2. Objectives and methodology

The objectives set for this analysis focus on determining whether the patriarchal vision with which the male gender see women after World War II, as reflected by Simone de Beauvoir, is present in one of the longest shown and most fictional series which had the greatest ratings registered on Spanish television. We start from the hypothesis (H1) that this series not only maintains sexist stereotypes, but also in different scenes degrades women.

Another objective is to determine the type of language that frames gender inequality. It is based on the finding of the verbalization of classical stereotypes in the series, whose evidence surprises when you think that they should already be eliminated from the collective imagination in a society that has demonstrated strict goals to achieve equality. Therefore, a second hypothesis comes up (H2) the existence of a sexist language which generates a sexist content.

The third and final objective is to find out if there is a relationship between the possible sexist stereotypes shown in the series LQSA with the stereotypes denounced by the philosopher Simone de Beauvoir. A comparison has been made between these parameters to discover the degree of validity of the clichés denounced by the French philosopher in 1949. The third hypothesis (H3) which comes up is whether the series presents a double inequality for the women, in terms of their status as a woman and in terms of their sexual choice if different from heterosexual, relative to homosexual male characters.

The methodology applied in this article is based on the analysis of the content from which we will determine whether or not the concepts in question exist. The objective of this set of techniques is according to Bardin (1996:33) “to try to know what is behind the words to which it is dedicated. Linguistics is a study of language, content analysis is a survey, through messages, of other realities”. We take as initial reference the categorization of Galán Fajardo (2006), (2007a) about characters, stereotypes and social representations, although it will not be applied in such a comprehensive way, taking into account that, as the author himself says, (2007) “gender stereotypes are so integrated in our culture that they are often transmitted indirectly and need deep and elaborate analysis in order to be detected, corrected and adapted to new social circumstances”.

This analysis will not capture the stereotypes of women and men highlighted by Inmaculada Núñez (2008) as women-object; housewives; normal women; “filling” women; professionals and as to the types of men, men-object; professionals or normal nor the stereotypes of Virginia Guarinos (2008, 2012), the good girl; the angel; the virgin, the saint/spinster; the bad girl; the warrior; femme fatale or vamp; the nice mother, painful mother, mother in law, stepmother, mother of the monster; the mother without children; Cinderella; turris eburnea; the black queen/witch/black widow; the villain; the superheroine and the dominatrix. Nor the one she later collected (2012) as the working woman, more aggressive, more competitive, stronger, independent, self-sufficient and who does not need love.

A qualitative method of study based on the formal analysis of the talks has been applied in this research, as part of the Critical Speech Study (Van Dijk, 1980, 1992). Each stereotype reflected in Simone de Beauvoir has been given a number to fit into the analysis. Based on the hypothesis raised we have analysed the dialogues and images of the series to confront them with the words of Simone de Beauvoir studied in the body of this research. A qualitative method has been applied to carry out the analysis of comedy based on the extraction of the comments and gestures of each