“Gless's lexical shift from "sexiness" through "femininity" to a "real strong lady" is a discursive shift and therefore has sociopolitical dimension. "Sexiness" is from an explicitly patriarchal discourse, "femininity" is from a discourse that attempts to naturalize gender construction and difference in terms of the status quo and is therefore implicitly patriarchal, whereas "real strong lady" is from a discourse that consciously opposes and exposes both the explicit and implicit patriarchy of "sexiness" and "femininity".”

“The alienated audiences was one that was aware of the performance as an arbitrary construction of the real, of the difference between players and characters, and was therefore aware that the people and incidents on stage were there to perform social an ideological actions that could only be understood in terms of their relationship to the dominant ideology. Alienation produced a thinking, interrogative socially aware audience.”

“The result of this one-sided patriarchal stance, demonstrable in all areas of life, is an un integrated man who is attacked by his repressed side and often enough overwhelmed by it. This transpires not only in the fate of the individual man as seduction by a "lower" anima, but equally through seduction by a compensatory ideology, for example materialism, to which "spirit" men are especially susceptible.The man wants to remain exclusively masculine and out of fear rejects the transformative contact with a woman of equal status. Negativizing the Feminine in the patriarchate prevents the man from experiencing woman as a thou of equal but different status, and hence from coming to terms with her. The consequence of the patriarchal male's haughtiness toward women leads to the inability to make any genuine contact with the Feminine, i.e., not only in a real woman but also with the Feminine in himself, the unconscious. Whenever an integral relationship to the Feminine remains undeveloped, however, this means that, due to his fear, the male is unable to break through to his own wholeness that also embraces the Feminine. Thus the patriarchal culture's separation from the Feminine and from the unconscious becomes one of the essential causes for the crisis of fear in which the patriarchal world now finds itself.”

“On the other hand, identification as a relationship of audience to performance disguised the arbitrarily constructed nature of the performance and encouraged the audience to experience the representation as though it were the real, and, in particular, to see characters as individually real people. This blurring of the distinction between the representation and the real disguised the fact that people and incidents were on stage to perform ideologically determined actions and made them appear as innocent, objective relections of reality. It made them appear prodcuts of nature, not of culture.Identification encouraged the audience to share the experiences and emotions of the characters and thus produced a feeling audience, not a thinking one, an accepting not an interrogative one, and one that understood incidents and actions through individual experience rather than through a sociopolitical framework.”

“The USA was the explicit answer to an implicit threat of war, whereas the EU was the implicit answer to explicit experiences of war.”

“Identification then becomes a process of imaginative wish fulfillment which can be, and is, criticized from at least two points of view. The moralists criticize it on the grounds that it is mere escapism, and in encouraging people to imagine a better existence for themselves discourages them from working to achieve it in reality. At the other end of the spectrum, the ideologists argue that identification is the process whereby the values of the dominant ideology are naturalized into the desires, almost the instincts, of the individual, and are thus endlessly reproduced and perpetuated.”

“Memory is essential to who we are, and memories can be both implicit and explicit - unconscious and conscious.”