Publication: De “Serenata” (1950) a “Bandida” (2007): conflictivas imágenes de la mujer paraguaya en el cancionero
Authors
Cespedes Ruffinelli, Roberto Luis
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Publisher
Murcia, Universidad de Murcia, Servicio de Publicaciones
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DOI
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info:eu-repo/semantics/article
Description
Abstract
Se muestra, a través de dos canciones, “Serenata” y “Bandida”, separadas por casi
seis décadas, conflictivas imágenes de la joven mujer paraguaya así como el contexto social
de producción y recepción de las mismas y que las constituyó en exitosas. Se pasó de la
serenata dirigida a la joven mujer “virgen y flor” a la canción a una joven mujer que ejerce
libremente su derecho a la sexualidad y por consiguiente recibe el calificativo de “bandida”. La
producción y aceptación de ambas canciones se dio en dos “países” distintos y también en
dos mujeres según educación, empleo y especialmente sexualidad. Se analizan estas
imágenes creadas por varones (heterosexuales) cómo estigmatizan a la joven mujer por su
ejercicio del derecho a la sexualidad, independientemente de discursos vigentes acerca de la
igualdad. La imagen degradada de la mujer en la nueva canción urbana paraguaya se anuda
a otras vigentes en América Latina y a los dichos (ñe’enga, en guaraní) que también la
menoscaba.
This essay unfolds, through two songs, “Serenata” y “Bandida”, nearly sixty years away, conflicting images of Paraguayan girl as well as their social context of production and reception which allows them to success. It changed from a serenata, or serenade, to a “virgin and flower” girl to a bandit girl due to her free exercise of her right to sexuality. Production and approval of both songs belong to two “countries” and two women according to education, employment and especially to sexuality. Images created by (heterosexual) men produced a stigmatized woman due to exercise her sexual rights in spite of current equality discourses. A degraded image of woman in the new Paraguayan urban song is linked others in Latin America and with sayings (“ñe’enga”, in guaraní language) which also abase woman.
This essay unfolds, through two songs, “Serenata” y “Bandida”, nearly sixty years away, conflicting images of Paraguayan girl as well as their social context of production and reception which allows them to success. It changed from a serenata, or serenade, to a “virgin and flower” girl to a bandit girl due to her free exercise of her right to sexuality. Production and approval of both songs belong to two “countries” and two women according to education, employment and especially to sexuality. Images created by (heterosexual) men produced a stigmatized woman due to exercise her sexual rights in spite of current equality discourses. A degraded image of woman in the new Paraguayan urban song is linked others in Latin America and with sayings (“ñe’enga”, in guaraní language) which also abase woman.
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