An Italian Investigation: Cultural Capital and Social Superiority in Alicia Giménez Bartlett’s Nadie quiere saber
This paper proposes that in Alicia Giménez Bartlett’s Nadie quiere saber (2013), official travel to Rome –the European capital of culture par excellence– by Inspector Petra Delicado and Sub-Inspector Fermín Garzón furnishes a context in which Petra can show off her cultural capital (as per Bourdieu’...
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| Tipo de documento: | Artículo |
| Estado: | Published version |
| Fecha de publicación: | 2024 |
| País: | Costa Rica |
| Institución: | UCR |
| Repositorio: | Portal de Revistas UCR |
| Lenguaje: | Español |
| OAI Identifier: | oai:portal.ucr.ac.cr:article/62661 |
| Acceso en línea: | https://revistas.ucr.ac.cr/index.php/filyling/article/view/62661 |
| Nivel de acceso: | Acceso abierto |
| Palabra clave: | Nadie quiere saber Alicia Giménez Bartlett cultural capital Pierre Bourdieu Rome capital cultural Roma |
| Sumario: | This paper proposes that in Alicia Giménez Bartlett’s Nadie quiere saber (2013), official travel to Rome –the European capital of culture par excellence– by Inspector Petra Delicado and Sub-Inspector Fermín Garzón furnishes a context in which Petra can show off her cultural capital (as per Bourdieu’s classification of the term) in order to denigrate and humiliate her subordinate culturally, professionally, and socially, while also highlighting the relevance of her own bourgeois-hegemonic culture. |
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