Question: How is Howard's mother captured as the typical Jewish mother stereotype?
About the article "The Big Bang Theory", section "Howard's mother".

Candidate passages:
In scenes set at Howard's home in which he interacts with his never-seen mother (voiced by Carol Ann Susi), he always does so via shouting conversations between the rooms in his house, and she similarly interacts with other characters in this manner, though she did appear momentarily in the overhead photo of Howard and Bernadette's wedding and from the side in "The Spoiler Alert Segmentation" episode, though her face was not shown.
She reflects the Jewish mother stereotype in some ways, such as being overly controlling of Howard's adult life and sometimes trying to make him feel guilty about causing her trouble.
She is dependent on Howard, as she requires him to help her with her wig and makeup in the morning.
Howard in turn is attached to his mother to the point where she still cuts his meat for him, takes him to the dentist, does his laundry and "grounds" him when he returns home after briefly moving out.
Until Howard's marriage to Bernadette in the fifth season finale, Howard's former living situation led Leonard's psychiatrist mother to speculate that he may suffer from some type of pathology, and Sheldon to refer to their relationship as Oedipal.
Her tendency to communicate with Howard by shouting between rooms has led Bernadette and Raj to do impressions of her, and Bernadette to attempt to communicate with her in one episode by imitating her style of shouting.
The Jewish mother or Jewish wife stereotype is a common stereotype and stock character used by Jewish and non-Jewish comedians, television and film writers, actors, and authors in the United States.
The stereotype generally involves a nagging, loud, highly-talkative, overprotective, smothering, and overbearing mother or wife, who persists in interfering in her children's lives long after they have become adults and who is excellent at making her children feel guilty for actions which may have caused her to suffer.
The Jewish mother stereotype can also involve a loving and overly proud mother who is highly defensive about her children in front of others.
Like Italian mother stereotypes, Jewish mother characters are often shown cooking for the family, urging loved ones to eat more, and taking great pride in their food.
Feeding a loved one is characterized as an extension of the desire to mother those around her.
Lisa Aronson Fontes describes the stereotype as one of "endless caretaking and boundless self-sacrifice" by a mother who demonstrates her love by "constant overfeeding and unremitting solicitude about every aspect of her children's and husband's welfare".
A possible origin of this stereotype is anthropologist Margaret Mead's research into the European shtetl, financed by the American Jewish Committee.
Although her interviews at Columbia University, with 128 European-born Jews, disclosed a wide variety of family structures and experiences, the publications resulting from this study and the many citations in the popular media resulted in the Jewish mother stereotype: a woman intensely loving but controlling to the point of smothering and attempting to engender enormous guilt in her children via the endless suffering she professes to have experienced on their behalf.
The Jewish mother stereotype, then, has origins in the American Jewish community, with predecessors coming from Eastern Europe.
In Israel, where the geographical background of Jews is more diverse, the same stereotypical mother is known as the Polish mother.
Comedian Jackie Mason describes stereotypical Jewish mothers as parents who have become so expert in the art of needling their children that they have honorary degrees in "Jewish Acupuncture".
Rappoport observes that jokes about the stereotype have less basis in anti-Semitism than they have in gender stereotyping.
Helmreich agrees, observing that the attributes of a Jewish mother—overprotection, pushiness, aggression, and guilt-inducement—could equally well be ascribed to mothers of other ethnicities, from Italians through Blacks to Puerto Ricans.
The association of this otherwise "gender" stereotype with Jewish mothers in particular, is, according to Helmreich, because of the importance that is traditionally placed by Judaism on the home and the family, and on the role of the mother within that family.
Judaism, as exemplified by the Bible (e.g.
the Woman of Valor) and elsewhere, ennobles motherhood, and associates mothers with virtue.
This ennoblement was further increased by poverty and hardship of Eastern European Jews immigrating into the United States (during the period 1881–1924, when one of the largest waves of such immigration occurred), where the requirements of hard work by the parents were passed on to children via guilt: "We work so hard so that "you" can be happy."
