Las representaciones mediáticas y la construcción hiperreal de las jefas del narcotráfico

This thesis addresses representation, stereotypes, and how female characters work in positions of power in drug narratives, especially in narcoliterature. This theme is analyzed from the concepts of hyperreality, consumption and violence —concepts that theoretically enable a dialogue with each other—, taking, for this, female figures portrayed in narcoliterature, from formative elements of Hyperreality, as described by the philosopher and theorist Jean Baudrillard. The first chapter of this dissertation takes a tour of the background of the phenomenon of drug trafficking in Latin America and states the first outbreaks of hyperreal elements in said narrative. The second of them establish the basis of the theoretical framework on which the present study is based. The first of them, the concept of Hyperreality according to Baudrillard, in The Perfect Crime can be seen how the French theorist explains how the replica or representation of a real object ends up turning it into something more real than reality itself, this is what the called hyperreal. Chapter three makes a critical study of the narrative texts that are used to submit them for analysis: Camelia, la Texana, by Diego Ramón Bravo and Hilario Peña; masters of Mexican origin and whose work is based on a fictional female character, drug trafficker from a musical corrido. The Queen of the South, by the Spanish Arturo Pérez Reverte, narrates the adventures of a lover of a drug trafficker who ends up becoming an important boss of the mafia; and finally The Patrona of Pablo Escobar. Life and death of Griselda Blanco, by the Colombian José Guarnizo, a journalistic chronicle that talks about La zar de la Coca in Colombia. The decision to take these three texts to analyze them from hyperreality is due to the fact that they are books that addressed female characters already installed in a reality –the corrido, the news or history– that made it possible to take their stories to narrative fiction –and cinematographic and musical – and later they were taken to the plane of a diffuse reality, where it seems impossible to determine if they are authentic, real characters, or if they are the product of fiction. In part, it is proposed in this thesis, to appreciate the specular game between fiction and reality, the illusion that becomes reality, as the authentic reality that current society lives, reinterprets and resignifies on a daily basis. Under this scheme, an attempt is made to determine the way in which this dialogue/game/confrontation between reality-fiction produces the figure of the narco-woman as an object and subject of hyperreal consumption. The final objective is to establish the hyperreal element that emerges both from the fictional work, as well as from the information in the media and the entertainment industry, since, in order to have a better understanding of the image of women in the narconovela, it is necessary to analyze them not only literary, but through media narratives. In the historical context of the drug world and the cultural products that are produced from this context, from this massification of news, from the commercialization of information about the drug world (whether novels, soap operas, news, documentaries, clothing, music, etc), as will be seen, there is a clash, a dialectical game between fiction and reality, where both, illusion and tangible life, merge and it becomes difficult to identify what was born as fiction and what as reality. One, reality or fiction, the real or the hyperreal, is juxtaposed on the other, and the distinction becomes impossible; hence the dialogue/game/confrontation between reality and fiction that Baudrillard talks about in The Perfect Crime. Leaning on the French philosopher, this thesis will address the problem of hyperreality by analyzing the figure of the narco-woman as an object and subject of hyperreal consumption; Hence the central object of the theoretical work on which this thesis is based.

Embargo status: Restricted until 06/2024. To request the author grant access, click on the PDF link to the left.