{"title":"《驯服21世纪墨西哥小说中的狂野女人》","authors":"J. Tate","doi":"10.7560/SLAPC3610","DOIUrl":null,"url":null,"abstract":"Abstract:A genre within the genre of Mexican telenovelas is the rurally set production that establishes a feudal-like context for characters whose attitudes and behaviors are anachronistic and might best be described as a rejection of modernity. One aspect of this rejection is seen in the treatment of women who do not conform to traditional, that is, Marianist, standards of womanhood. The \"wild woman\" of these telenovelas initially pushes the boundaries of gender roles, but before the final chapter, romantic love and motherhood tame her. Because telenovelas have been shown to have a didactic effect on the viewing audience, the investigation at hand not only analyzes the representation of these women and their eventual taming but also considers the potential impact of such portrayals on the viewing audience. The telenovelas that I point to in this study aired on Mexico's national channel, Televisa, and later on Univisión: Apuesta por un amor (Gambling on Love) (2004–2005), Fuego en la sangre (Burning for Revenge) (2008), Soy tu dueña (A Woman of Steel) (2010), and La que no podía amar (The One Who Couldn't Love) (2011–2012).","PeriodicalId":53864,"journal":{"name":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2018-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Taming the Wild Woman in Twenty-First-Century Mexican Telenovelas\",\"authors\":\"J. Tate\",\"doi\":\"10.7560/SLAPC3610\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:A genre within the genre of Mexican telenovelas is the rurally set production that establishes a feudal-like context for characters whose attitudes and behaviors are anachronistic and might best be described as a rejection of modernity. One aspect of this rejection is seen in the treatment of women who do not conform to traditional, that is, Marianist, standards of womanhood. The \\\"wild woman\\\" of these telenovelas initially pushes the boundaries of gender roles, but before the final chapter, romantic love and motherhood tame her. Because telenovelas have been shown to have a didactic effect on the viewing audience, the investigation at hand not only analyzes the representation of these women and their eventual taming but also considers the potential impact of such portrayals on the viewing audience. The telenovelas that I point to in this study aired on Mexico's national channel, Televisa, and later on Univisión: Apuesta por un amor (Gambling on Love) (2004–2005), Fuego en la sangre (Burning for Revenge) (2008), Soy tu dueña (A Woman of Steel) (2010), and La que no podía amar (The One Who Couldn't Love) (2011–2012).\",\"PeriodicalId\":53864,\"journal\":{\"name\":\"STUDIES IN LATIN AMERICAN POPULAR CULTURE\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2018-05-24\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"STUDIES IN LATIN AMERICAN POPULAR CULTURE\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7560/SLAPC3610\",\"RegionNum\":4,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"STUDIES IN LATIN AMERICAN POPULAR CULTURE","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7560/SLAPC3610","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
摘要
摘要:墨西哥电视小说类型中的一种类型是以乡村为背景的作品,它为那些态度和行为不合时宜的人物建立了一个封建式的背景,最好用对现代性的拒绝来形容。这种排斥的一个方面体现在对不符合传统,即玛丽安主义女性标准的女性的对待上。这些电视小说中的“狂野女人”最初突破了性别角色的界限,但在最后一章之前,浪漫的爱情和母性驯服了她。由于电视小说已被证明对观众有说教的效果,手头的调查不仅分析了这些女性的形象及其最终的驯服,还考虑了这些形象对观众的潜在影响。我在这项研究中提到的电视中篇小说在墨西哥国家频道Televisa播出,后来在Univisión播出:Apuesta por un amor(《爱的赌博》)(2004年至2005年)、Fuego en la sangre(《为复仇而燃烧》)(2008年)、Soy tu dueña(《钢铁女人》)(2010年)和la que no podía amar(《不能爱的人》)(2011年至2012年)。
Taming the Wild Woman in Twenty-First-Century Mexican Telenovelas
Abstract:A genre within the genre of Mexican telenovelas is the rurally set production that establishes a feudal-like context for characters whose attitudes and behaviors are anachronistic and might best be described as a rejection of modernity. One aspect of this rejection is seen in the treatment of women who do not conform to traditional, that is, Marianist, standards of womanhood. The "wild woman" of these telenovelas initially pushes the boundaries of gender roles, but before the final chapter, romantic love and motherhood tame her. Because telenovelas have been shown to have a didactic effect on the viewing audience, the investigation at hand not only analyzes the representation of these women and their eventual taming but also considers the potential impact of such portrayals on the viewing audience. The telenovelas that I point to in this study aired on Mexico's national channel, Televisa, and later on Univisión: Apuesta por un amor (Gambling on Love) (2004–2005), Fuego en la sangre (Burning for Revenge) (2008), Soy tu dueña (A Woman of Steel) (2010), and La que no podía amar (The One Who Couldn't Love) (2011–2012).