Every Pamela is political. Romantic intensities, sociosexual traditions and television series
The successful series Pam & Tommy (Hulu, 2022) promises a feminist vindication of Pamela Anderson: a stereotype that obsessed heterosexual capitalism in the 90s. However, that apparent critical view can be questioned, as the narrative does not seem to abandon a traditional idea of love. Arou...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Área Feminismos, Género y Sexualidades del Centro de Investigaciones "María Saleme de Burnichón" de la Facultad de Filosofía y Humanidades, Universidad Nacional de Córdoba
2022
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/polemicasfeminista/article/view/39424 |
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I10-R351-article-39424 |
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Universidad Nacional de Córdoba |
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I-10 |
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Polémicas Feministas |
| language |
Español |
| format |
Artículo revista |
| topic |
romantic intensities tv series Eva Illouz Fredric Jameson Pamela Anderson intensidades románticas series televisivas Eva Illouz Fredric Jameson Pamela Anderson intensidades românticas série de televisão Eva Illouz Fredric Jameson Pamela Anderson |
| spellingShingle |
romantic intensities tv series Eva Illouz Fredric Jameson Pamela Anderson intensidades románticas series televisivas Eva Illouz Fredric Jameson Pamela Anderson intensidades românticas série de televisão Eva Illouz Fredric Jameson Pamela Anderson Gómez Ponce, Ariel Every Pamela is political. Romantic intensities, sociosexual traditions and television series |
| topic_facet |
romantic intensities tv series Eva Illouz Fredric Jameson Pamela Anderson intensidades románticas series televisivas Eva Illouz Fredric Jameson Pamela Anderson intensidades românticas série de televisão Eva Illouz Fredric Jameson Pamela Anderson |
| author |
Gómez Ponce, Ariel |
| author_facet |
Gómez Ponce, Ariel |
| author_sort |
Gómez Ponce, Ariel |
| title |
Every Pamela is political. Romantic intensities, sociosexual traditions and television series |
| title_short |
Every Pamela is political. Romantic intensities, sociosexual traditions and television series |
| title_full |
Every Pamela is political. Romantic intensities, sociosexual traditions and television series |
| title_fullStr |
Every Pamela is political. Romantic intensities, sociosexual traditions and television series |
| title_full_unstemmed |
Every Pamela is political. Romantic intensities, sociosexual traditions and television series |
| title_sort |
every pamela is political. romantic intensities, sociosexual traditions and television series |
| description |
The successful series Pam & Tommy (Hulu, 2022) promises a feminist vindication of Pamela Anderson: a stereotype that obsessed heterosexual capitalism in the 90s. However, that apparent critical view can be questioned, as the narrative does not seem to abandon a traditional idea of love. Around the proposals of Eva Illouz and Fredric Jameson, the category of romantic intensities will collaborate with the interpretation of this crossroads, shedding light on our cultural idea of the love experience: affectivity that, even incorporating the mutations of postmodernity, clings to the great myths of love-passion and its institutions. That intensity will be verified in one of the common places that Pamela Anderson and Tommy Lee synthesize: the rockstar couple, which proves to be conservative due to its protection in the bourgeois and reproductive family and in the canonical roles of protective masculinity and progenitor femininity. The objective of this article is thus to corroborate how in our mass culture romantic love is still maintained as one of the favorite and contradictory utopías of capitalism. |
| publisher |
Área Feminismos, Género y Sexualidades del Centro de Investigaciones "María Saleme de Burnichón" de la Facultad de Filosofía y Humanidades, Universidad Nacional de Córdoba |
| publishDate |
2022 |
| url |
https://revistas.unc.edu.ar/index.php/polemicasfeminista/article/view/39424 |
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2024-09-03T21:43:48Z |
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2024-09-03T21:43:48Z |
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1809212850312314880 |
