Autor/es
Descripción
ver mas
Colaborador
Justo von Lurzer, Carolina
Alabarces, Pablo
Materias
Spatial Coverage
Idioma
spa
Extent
340 p.
Derechos
info:eu-repo/semantics/openAccess
Atribución-NoComercial-SinDerivadas 4.0 Internacional (CC BY-NC-ND 4.0)
Formato
application/pdf
Identificador
Cobertura
ARG
Abstract
The main objective of this thesis is to describe and analyze representations of good motherhood in Argentine mass culture texts as spaces of construction, reproduction and articulation of meanings about emotions, practices and gender social roles, in which cultural norms about motherhood are confirmed and tensioned. These meanings contribute to configure the scenario of social valuation of maternity and motherhood in a given space and time and we propose to observe the ways in which this occurs.
To develop this objective, it is carried out a critical analysis of discourses from different sources of the cultural industries that circulated in the period 2007-2018. The selection of texts considers that the varied narratives on motherhood can be grouped together by identifying regularities and correlations in the approaches from which they deal with it, the types of enunciation they present, the themes they incorporate and the genres in which it is feasible to inscribe them. In this paper we establish the division between three regimes of representation -which we call repertoires- from the systematization of their dominant compositional and stylistic features.
On the one hand, we observe the invariants of the repertoire referred to as expert that, as a cultural tradition inherited from the 20th century, normalized the establishment of guidelines and advice for maternal action in texts for the dissemination of specialized knowledge such as manuals, magazines, advertisements and television programs. As this set instructs mothers on what they should and should not do, so it teaches good motherhood, here we interpret the ideas and forms with which the meanings involved in it are produced. On the other hand, we address a group of emerging narratives at the beginning of the 21st century that -through literary and audiovisual fiction and non-fiction texts- constitute the repertoire we call cathartic, whose works, oriented by biographical and humorous stories, critically dialogue with the stabilized model of good motherhood by visualizing it as unattainable and by the dissatisfaction generated by the attempt to adapt to its precepts. These stories, produced with the logic of the journalistic genre of gossip and entertainment, such as scandal and melodrama, present itineraries about actions, emotions, practices and experiences about the ways in which one became a mother or in which motherhood is exercised, and they polemicize about them.
The period of analysis takes as its starting point the year 2007, when the founding text of the cathartic repertoire was published, and ends in 2018, the year in which abortion massively burst into the agendas of the public space. This decision considers that the emergence of the cathartic repertoire implied a discursive inflection that, by identifying the idealized maternal model as a narrative plausibility in crisis, gradually configured a new symbolic plausibility that represents the discomforts present in the ways in which mothers negotiate and conciliate the demands of good motherhood. The clipping also evaluates that in 2018 another discursive inflection was inaugurated which, unlike the texts of the analysis, was incorporating with greater emphasis the problematization of motherhood as an inherent condition and obligatory destiny of women. It was also noted that in 2018, motherhood magazines - historical products of the expert repertoire - began their removal from the publishing market, which was considered a watershed, or at least a fissure, with respect to what can be said publicly around motherhood in subsequent years.
The repertoires identified are produced in a time of deliberation and public discussion on structural oppressions and inequalities based on gender and sexualities, which implied transformations -still in process- in the understanding of gender relations, roles and identities, as well as changes in reproductive behaviors, ways of building family and/or evaluating maternal experiences, which agglomerated tensions on the system of meanings and historical values instituted on motherhood.
By analyzing the coexistence in the cultural industries of the expert, cathartic and spectacular repertoires, and interpreting how senses about forms of action, trajectories, feelings and habitable positions for mothers are taken up, produced and/or symbolically delimited, this thesis reconstructs one of the modalities in which is expressed the public dispute over the social definition of good motherhood in the contemporary public space.
To develop this objective, it is carried out a critical analysis of discourses from different sources of the cultural industries that circulated in the period 2007-2018. The selection of texts considers that the varied narratives on motherhood can be grouped together by identifying regularities and correlations in the approaches from which they deal with it, the types of enunciation they present, the themes they incorporate and the genres in which it is feasible to inscribe them. In this paper we establish the division between three regimes of representation -which we call repertoires- from the systematization of their dominant compositional and stylistic features.
On the one hand, we observe the invariants of the repertoire referred to as expert that, as a cultural tradition inherited from the 20th century, normalized the establishment of guidelines and advice for maternal action in texts for the dissemination of specialized knowledge such as manuals, magazines, advertisements and television programs. As this set instructs mothers on what they should and should not do, so it teaches good motherhood, here we interpret the ideas and forms with which the meanings involved in it are produced. On the other hand, we address a group of emerging narratives at the beginning of the 21st century that -through literary and audiovisual fiction and non-fiction texts- constitute the repertoire we call cathartic, whose works, oriented by biographical and humorous stories, critically dialogue with the stabilized model of good motherhood by visualizing it as unattainable and by the dissatisfaction generated by the attempt to adapt to its precepts. These stories, produced with the logic of the journalistic genre of gossip and entertainment, such as scandal and melodrama, present itineraries about actions, emotions, practices and experiences about the ways in which one became a mother or in which motherhood is exercised, and they polemicize about them.
The period of analysis takes as its starting point the year 2007, when the founding text of the cathartic repertoire was published, and ends in 2018, the year in which abortion massively burst into the agendas of the public space. This decision considers that the emergence of the cathartic repertoire implied a discursive inflection that, by identifying the idealized maternal model as a narrative plausibility in crisis, gradually configured a new symbolic plausibility that represents the discomforts present in the ways in which mothers negotiate and conciliate the demands of good motherhood. The clipping also evaluates that in 2018 another discursive inflection was inaugurated which, unlike the texts of the analysis, was incorporating with greater emphasis the problematization of motherhood as an inherent condition and obligatory destiny of women. It was also noted that in 2018, motherhood magazines - historical products of the expert repertoire - began their removal from the publishing market, which was considered a watershed, or at least a fissure, with respect to what can be said publicly around motherhood in subsequent years.
The repertoires identified are produced in a time of deliberation and public discussion on structural oppressions and inequalities based on gender and sexualities, which implied transformations -still in process- in the understanding of gender relations, roles and identities, as well as changes in reproductive behaviors, ways of building family and/or evaluating maternal experiences, which agglomerated tensions on the system of meanings and historical values instituted on motherhood.
By analyzing the coexistence in the cultural industries of the expert, cathartic and spectacular repertoires, and interpreting how senses about forms of action, trajectories, feelings and habitable positions for mothers are taken up, produced and/or symbolically delimited, this thesis reconstructs one of the modalities in which is expressed the public dispute over the social definition of good motherhood in the contemporary public space.
Título obtenido
Doctora de la Universidad de Buenos Aires en Ciencias Sociales
Institución otorgante
Universidad de Buenos Aires. Facultad de Ciencias Sociales