Other aspects of the stereotype are rooted in those immigrant Jewish parents' drive for their children to succeed, resulting in a push for perfection and a continual dissatisfaction with anything less: "So you got a B?
That could have been an A there."
Hartman observes that the root of the stereotype is in the self-sacrifice of first-generation immigrants, unable to take full advantage of American education themselves, and the consequent transference of their aspirations, to success and social status, from themselves to their children.
A Jewish mother obtains vicarious social status from the achievements of her children, where she is unable to achieve such status herself.
One of the earliest Jewish mother figures in American popular culture was Molly Goldberg, portrayed by Gertrude Berg, in the situation comedy "The Goldbergs" on radio in the 1929–1949 and television from 1949–1955.
But the stereotype as it came to be understood in the 20th century was exemplified by other literary figures.
These include Rose Morgenstern from Herman Wouk's 1955 novel "Marjorie Morningstar", Mrs Patimkin from "Goodbye, Columbus" by Philip Roth, and Sophie Ginsky Portnoy from "Portnoy's Complaint" also by Roth.
Sylvia Barack Fishman's characterization of Marjorie Morningstar and Sophie Portnoy is that they are each "a forceful Jewish woman who tries to control her life and the events around her", who is "intelligent, articulate, and aggressive", who does not passively accept life but tries to shape events, friends, and families, to match their visions of an ideal world.
The Jewish mother became one of two stock female Jewish characters in literature in the 20th century, the other being the Jewish-American princess.
The focus of the stereotype was different than its precursors, too.
Jewish writers had previously employed a stereotype of an overbearing matron, but its focus had always been not the woman, but the ineffectual man whom she dominated, out of necessity.
The focus of the Jewish mother stereotype that arose was based in a shift in economic circumstances of American Jews during the 20th century.
American Jews were no longer struggling first generation immigrants, living in impoverished neighborhoods.
The "soldier woman" work ethos of Jewish women, and the levels of anxiety and dramatization of their lives, was seen as unduly excessive for lifestyles that had (for middle-class Jews) become far more secure and suburban by the middle of the century.
Jewish literature came to focus upon the differences between Jewish women and what Jews saw as being the various idealized views of American women, the "blonde bombshell", the "sex kitten", or the sweet docile "apple-pie" blonde who always supported her man.
In contrast, Jewish writers viewed the still articulate and intelligent Jewish woman as being, by comparison, pushy, unrefined, and unattractive.
Fishman describes the Jewish mother stereotype use by male Jewish writers as "a grotesque mirror image of the proverbial Woman of Valor".
A Jewish mother was a woman who had her own ideas about life, who attempted to conquer her sons and her husband, and who used food, hygiene, and guilt as her weapons.
Like Helmreich, Fishman observes that while it began as a universal "gender" stereotype, exemplified by Erik Erikson's critique of "Momism" in 1950 and Philip Wylie's blast, in his 1942 "Generation of Vipers", against "dear old Mom" tying all of male America to her apron strings, it quickly became highly associated with Jewish mothers in particular, in part because the idea became a staple of Jewish American fiction.
This stereotype enjoyed a mixed reception in the mid-20th century.
In her 1967 essay "In Defense of the Jewish Mother", Zena Smith Blau defended the stereotype, asserting that the ends, inculcating virtues that resulted in success, justified the means, control through love and guilt.
Being tied to mamma kept Jewish boys away from "entile friends, particularly those from poor, immigrant families with rural origins in which parents did not value education".
One example of the stereotype, as it had developed by the 1970s, was the character of Ida Morgenstern, mother of Rhoda Morgenstern, who first appeared in a recurring role on "The Mary Tyler Moore Show", and later as a regular on its spinoff "Rhoda".
</ref>According to Alisa Lebow, in the late 20th century and 21st century the stereotype of the Jewish mother has "gone missing" from movies.
She observes that there appears to have been no conscious effort on the part of screenwriters or film-makers to rewrite or change the stereotype, in pursuance of some revisionist agenda, but that it has simply fallen back a generation.
Despite this, the concept of the Jewish mother while declining in film can still be seen in popular culture.
