ISSN: 2222-6990
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This study aimed to analyse the use of sexist language utilized in Bridgerton, a classic television series released on Netflix in 2020 which was based on Julia Quinn’s popular novels, to understand how women are socially treated and perceived during the Regency era based on the sexist language used in Bridgerton. Mills’ (2008) theory of language and sexism were employed to depict the British women in the 19th century who were viewed as women that are unequally illustrated in Bridgerton, the “biggest Netflix series ever” as quoted by CNN because it has been streamed in over 82 million households. A mixed-method approach based on overt and indirect sexism from Mills’ (2008) language and sexism theory was employed to identify types of sexist language and interpret the dominant sexist languages, revealing how Regency women are socially perceived and treated. The data source included transcripts of eight episodes in Season 1 and eight in Season 2. Individual words that can be objectively rooted in our linguistic use cannot reveal sexism against women; however, we must examine the embedded sexist ideology that depicts unequally perceived women. These issues were addressed effectively by choosing a historical media that utilizes language to perpetuate gender discrimination, such as Bridgerton through sexism, for a contemporary audience, as it is essential to understand historical problems that equip us with the knowledge to recognize patterns that might go unnoticed in the present. The key findings revealed 78 out of 115 data consist of indirect sexism, with script and metaphor as the most common type. This analysis shows how sexist language in the series reflects a patriarchal culture that socially constructed women during the Regency era, 19th century through subtlety.
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In-Text Citation: (Kaur et al., 2023)
To Cite this Article: Kaur, H., Cheong, H. F., & Aslam, S. (2023). Representation of Women through Sexist Language in Bridgerton. International Journal of Academic Research in Business and Social Sciences, 13(9), 1730–1757.
Copyright: © 2023 The Author(s)
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