina, created in response to allegations that Tina the Brittle Tech Writer was too stereotypical. Antina was, of course, herself considered to be too stereotypical.
The
noble savage myth, used by supporters or admirers of
indigenous peoples, is the opposite of the usual stereotypes implied by the word "savage".
The
bear subculture, composed of gay men who embrace a
hypermasculine image, has made headway in countering the old stereotypes of
campiness and effeminacy.
The Lazy Husband is a trope typically portraying a dysfunctional man, married but incapable of contributing equally to his partner's efforts in a relationship either practically or emotionally. This counterstereotype is used heavily in advertising but is also seen in cinema and in various TV series. It contrasts with the old-fashioned view of the husband as the breadwinner and of the man as the charming and chivalrous knight.
A counterstereotype is an idea or object that goes against a standardized mental picture that is held in common by members of a group and that represents an oversimplified opinion, prejudiced attitude, or uncritical judgment.
Although counterstereotypes arise in opposition to
stereotypes, they may eventually become stereotypes themselves if they are too popular.
American popular literature in the 19th century contained
stereotypical images of
black people as grotesque and servile. In protest, a counter-stereotype arose which showed black people as graceful and wise.[3]
In the United States during the 1970s, in response to
feminist criticism, advertising agencies chose to display counter-stereotypical images of women as sexually assertive and intellectual.[4]
In
comic books, when the
superhero began in the 1930s, he was an invulnerable, unalterably benevolent figure. However, a desire for increased
dramatic potential led to a move away from this
stereotypical character, until in the 1980s and 1990s, the counterstereotypical
angst-ridden
anti-hero had become so popular as to constitute a new stereotype.
Michael Moorcock's character
Elric of Melniboné—a tormented, sickly
albino sorcerer with a demonic sword and a sizeable evil streak—was intended to be the polar opposite of the typical fantasy heroes of the time, who were almost universally muscular,
Conan-like figures. As in the above example, Elric's success was such that he inspired an explosion of similar characters in popular fiction.
Scott Adam'sDilbert featured the character Antina, created in response to allegations that Tina the Brittle Tech Writer was too stereotypical. Antina was, of course, herself considered to be too stereotypical.
The
noble savage myth, used by supporters or admirers of
indigenous peoples, is the opposite of the usual stereotypes implied by the word "savage".
The
bear subculture, composed of gay men who embrace a
hypermasculine image, has made headway in countering the old stereotypes of
campiness and effeminacy.
The Lazy Husband is a trope typically portraying a dysfunctional man, married but incapable of contributing equally to his partner's efforts in a relationship either practically or emotionally. This counterstereotype is used heavily in advertising but is also seen in cinema and in various TV series. It contrasts with the old-fashioned view of the husband as the breadwinner and of the man as the charming and chivalrous knight.