Beyoncé en la intersecciónpop, género, raza y clase social. Recepción y discursos en torno a su trabajo
- Herrera Quintana, Elena
- Amparo Lasén Díaz Doktormutter
Universität der Verteidigung: Universidad Complutense de Madrid
Fecha de defensa: 26 von Januar von 2021
- Elena Casado Aparicio Präsidentin
- Carmen Romero Bachiller Sekretärin
- Antumi Toasijé Vocal
- Esther Ortega Arjonilla Vocal
- Silvia Martínez García Vocal
Art: Dissertation
Zusammenfassung
For several years, something has been changing in the media landscape. Feminism as a political message has been spreading throughout diverse platforms, outlets, and has become a part of celebrity statements. Brands and products associate their values to feminism, and social movements such as FEMEN, Pussy Riot or #MeToo have taken over international covers and deep conversations.We insert Beyoncé’s artistic work, which she has been developing in the last few years, in this trend. Her shows and music videos have been the platform used to make political statements related with gender and race issues: sampling Nigerian writer Ngozie Adichie’s feminist discourse in the MTV Music Awards 2014, paying homage to the Black Panthers Party or the #BlackLivesMatter movement and Afro-American culture. Her example has been praised and severely criticized by diverse groups and sectors of society. Many women, mostly -cis and trans- black women, have identified themselves with Beyoncé’s discourse of empowerment. Other voices pointed to a lack of authenticity for several reasons...