Masculinidades híbridas en el glam rock de Måneskin

  1. Sara Arenillas Meléndez
RECIAL: Revista del Centro de Investigaciones de la Facultad de Filosofía y Humanidades, Áreas Letras

ISSN: 1853-4112

Year of publication: 2022

Volume: 13

Issue: 21

Pages: 16-35

Type: Article

DOI: 10.53971/2718.658X.V13.N21.37844 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: RECIAL: Revista del Centro de Investigaciones de la Facultad de Filosofía y Humanidades, Áreas Letras


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The Italian rock group Måneskin was awarded in Eurovision Song Contest´ 2021. Since then, its global audience was growing up and its impact has been remarkable, even entering the Billboard charts. Måneskin were labled as glam rock, genre well-known for its inauthenticity and its challenge to rock´s heteronormativity through androgyny, transvestism, and the understanding of gender as a performance, features came up from camp and effeminate masculinity linked with gay. In this research, we make a brief approach to Måneskin´s gender discourse, applying the concept defined, among others, by Bridges and Pascoe of “hybrid masculinity”. In first section we examine how, despite its glam features, Måneskin articulate a discourse focused on rock authenticity strategies, which are related to masculinity and homosociality. For this analysis, we took specially into account Måneskin´ performance of Zitti e buoni in ESC. Second, we examine hybrid masculinity in Måneskin through its singer Damiano David, its bassist Victoria de Angelis, and I wanna be your slave video. Thus, we highlighted how Måneskin's hybrid masculinity shows the negotiations in which masculinity is currently inserted.

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