Title

1A: Selena Quintanilla: Deconstructing the Feminine Script

Presenter Information

Marylee PelletierFollow

Faculty Mentor(s)

Joshua Martin

Campus

Dahlonega

Proposal Type

Oral Presentation

Subject Area

Foreign Languages

Location

Panel 1: A (Register Here)

Start Date

26-3-2021 9:00 AM

End Date

26-3-2021 9:50 AM

Description/Abstract

“Selena Quintanilla: Deconstructing the Feminine Script”

The 1995 death of Selena Quintanilla, the beloved and renowned Tejano singer, has compelled academics to research the many dimensions of her life and how they informed her art. U.S. critics have tended to focus on the singer’s gender performativity and the alleged hyper-sexuality of her public image. Following advances in feminist scholarship in recent years, critics are beginning to approach the singer’s dualistic representations in regards to how she approached gender relations. By juxtaposing Selena’s stage performances alongside her lyrics, we are better equipped to analyze how she worked to deconstruct a normative feminine script. This presentation seeks to add to this fruitful line of inquiry.

In the songs studied here (“Amor prohibido”, “Como la flor”, “Las cadenas”, and “La llamada”), Selena creates a space that promotes a dualistic consciousness with regards to sexuality and culture, with her lyrics focusing principally on love, heartbreak, and female empowerment. Consequently, Selena uses these concepts to deconstruct social binaries that would otherwise limit Chicana identity and to highlight a subtle intervention that beckons a new masculine ideal. This presentation concludes by contemplating the role of lyrical ambiguity in relation to how the singer approached these same concepts.

Key words: dualistic thinking, gender performativity, Chicana feminism, masculinity

Part of the pre-organized panel: “Latinx Literature and Cultural Production along the US-Mexico Border”

Note to Conference Administrators

1) name of panel: Latinx Literature and Cultural Production along the US-Mexico Border

2) "Bless Me, Ultima (1972) and Masculinity on the Borderlands" (Cassidy Clifford) "Borders and Identity in Bless Me, Ultima (1972)" (Colton Glaze)

3) Cassidy Clifford and Colton Glaze

Media Format

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Mar 26th, 9:00 AM Mar 26th, 9:50 AM

1A: Selena Quintanilla: Deconstructing the Feminine Script

Panel 1: A (Register Here)

“Selena Quintanilla: Deconstructing the Feminine Script”

The 1995 death of Selena Quintanilla, the beloved and renowned Tejano singer, has compelled academics to research the many dimensions of her life and how they informed her art. U.S. critics have tended to focus on the singer’s gender performativity and the alleged hyper-sexuality of her public image. Following advances in feminist scholarship in recent years, critics are beginning to approach the singer’s dualistic representations in regards to how she approached gender relations. By juxtaposing Selena’s stage performances alongside her lyrics, we are better equipped to analyze how she worked to deconstruct a normative feminine script. This presentation seeks to add to this fruitful line of inquiry.

In the songs studied here (“Amor prohibido”, “Como la flor”, “Las cadenas”, and “La llamada”), Selena creates a space that promotes a dualistic consciousness with regards to sexuality and culture, with her lyrics focusing principally on love, heartbreak, and female empowerment. Consequently, Selena uses these concepts to deconstruct social binaries that would otherwise limit Chicana identity and to highlight a subtle intervention that beckons a new masculine ideal. This presentation concludes by contemplating the role of lyrical ambiguity in relation to how the singer approached these same concepts.

Key words: dualistic thinking, gender performativity, Chicana feminism, masculinity

Part of the pre-organized panel: “Latinx Literature and Cultural Production along the US-Mexico Border”