One use of the Jewish mother stereotype-trope can be seen in the popular television program "The Big Bang Theory" which premiered in 2007 and was played by the character of Howard Wolowitz's mother who is only heard as a voice character. 
Other versions.
Ultimate Maria Stark.
The Ultimate Marvel version of the character is renamed as Maria Cerrera, the second wife of Howard Stark.
Maria was a brilliant scientist suffered a genetic accident while she was pregnant with her and Howard's child.
After Maria died during childbirth, Howard uses a newly invented biological armor to save the life of their son: Antonio "Tony" Stark, named after "Antonio Cerrera" (Maria's brother) that died at a young age.
Years later, Loni Stane (Howard's first wife) tells Tony twice that she could have been his mother in a different set of circumstances but Tony says he'd still prefer his own mother instead of Loni.
While the Ultimate version of Maria Stark's life that was depicted have been retconned as an in-universe fictional TV show about Iron Man's life, her character is briefly mentioned by Gregory Stark (Tony's brother within the retconned Ultimate Marvel) when he joking says how he "came out of Mother before ". 
Stereotype threat concerns how stereotypes harm performance.
However, stereotype activation can also lead to performance enhancement in certain situations through stereotype lift and stereotype boost.
Stereotype lift increases performance when people are exposed to negative stereotypes about another group.
This enhanced performance has been attributed to increases in self-efficacy and decreases in self-doubt as a result of negative outgroup stereotypes.
Stereotype boost can also lead to performance enhancement.
Stereotype boost suggests that positive stereotypes may actually enhance performance.
Stereotype boost occurs when a positive aspect of an individual's social identity is made salient in an identity-relevant domain.
Consistent with the positive racial stereotype concerning their superior quantitative skills, Asian American women performed better on a math test when their Asian identity was primed compared to a control condition where no social identity was primed.
Conversely, participants did worse on the math test when their gender identity was made salient which is consistent with stereotype threat.
Although stereotype boost is similar to stereotype lift in enhancing performance, stereotype lift is the result of a negative outgroup stereotype, whereas stereotype boost occurs due to activation of a positive ingroup stereotype. 
  Kevin Kline as Howard Brackett, an English teacher  Joan Cusack as Emily Montgomery, Howard's fiancee  Tom Selleck as Peter Malloy, a TV journalist covering Howard's story  Matt Dillon as Cameron Drake, an ex-student of Howard's and Oscar-winning actor  Debbie Reynolds as Berniece Brackett, Howard's mother  Wilford Brimley as Frank Brackett, Howard's father  Bob Newhart as Tom Halliwell, Howard's school's principal  Shawn Hatosy as Jack, one of Howard's students  Zak Orth as Mike, one of Howard's students  Lauren Ambrose as Vicky, one of Howard's students  Alexandra Holden as Meredith, one of Howard's students  June Squibb as Cousin Gretchen, one of Howard's relatives   Gregory Jbara as Walter Brackett, Howard's brother  Shalom Harlow as Sonya, Cameron's supermodel girlfriend  Lewis J. Stadlen as Edward Kenrow, one of Howard's colleagues  Deborah Rush as Ava Blazer, one of Howard's colleagues  Kevin Chamberlin as Carl Mickley, one of Howard's colleagues  Kate McGregor-Stewart as Aunt Becky, one of Howard's relatives  Debra Monk as Mrs. Lester, the town dressmaker  Ernie Sabella as Aldo Hooper, Howard's hair stylist  Joseph Maher as Father Tim, one of the town's priests from whom Howard seeks help.
William Duell as Emmett Wilson, the town mailman  J. Smith-Cameron as Trina Paxton  Jane Hoffman as Mrs. Baxter  Mary Diveny as Cousin Ellen  Becky Ann Baker as Darlene  Alice Drummond as Aunt Susan, one of Howard's relatives  Selma Blair as Cousin Linda, one of Howard's relatives  Whoopi Goldberg, Glenn Close, and Jay Leno appear as themselves.
Dan Hedaya appears as the Military Attorney in "To Serve and Protect"