Marxist literary theory examines bodies of work, points out the social injustices found in these works, and recognizes class conflict that may be hidden beneath the surface.
Issues of class are brought to light throughout the series as Roseanne juggles different jobs in an effort to help pay the bills. In fact, work and the struggle to survive are two central themes to the series, with Roseanne and Dan trying to balance bills with family.
Rachel Horowitz, author of Mary, Roseanne, and Cary: Television and Fictional Feminism,“ writes, "The writers made certain points very explicit, especially in early episodes. In particular, the fact that the Conner family was working-class was constructed as a crucial aspect of the show and central to its “argument” (8). Indeed, much of the show is based on Dan's struggling career as a contracter, Roseanne's dissatisfaction with the work she is able to find, and the struggles that come with owning a home and providing for a family of five.
While Roseanne is often viewed as a feminist for doing more with her life than stay at home with the children, pursuring a career wasn't an option for her; it was a necessity. Horowitz writes,
Roseanne was a working woman who did not even have time to consider the feminist implications of her “choice” to work and earn money for her family. She had to work; her husband was a struggling contractor and they had three kids. She was not bitter because she “had” to work – she was bitter about the crummy jobs available to her and the low pay" (9).
Horowitz suggests that Roseanne's choice to work isn't actually a choice; rather, she absolutely must work. It's crucial to survival. This would make Roseanne's forced decision based on class rather than women's rights and the fight for freedom in the work force. Would Roseanne choose to work if it wasn't necessary to support her family? Maybe. The point is that Roseanne, like many families of the 80's and 90's, isn't given that choice.
Roseanne points out the gap between classes by transforming them into jokes about messy rooms, tacky Christmas lights, conflict with the snobby neighbors, sloppy clothing, and so on. These jokes are meant to make the audience laugh; however, there is a hidden message: as trivial as tacky Christmas lights may seem, they can still place an individual on a lower class scale than others.
Christmas lights alone cannot tell anything meaningful about a person's background, education, values, beliefs, and so on; however, due to cultural and class stereotypes, these colorful, red and green bulbs can actually label someone as the "white trash" that has become the hillbilly today - automatically deeming them low-class.
By pointing this stereotype out, Roseanne brings attention to these social injustices while still keeping them in the scope of a family sitcom, allowing people to laugh at them while reflecting on them. Bringing up these issues in an enjoyable family television show does make the audience think; they just aren't necessarily realizing they're doing it.
This is what makes Roseanne so sophisticated beneath the surface: its ability to make its audience stop, laugh at the tacky Christmas lights while realizing it doesn't mean a thing about class.
Issues of class are brought to light throughout the series as Roseanne juggles different jobs in an effort to help pay the bills. In fact, work and the struggle to survive are two central themes to the series, with Roseanne and Dan trying to balance bills with family.
Rachel Horowitz, author of Mary, Roseanne, and Cary: Television and Fictional Feminism,“ writes, "The writers made certain points very explicit, especially in early episodes. In particular, the fact that the Conner family was working-class was constructed as a crucial aspect of the show and central to its “argument” (8). Indeed, much of the show is based on Dan's struggling career as a contracter, Roseanne's dissatisfaction with the work she is able to find, and the struggles that come with owning a home and providing for a family of five.
While Roseanne is often viewed as a feminist for doing more with her life than stay at home with the children, pursuring a career wasn't an option for her; it was a necessity. Horowitz writes,
Roseanne was a working woman who did not even have time to consider the feminist implications of her “choice” to work and earn money for her family. She had to work; her husband was a struggling contractor and they had three kids. She was not bitter because she “had” to work – she was bitter about the crummy jobs available to her and the low pay" (9).
Horowitz suggests that Roseanne's choice to work isn't actually a choice; rather, she absolutely must work. It's crucial to survival. This would make Roseanne's forced decision based on class rather than women's rights and the fight for freedom in the work force. Would Roseanne choose to work if it wasn't necessary to support her family? Maybe. The point is that Roseanne, like many families of the 80's and 90's, isn't given that choice.
Roseanne points out the gap between classes by transforming them into jokes about messy rooms, tacky Christmas lights, conflict with the snobby neighbors, sloppy clothing, and so on. These jokes are meant to make the audience laugh; however, there is a hidden message: as trivial as tacky Christmas lights may seem, they can still place an individual on a lower class scale than others.
Christmas lights alone cannot tell anything meaningful about a person's background, education, values, beliefs, and so on; however, due to cultural and class stereotypes, these colorful, red and green bulbs can actually label someone as the "white trash" that has become the hillbilly today - automatically deeming them low-class.
By pointing this stereotype out, Roseanne brings attention to these social injustices while still keeping them in the scope of a family sitcom, allowing people to laugh at them while reflecting on them. Bringing up these issues in an enjoyable family television show does make the audience think; they just aren't necessarily realizing they're doing it.
This is what makes Roseanne so sophisticated beneath the surface: its ability to make its audience stop, laugh at the tacky Christmas lights while realizing it doesn't mean a thing about class.