Fleabag’s Pedagogy of the Gimmick

Author:

Jaarsma Ada S.1

Affiliation:

1. Department of Humanities, Mount Royal University , Calgary , Alberta , Canada

Abstract

Abstract As a work of art, the show Fleabag prompts differing kinds of judgements by critics. But as a project that reflects life in capitalist society, its gimmickry models the existentially fraught dynamics of despair. Informed by Sianne Ngai’s Theory of the Gimmick, this article explores three sets of gimmicks in relation to despair, where each holds differing pedagogical stakes for viewers: being alone; being a bad feminist; being smitten with a priest. Gimmickry, as a technique within the show, puts viewers on the hook for judging gimmicks as wonders or tricks. Gimmickry as an object of criticism, in turn, brings into view the political and existential significance of Fleabag for viewers.

Publisher

Walter de Gruyter GmbH

Subject

Philosophy

Reference42 articles.

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2. Arendt, Hannah . “Some Questions in Moral Philosophy.” Responsibility and Judgement, edited by Jerome Kohn , 49–146. New York: Schocken Books, 2003.

3. Arendt, Hannah . “The Crisis in Culture: Its Social and Political Significance.” Between Past and Future, 194–222. New York: Penguin Books, 2006.

4. Beaumont, Jessica . “Phoebe Waller-Bridge’s Fleabag(s): Direct Address and Narrative Control from Stage to Small Screen.” Journal of International Women’s Studies 22:2 (2021), 103.

5. Beauvoir, Simonede . “The Woman in Love.” The Second Sex, translated by C. Borde and S. Malovany-Chevallier . New York: Vintage Books, 2011.

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1. Representaciones etarias de las mujeres mayores en la ficción audiovisual. Fleabag como caso de estudio;Doxa Comunicación. Revista Interdisciplinar de Estudios de Comunicación y Ciencias Sociales;2024-01-01

2. (Post)confessional mode and psychological surveillance inThe CrownandFleabag;Medical Humanities;2023-05-30

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