Whose Comatose Girlfriend? Figures of Crisis in Neoliberal Italy
The Italian body politic has a long history of being “feminized”: Italy has long been imagined through the metaphor of the nation as a woman both within and beyond national borders. The documentary Girlfriend in a coma is a recent example of this strategy: the film is based on the metaphor of Italy...
Ausführliche Beschreibung
Autor*in: |
Serena Bassi [verfasserIn] |
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Format: |
E-Artikel |
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Sprache: |
Katalanisch ; Deutsch ; Englisch ; Spanisch ; Französisch ; Italienisch ; Japanisch ; Portugiesisch ; Chinesisch |
Erschienen: |
2018 |
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Übergeordnetes Werk: |
In: Modern Languages Open - Liverpool University Press, 2015, (2018), 1 |
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Übergeordnetes Werk: |
year:2018 ; number:1 |
Links: |
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DOI / URN: |
10.3828/mlo.v0i0.176 |
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Katalog-ID: |
DOAJ078132509 |
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10.3828/mlo.v0i0.176 doi (DE-627)DOAJ078132509 (DE-599)DOAJfa5d156d559a4897bc5995868dc9ac0b DE-627 ger DE-627 rakwb cat ger eng spa fre ita jpn por chi Serena Bassi verfasserin aut Whose Comatose Girlfriend? Figures of Crisis in Neoliberal Italy 2018 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The Italian body politic has a long history of being “feminized”: Italy has long been imagined through the metaphor of the nation as a woman both within and beyond national borders. The documentary Girlfriend in a coma is a recent example of this strategy: the film is based on the metaphor of Italy as a woman who has been beaten into a coma by a crass and criminal ruling class. In the film, Bill Emmott, who narrates, presents himself as Italy’s disillusioned lover, who wishes to rescue her from the dramatic situation she is in. Implicitly, by arguing that Italy is a woman, Emmott stresses Italy’s fragility and dependence on stronger cultures to save it. An apparent contradiction structures the film: on the one hand ‘gender inequality’ is one of the themes that the film foregrounds amongst the problems that Italy has to solve to get out of its ‘coma’, on the other, the films relies on a series of problematic cultural associations with woman as state of victimhood in order to make its case. The article will argue that the gendered metaphor in the film is instrumental in creating a cultural, social and economic programme, the goal of which is for Italy to move on from the economic crisis. Ultimately, by interrogating closely the apparent contradiction outlined above, it seeks to unpick the concept of ‘gender equality’ in this particular phase of capitalist progress and cast some light on what is intended exactly when the question of gender equality is invoked in contemporary debates on Italy’s political and economic decline. Language and Literature P In Modern Languages Open Liverpool University Press, 2015 (2018), 1 (DE-627)802538207 (DE-600)2798730-9 20525397 nnns year:2018 number:1 https://doi.org/10.3828/mlo.v0i0.176 kostenfrei https://doaj.org/article/fa5d156d559a4897bc5995868dc9ac0b kostenfrei https://www.modernlanguagesopen.org/articles/176 kostenfrei https://doaj.org/toc/2052-5397 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2093 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 2018 1 |
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10.3828/mlo.v0i0.176 doi (DE-627)DOAJ078132509 (DE-599)DOAJfa5d156d559a4897bc5995868dc9ac0b DE-627 ger DE-627 rakwb cat ger eng spa fre ita jpn por chi Serena Bassi verfasserin aut Whose Comatose Girlfriend? Figures of Crisis in Neoliberal Italy 2018 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The Italian body politic has a long history of being “feminized”: Italy has long been imagined through the metaphor of the nation as a woman both within and beyond national borders. The documentary Girlfriend in a coma is a recent example of this strategy: the film is based on the metaphor of Italy as a woman who has been beaten into a coma by a crass and criminal ruling class. In the film, Bill Emmott, who narrates, presents himself as Italy’s disillusioned lover, who wishes to rescue her from the dramatic situation she is in. Implicitly, by arguing that Italy is a woman, Emmott stresses Italy’s fragility and dependence on stronger cultures to save it. An apparent contradiction structures the film: on the one hand ‘gender inequality’ is one of the themes that the film foregrounds amongst the problems that Italy has to solve to get out of its ‘coma’, on the other, the films relies on a series of problematic cultural associations with woman as state of victimhood in order to make its case. The article will argue that the gendered metaphor in the film is instrumental in creating a cultural, social and economic programme, the goal of which is for Italy to move on from the economic crisis. Ultimately, by interrogating closely the apparent contradiction outlined above, it seeks to unpick the concept of ‘gender equality’ in this particular phase of capitalist progress and cast some light on what is intended exactly when the question of gender equality is invoked in contemporary debates on Italy’s political and economic decline. Language and Literature P In Modern Languages Open Liverpool University Press, 2015 (2018), 1 (DE-627)802538207 (DE-600)2798730-9 20525397 nnns year:2018 number:1 https://doi.org/10.3828/mlo.v0i0.176 kostenfrei https://doaj.org/article/fa5d156d559a4897bc5995868dc9ac0b kostenfrei https://www.modernlanguagesopen.org/articles/176 kostenfrei https://doaj.org/toc/2052-5397 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2093 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 2018 1 |
