Publication: El viaje de las protagonistas en las narcotelenovelas (2010-2019): poder, “no femenino” y violencia
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2024-02
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2023-12-18
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Abstract
A partir del año 2005 se observa un creciente protagonismo de personajes femeninos en las
narcotelenovelas latinoamericanas. Sus historias, ambientadas en el mundo del narcotráfico y
del crimen organizado, se globalizan a partir de 2010 debido al surgimiento de las plataformas
de streaming. Esta investigación se ubica epistemológicamente en el campo de los estudios
culturales latinoamericanos y el feminismo interseccional. Como objetivo principal se plantea
analizar las dinámicas de ascenso al poder de estos personajes en la estructura jerárquica del
narconegocio. Para ello, se seleccionan aquellas narcotelenovelas donde sus protagonistas
hayan llegado a convertirse en las jefas del mismo. Se pretende determinar así si su posición
como dueñas o jefas del negocio se puede considerar, o no, como un acto de
“empoderamiento” (Ruiz, 2016; Vásquez, 2017; Pannetier, 2021). Para demostrar lo anterior
se hace un análisis narratológico de tipo comparativo a partir de los modelos del viaje heroico
de Campbell (1946), Vogler (1992), Murdock (1990) y Rivera (2018) —los dos últimos
incluyen variables de clase social, nacionalidad y género, en el caso de Murdock—. Con el fin
de esclarecer los sistemas de autorregulación social, la violencia es analizada a partir del
concepto del “no femenino” (Peña, 2018), entendido como la negación por parte de las
mujeres a asumir los múltiples mandatos de la sociedad patriarcal. Se concluye que su
ascenso en la jerarquía presenta mayor similitud con el modelo propuesto por Rivera (2018)
lo que indica que, lejos de suponer un verdadero empoderamiento, las series seleccionadas no
renuevan ni cuestionan las estructuras de poder hegemónico, sino que lo asumen y lo
reproducen en procesos de “necroempoderamiento” (Valencia, 2010). Así, la violencia se
convierte en el mecanismo ejercido por las protagonistas para alcanzar y mantener el mando,
pero también es utilizada contra ellas con una función ejemplarizante y como medio de
advertencia para evitar que se transgredan los roles de género tradicionales.
Since 2005, there has been a growing prominence of female characters in Latin American narcotelenovelas. Their stories, set in the world of drug trafficking and organized crime, have been globalized since 2010 due to the emergence of streaming platforms. This research is epistemologically located in the field of Latin American cultural studies and intersectional feminist studies. The main objective is to analyze the dynamics of the rise to power of these characters in the hierarchical structure of the drug business. For this purpose, we select those narcotelenovelas in which their protagonists have become the bosses of the narco-business. The aim is to determine whether their position as owners or bosses of the business can be considered as an act of “empowerment” (Ruiz, 2016; Vásquez, 2017; Pannetier, 2021). To demonstrate the above, a comparative narratological analysis is made based on the models of the heroic journey of Campbell (1946), Vogler (1992), Murdock (1990) and Rivera (2018) — The latter two include variables of social class, nationality, and gender, in the case of Murdock—. To shed light on social self-regulation systems, violence is analyzed from the concept of “The Woman's No” (Peña, 2018), understood as the refusal on the part of women to assume the multiple mandates of patriarchal society. It is concluded that their ascent in the hierarchy presents greater similarity with the model proposed by Rivera (2018) which indicates that, far from assuming a true empowerment, the selected series do not renew or question the hegemonic power structures, but rather assume and reproduce it in processes of “necro-empowerment” (Valencia, 2010). Thus, violence becomes the mechanism exercised by the protagonists to achieve and maintain command, but it is also used against them with an exemplary function and as a means of warning to prevent them from transgressing traditional gender roles.
Since 2005, there has been a growing prominence of female characters in Latin American narcotelenovelas. Their stories, set in the world of drug trafficking and organized crime, have been globalized since 2010 due to the emergence of streaming platforms. This research is epistemologically located in the field of Latin American cultural studies and intersectional feminist studies. The main objective is to analyze the dynamics of the rise to power of these characters in the hierarchical structure of the drug business. For this purpose, we select those narcotelenovelas in which their protagonists have become the bosses of the narco-business. The aim is to determine whether their position as owners or bosses of the business can be considered as an act of “empowerment” (Ruiz, 2016; Vásquez, 2017; Pannetier, 2021). To demonstrate the above, a comparative narratological analysis is made based on the models of the heroic journey of Campbell (1946), Vogler (1992), Murdock (1990) and Rivera (2018) — The latter two include variables of social class, nationality, and gender, in the case of Murdock—. To shed light on social self-regulation systems, violence is analyzed from the concept of “The Woman's No” (Peña, 2018), understood as the refusal on the part of women to assume the multiple mandates of patriarchal society. It is concluded that their ascent in the hierarchy presents greater similarity with the model proposed by Rivera (2018) which indicates that, far from assuming a true empowerment, the selected series do not renew or question the hegemonic power structures, but rather assume and reproduce it in processes of “necro-empowerment” (Valencia, 2010). Thus, violence becomes the mechanism exercised by the protagonists to achieve and maintain command, but it is also used against them with an exemplary function and as a means of warning to prevent them from transgressing traditional gender roles.
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Mención Internacional en el título de doctor
Keywords
Personajes femeninos, Narcotelenovelas, Análisis narratológico, "Necroempoderamiento", "No femenino", Female characters, Narratological analysis, “Necro-empowerment”, “The Woman's No”