<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2182-3030</journal-id>
<journal-title><![CDATA[CIDADES, Comunidades e Territórios]]></journal-title>
<abbrev-journal-title><![CDATA[CIDADES]]></abbrev-journal-title>
<issn>2182-3030</issn>
<publisher>
<publisher-name><![CDATA[DINÂMIA'CET-IUL, Centro de Estudos sobre a Mudança Socioeconómica e o Território]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2182-30302021000300060</article-id>
<article-id pub-id-type="doi">10.15847/cct.23453</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[&#8216;Dio$ No$ Libre Del Dinero&#8217;. Um ensaio acerca dos cruzamentos entre as retóricas pós-feministas e as indústrias (pós)culturais na obra de Rosalía]]></article-title>
<article-title xml:lang="en"><![CDATA[&#8216;Dio$ No$ Libre Del Dinero&#8217;. An essay on the crossovers between the post-feminist rhetorics and the (post)cultural industries in the work of Rosalía]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Guerra]]></surname>
<given-names><![CDATA[Paula]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Alvarez-Cueva]]></surname>
<given-names><![CDATA[Priscila]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade do Porto Instituto de Sociologia Griffith Center for Social and Cultural Research]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Portugal</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universitat Pompeu Fabra  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>10</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>10</month>
<year>2021</year>
</pub-date>
<volume>au21</volume>
<fpage>60</fpage>
<lpage>74</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2182-30302021000300060&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2182-30302021000300060&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2182-30302021000300060&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este artigo tem como objetivo último discutir e perspetivar as formas pelas quais Rosalía, enquanto artista, aciona um conjunto ampliado de narrativas pós-feministas, não só nas suas letras, mas também nos seus videoclipes neste contexto de modernidade tardia. Assim, mantendo o princípio de que as retóricas pós-feministas são abrangentes e multifacetadas, foram analisadas quatro canções: &#8220;Malamente&#8221; (2018), &#8220;Yo x Ti, Tu x Mi&#8221; (2019), &#8220;Aute Cuture&#8221; (2019) e &#8220;Juro Que&#8221; (2020)1. Desta forma, intentámos aferir da(s) dualidade(s) que pauta o discurso artístico de Rosalía, indo, assim, ao encontro de uma dialógica entre as indústrias (pós)culturais e o discurso sociológico acerca dos objetos, narrativas e imagéticos criativos delas emergentes.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The ultimate aim of this article is to discuss and perspective the ways in which Rosalía, as an artist, triggers an expanded set of post-feminist narratives, not only in her lyrics, but also in her video clips in this context of late modernity. Thus, maintaining the principle that post-feminist rhetoric is comprehensive and multifaceted, four songs have been analysed: "Malamente" (2018), "Yo x Ti, Tu x Mi" (2019), "Aute Cuture" (2019) and "Juror Que" (2020). In this way, we intended to assess the duality(ies) that guide Rosalía's artistic discourse, thus meeting a dialogic between the (post)cultural industries and the sociological discourse about the objects, narratives and creative imagery emerging from them.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[pós-feminismo]]></kwd>
<kwd lng="pt"><![CDATA[Rosalía]]></kwd>
<kwd lng="pt"><![CDATA[modernidade tardia]]></kwd>
<kwd lng="pt"><![CDATA[indústrias (pós)culturais]]></kwd>
<kwd lng="pt"><![CDATA[reggaeton e flamenco]]></kwd>
<kwd lng="en"><![CDATA[post-feminism]]></kwd>
<kwd lng="en"><![CDATA[Rosalía]]></kwd>
<kwd lng="en"><![CDATA[late modernity]]></kwd>
<kwd lng="en"><![CDATA[(post) cultural industries]]></kwd>
<kwd lng="en"><![CDATA[reggaeton and framenco]]></kwd>
</kwd-group>
</article-meta>
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