Glee et la reprise jubilatoire
This article focuses on the different levels on which reprise functions in the series Glee, broadcasted by FOX since 2009. Effectively, reprise is a polyvalent concept used just as well to construct a normed and rigid universe as to sap and destabilize it. Firstly, we will note how reprise is a gene...
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| Format: | Article |
| Language: | English |
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Groupe de Recherche Identités et Cultures
2013-09-01
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| Series: | TV Series |
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| Online Access: | http://journals.openedition.org/tvseries/723 |
| _version_ | 1818677856406863872 |
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| author | Virginie Marcucci |
| author_facet | Virginie Marcucci |
| author_sort | Virginie Marcucci |
| collection | DOAJ |
| description | This article focuses on the different levels on which reprise functions in the series Glee, broadcasted by FOX since 2009. Effectively, reprise is a polyvalent concept used just as well to construct a normed and rigid universe as to sap and destabilize it. Firstly, we will note how reprise is a generic type and marks Glee as a teen series, with its parade of well-worn situations and somewhat predictable characters. To this generic reprise is added the reprise of clichés and stereotypes applied to the (notably gendered) behavior of protagonists, permitting the construction of masculine and feminine characters, conforming to societal expectations, whether extra-diegetic (constituted by the audience) or intra-diegetic (constituted by the characters). However, the place of the diegesis — the “glee club” of which the heroes are members — introduces a new kind of reprise thanks to musical and theatrical performance, which plays a different role and blurs the previously well-drawn borders of the characters’ gender identities. Here, the queer role of reprise will be our primary interest, in the sense that this term is understood by Judith Butler, which is to say in that it allows us to twist and curb the apparently straight and rectangular lines of gender behavior attributed to the two biological sexes. Finally, we will observe how this subversion, if it disrupts and puts the apparently natural order of things back into play, is also the condition for the construction of a new order (being characterized by affiliation and fluidity). Effectively, it allows in fine for a very progressive positioning of the show and its subject: once the gender attributes are shown to be neither firmly nor naturally attached to one sex or the other, it is easy to do the same for sexuality and the often systematic expectation of heterosexuality (or heteronormativity). |
| first_indexed | 2024-12-17T09:06:01Z |
| format | Article |
| id | doaj.art-7045255f5f2348a193bd13d180add47c |
| institution | Directory Open Access Journal |
| issn | 2266-0909 |
| language | English |
| last_indexed | 2024-12-17T09:06:01Z |
| publishDate | 2013-09-01 |
| publisher | Groupe de Recherche Identités et Cultures |
| record_format | Article |
| series | TV Series |
| spelling | doaj.art-7045255f5f2348a193bd13d180add47c2022-12-21T21:55:28ZengGroupe de Recherche Identités et CulturesTV Series2266-09092013-09-01310.4000/tvseries.723Glee et la reprise jubilatoireVirginie MarcucciThis article focuses on the different levels on which reprise functions in the series Glee, broadcasted by FOX since 2009. Effectively, reprise is a polyvalent concept used just as well to construct a normed and rigid universe as to sap and destabilize it. Firstly, we will note how reprise is a generic type and marks Glee as a teen series, with its parade of well-worn situations and somewhat predictable characters. To this generic reprise is added the reprise of clichés and stereotypes applied to the (notably gendered) behavior of protagonists, permitting the construction of masculine and feminine characters, conforming to societal expectations, whether extra-diegetic (constituted by the audience) or intra-diegetic (constituted by the characters). However, the place of the diegesis — the “glee club” of which the heroes are members — introduces a new kind of reprise thanks to musical and theatrical performance, which plays a different role and blurs the previously well-drawn borders of the characters’ gender identities. Here, the queer role of reprise will be our primary interest, in the sense that this term is understood by Judith Butler, which is to say in that it allows us to twist and curb the apparently straight and rectangular lines of gender behavior attributed to the two biological sexes. Finally, we will observe how this subversion, if it disrupts and puts the apparently natural order of things back into play, is also the condition for the construction of a new order (being characterized by affiliation and fluidity). Effectively, it allows in fine for a very progressive positioning of the show and its subject: once the gender attributes are shown to be neither firmly nor naturally attached to one sex or the other, it is easy to do the same for sexuality and the often systematic expectation of heterosexuality (or heteronormativity).http://journals.openedition.org/tvseries/723Gleeteen seriescover songsgendertheatricality |
| spellingShingle | Virginie Marcucci Glee et la reprise jubilatoire TV Series Glee teen series cover songs gender theatricality |
| title | Glee et la reprise jubilatoire |
| title_full | Glee et la reprise jubilatoire |
| title_fullStr | Glee et la reprise jubilatoire |
| title_full_unstemmed | Glee et la reprise jubilatoire |
| title_short | Glee et la reprise jubilatoire |
| title_sort | glee et la reprise jubilatoire |
| topic | Glee teen series cover songs gender theatricality |
| url | http://journals.openedition.org/tvseries/723 |
| work_keys_str_mv | AT virginiemarcucci gleeetlareprisejubilatoire |