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10.3828/mlo.v0i0.176 doi (DE-627)DOAJ078132509 (DE-599)DOAJfa5d156d559a4897bc5995868dc9ac0b DE-627 ger DE-627 rakwb cat ger eng spa fre ita jpn por chi Serena Bassi verfasserin aut Whose Comatose Girlfriend? Figures of Crisis in Neoliberal Italy 2018 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The Italian body politic has a long history of being “feminized”: Italy has long been imagined through the metaphor of the nation as a woman both within and beyond national borders. The documentary Girlfriend in a coma is a recent example of this strategy: the film is based on the metaphor of Italy as a woman who has been beaten into a coma by a crass and criminal ruling class. In the film, Bill Emmott, who narrates, presents himself as Italy’s disillusioned lover, who wishes to rescue her from the dramatic situation she is in. Implicitly, by arguing that Italy is a woman, Emmott stresses Italy’s fragility and dependence on stronger cultures to save it. An apparent contradiction structures the film: on the one hand ‘gender inequality’ is one of the themes that the film foregrounds amongst the problems that Italy has to solve to get out of its ‘coma’, on the other, the films relies on a series of problematic cultural associations with woman as state of victimhood in order to make its case. The article will argue that the gendered metaphor in the film is instrumental in creating a cultural, social and economic programme, the goal of which is for Italy to move on from the economic crisis. Ultimately, by interrogating closely the apparent contradiction outlined above, it seeks to unpick the concept of ‘gender equality’ in this particular phase of capitalist progress and cast some light on what is intended exactly when the question of gender equality is invoked in contemporary debates on Italy’s political and economic decline. Language and Literature P In Modern Languages Open Liverpool University Press, 2015 (2018), 1 (DE-627)802538207 (DE-600)2798730-9 20525397 nnns year:2018 number:1 https://doi.org/10.3828/mlo.v0i0.176 kostenfrei https://doaj.org/article/fa5d156d559a4897bc5995868dc9ac0b kostenfrei https://www.modernlanguagesopen.org/articles/176 kostenfrei https://doaj.org/toc/2052-5397 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_11 GBV_ILN_20 GBV_ILN_22 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_70 GBV_ILN_73 GBV_ILN_95 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_206 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_2093 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 2018 1 |
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whose comatose girlfriend? figures of crisis in neoliberal italy |
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Whose Comatose Girlfriend? Figures of Crisis in Neoliberal Italy |
abstract |
The Italian body politic has a long history of being “feminized”: Italy has long been imagined through the metaphor of the nation as a woman both within and beyond national borders. The documentary Girlfriend in a coma is a recent example of this strategy: the film is based on the metaphor of Italy as a woman who has been beaten into a coma by a crass and criminal ruling class. In the film, Bill Emmott, who narrates, presents himself as Italy’s disillusioned lover, who wishes to rescue her from the dramatic situation she is in. Implicitly, by arguing that Italy is a woman, Emmott stresses Italy’s fragility and dependence on stronger cultures to save it. An apparent contradiction structures the film: on the one hand ‘gender inequality’ is one of the themes that the film foregrounds amongst the problems that Italy has to solve to get out of its ‘coma’, on the other, the films relies on a series of problematic cultural associations with woman as state of victimhood in order to make its case. The article will argue that the gendered metaphor in the film is instrumental in creating a cultural, social and economic programme, the goal of which is for Italy to move on from the economic crisis. Ultimately, by interrogating closely the apparent contradiction outlined above, it seeks to unpick the concept of ‘gender equality’ in this particular phase of capitalist progress and cast some light on what is intended exactly when the question of gender equality is invoked in contemporary debates on Italy’s political and economic decline. |
abstractGer |
The Italian body politic has a long history of being “feminized”: Italy has long been imagined through the metaphor of the nation as a woman both within and beyond national borders. The documentary Girlfriend in a coma is a recent example of this strategy: the film is based on the metaphor of Italy as a woman who has been beaten into a coma by a crass and criminal ruling class. In the film, Bill Emmott, who narrates, presents himself as Italy’s disillusioned lover, who wishes to rescue her from the dramatic situation she is in. Implicitly, by arguing that Italy is a woman, Emmott stresses Italy’s fragility and dependence on stronger cultures to save it. An apparent contradiction structures the film: on the one hand ‘gender inequality’ is one of the themes that the film foregrounds amongst the problems that Italy has to solve to get out of its ‘coma’, on the other, the films relies on a series of problematic cultural associations with woman as state of victimhood in order to make its case. The article will argue that the gendered metaphor in the film is instrumental in creating a cultural, social and economic programme, the goal of which is for Italy to move on from the economic crisis. Ultimately, by interrogating closely the apparent contradiction outlined above, it seeks to unpick the concept of ‘gender equality’ in this particular phase of capitalist progress and cast some light on what is intended exactly when the question of gender equality is invoked in contemporary debates on Italy’s political and economic decline. |
abstract_unstemmed |
The Italian body politic has a long history of being “feminized”: Italy has long been imagined through the metaphor of the nation as a woman both within and beyond national borders. The documentary Girlfriend in a coma is a recent example of this strategy: the film is based on the metaphor of Italy as a woman who has been beaten into a coma by a crass and criminal ruling class. In the film, Bill Emmott, who narrates, presents himself as Italy’s disillusioned lover, who wishes to rescue her from the dramatic situation she is in. Implicitly, by arguing that Italy is a woman, Emmott stresses Italy’s fragility and dependence on stronger cultures to save it. An apparent contradiction structures the film: on the one hand ‘gender inequality’ is one of the themes that the film foregrounds amongst the problems that Italy has to solve to get out of its ‘coma’, on the other, the films relies on a series of problematic cultural associations with woman as state of victimhood in order to make its case. The article will argue that the gendered metaphor in the film is instrumental in creating a cultural, social and economic programme, the goal of which is for Italy to move on from the economic crisis. Ultimately, by interrogating closely the apparent contradiction outlined above, it seeks to unpick the concept of ‘gender equality’ in this particular phase of capitalist progress and cast some light on what is intended exactly when the question of gender equality is invoked in contemporary debates on Italy’s political and economic decline. |
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Whose Comatose Girlfriend? Figures of Crisis in Neoliberal Italy |
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