Abstract
La serie Girls, de Lena Dunham, ha provocado interés y controversias, particularmente a lo largo de sus primeras temporadas, por su título intencionado y su contenido, frecuentemente oscilando entre feminismo y postfeminismo. El objetivo de este artículo es examinar las implicaciones del título en términos de representación e identificación, así como una serie de cuestiones textuales planteadas en las últimas temporadas, aún no investigadas de manera proporcionada, con el fin de rastrear y discutir omisiones y retratar el desarrollo posterior de los personajes. Por esta razón, primero se utiliza la serie como mapa para explorar la noción de condición de chica (girlhood) en el ambiente contemporáneo y se aventuran comparaciones con la feminidad, la virilidad y la noción de niño. Seguidamente, se desea revelar el debate sobre la exclusión racial y de género. Finalmente, se emplea una lectura transversal basada en la discusión de críticas positivas y negativas, pero también en otras lecturas estructuradas de Girls. Nos inclinamos hacia el paradigma de la mis-identificación o identificación parcial como una forma queer de ver la serie, que permite una revisión puntual a través de diferentes ángulos, por un lado, y que reconoce los intentos de la autora de ajustarse a la retroalimentación de las audiencias, por el otro. En general, opinamos que Girls sobrepasa las trivialidades que son comunes en la televisión de calidad contemporánea, incluso al no ser completamente representativo.
Highlights
HBO’s cable series Girls uttered its last episode on April 16th, 2017, little metatextual comment has been given on the content of the last seasons of the show, at least compared to the analyses flourished upon its rise, back in 2012, and for at least two to three seasons
The show is considered a “dramedy” that follows the lives of four young girlfriends in Greenpoint, Brooklyn, New York
Apart from the aforementioned re-colonization, propagated by the external image, an introspective institutionalization takes place by succumbing to an unconscious but panoptical vigilance and by spiraling around individual issues. This goes hand–in–hand with selling a marketable and legible self that is purposed to be consumed by others: as Genz points out (Nash and Whelehan, 2017), recessionary brand culture demands an authenticity of experience, this often leads to ordinary, pseudo-bohemian manifestations very present in the narration
Summary
HBO’s cable series Girls uttered its last episode on April 16th, 2017, little metatextual comment has been given on the content of the last seasons of the show, at least compared to the analyses flourished upon its rise, back in 2012, and for at least two to three seasons (out of the six on the whole). Hannah’s main companions, but not in the strict sense, as they do not occupy steady or proportionate showtime attention, are Marnie Michaels (Allison Williams) and Jessa Johansson (Jemima Kirke), Ohio’s Oberlin College postgraduates, just like Hannah, and college attendant Shoshanna Shapiro (Zosia Mamet); all white, middle-to-upper-class representatives of the Millennial Generation, struggling to sustain themselves financially and delaying or escaping conventionalities of adulthood such as marriage or childbirth Both Marnie and Jessa get married throughout the series only to realize it is not a desirable condition after all, while Jessa miscarries while she is purposed for abortion in the first season. By careful speculation both of parts of the narration and criticism, what this study aspires to examine is the importance of this postfeminist text in a more integrated way, in relation to recent gender studies debates This has not often been the case, since a grand majority of literature has directly compared Girls to its precursor Sex and the City and has repeatedly used specific episodes and scenes of the first seasons as quotes, while subsequent content can be useful
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