SoHo as virtual theatre: performing gender, race, and class in 21st-century Colombia.
In this article I explore the cultural significance of SoHo, a magazine produced by and addressed to the Colombian elite yet consumed across a wider urban social spectrum. I carry out an analysis of the magazine in connection with the broader political, cultural, and social context of its production...
| Publicado en: | Cultural Studies Vol. 36; no. 1; pp. 41 - 74 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jan 2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=154361494&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 154361494 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09502386 05G jtl: Cultural Studies issn: 09502386 maglogo: N pubinfo: dt: Jan 2022 vid: 36 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 154361494 10.1080/09502386.2020.1755710 ppf: 41 ppct: 33 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.2MB tig: atl: SoHo as virtual theatre: performing gender, race, and class in 21st-century Colombia. aug: au: Giraldo, Isis affil: English Department, University of Lausanne, Lausanne, Switzerland su: Urban community development Colombians Women in literature Performance art Performance artists sug: subj: Urban community development Colombians Women in literature Performance art Performance artists keyword: class distinction gender ideology performance race SoHo the lettered city the whiteness device urban Colombia ab: In this article I explore the cultural significance of SoHo, a magazine produced by and addressed to the Colombian elite yet consumed across a wider urban social spectrum. I carry out an analysis of the magazine in connection with the broader political, cultural, and social context of its production and circulation during the period it was directed by journalist Daniel Samper Ospina (2001–2015). I argue that under Samper Ospina, SoHo played a significant role in shaping gender ideologies in 21st-century urban Colombia. Overtly addressed to a male audience (its title means 'Only for Men') and following the model of Playboy and Esquire, SoHo operated during the period studied as a 'virtual theatre' where the Colombian elite converged and where a sort of education in postmodern sensibilities of both men and women took place. Such an educational process took the form of a double-edged performance of gender, social class, and race: firstly, in Austin's sense, upon the women it portrayed; secondly, in the theatrical sense, by the (mostly male) members of the Colombian elite that actively participated in its production. As a virtual theatre, SoHo carries out a specific type of ideological work that seeks to ensure cultural hegemony and, through it, the perpetuation of a system of domination that goes back to the colonial period and whose keys are 'the lettered city' and the 'whiteness device' (All translations are mine). pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Cultural Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Cultural Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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