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I10-R351-article-394242024-03-13T20:45:39Z Every Pamela is political. Romantic intensities, sociosexual traditions and television series Toda pamela es política. Intensidades románticas, tradiciones sociosexuales y series televisivas Toda a pamela é política. Intensidades românticas, tradições sócio-sexuais e séries televisivas Gómez Ponce, Ariel romantic intensities tv series Eva Illouz Fredric Jameson Pamela Anderson intensidades románticas series televisivas Eva Illouz Fredric Jameson Pamela Anderson intensidades românticas série de televisão Eva Illouz Fredric Jameson Pamela Anderson The successful series Pam & Tommy (Hulu, 2022) promises a feminist vindication of Pamela Anderson: a stereotype that obsessed heterosexual capitalism in the 90s. However, that apparent critical view can be questioned, as the narrative does not seem to abandon a traditional idea of love. Around the proposals of Eva Illouz and Fredric Jameson, the category of romantic intensities will collaborate with the interpretation of this crossroads, shedding light on our cultural idea of the love experience: affectivity that, even incorporating the mutations of postmodernity, clings to the great myths of love-passion and its institutions. That intensity will be verified in one of the common places that Pamela Anderson and Tommy Lee synthesize: the rockstar couple, which proves to be conservative due to its protection in the bourgeois and reproductive family and in the canonical roles of protective masculinity and progenitor femininity. The objective of this article is thus to corroborate how in our mass culture romantic love is still maintained as one of the favorite and contradictory utopías of capitalism. La exitosa serie Pam & Tommy (Hulu, 2022) promete una reivindicación feminista de Pamela Anderson: estereotipo que obsesionó al capitalismo heterosexual en los 90. Sin embargo, esa aparente mirada crítica puede cuestionarse, en tanto la narrativa no parece abandonar una idea de amor bastante tradicional. En torno a las propuestas de Eva Illouz y Fredric Jameson, la categoría de intensidades románticas colaborará con la interpretación de esa encrucijada, a la vez que arroja luz sobre nuestra idea cultural de la experiencia amorosa: afectividad que, aún incorporando las mutaciones de la posmodernidad, se aferra a los grandes mitos del amor-pasión y a sus instituciones. Esa intensidad se constatará en uno de los lugares comunes que Pamela Anderson y Tommy Lee sintetizan: la pareja rockstar, aquella que demuestra ser conservadora por su resguardo en la familia burguesa y reproductora y en los roles canónicos de la masculinidad protectora y la feminidad progenitora. El objetivo de este artículo es así corroborar cómo en nuestra cultura masiva el amor romántico todavía se mantiene como una de las utopías favoritas, si bien contradictorias, del capitalismo. A série de sucesso Pam & Tommy (Hulu, 2022) promete uma vindicação feminista de Pamela Anderson: um estereótipo que obcecou o capitalismo heterossexual nos anos 90. No entanto, esta visão crítica aparente pode ser questionada, uma vez que a narrativa não parece abandonar uma ideia bastante tradicional de amor. Em relação às propostas de Eva Illouz e Fredric Jameson, a categoria das intensidades românticas colaborará com a interpretação desta encruzilhada, ao mesmo tempo que lança luz sobre a nossa ideia cultural da experiência do amor: afectividade que, ao mesmo tempo que incorpora as mutações da pós-modernidade, agarra-se aos grandes mitos do amor-paixão e das suas instituições. Esta intensidade será vista num dos lugares comuns que Pamela Anderson e Tommy Lee sintetizam: o casal rockstar, aquele que se revela conservador devido ao seu abrigo na família burguesa, reprodutiva e nos papéis canónicos de masculinidade protectora e feminilidade progenitora. O objectivo deste artigo é assim corroborar como na nossa cultura de massas o amor romântico continua a ser uma das utopias favoritas, embora contraditórias, do capitalismo. Área Feminismos, Género y Sexualidades del Centro de Investigaciones "María Saleme de Burnichón" de la Facultad de Filosofía y Humanidades, Universidad Nacional de Córdoba 2022-11-25 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/polemicasfeminista/article/view/39424 Polémicas Feministas; Vol. 6 (2022): Gender, Affects and Fiction; 1-20 Polémicas Feministas; Vol. 6 (2022): Género, afectos y ficción; 1-20 Polémicas Feministas; v. 6 (2022): Gênero, afetos e ficção; 1-20 2591-3611 1853-4309 spa https://revistas.unc.edu.ar/index.php/polemicasfeminista/article/view/39424/39300 https://revistas.unc.edu.ar/index.php/polemicasfeminista/article/view/39424/39412 Derechos de autor 2022 Ariel Gómez Ponce https://creativecommons.org/licenses/by-nc-nd/4.0 |