Un divismo In&Out: l'iconicità di Raffaella Carrà per la comunità omosessuale.

Raffaella Carrà, questioned about her status as a gay icon, expressed uncertainty, attributing it to the LGBT+ community's imaginative connection with her. The first statement of explicit support dates to 1979. A relationship established over time, initially quietly, later confirmed with her recognition as a global gay icon (at the World Pride in Madrid) and in numerous interviews, in which, when asked about the reasons for such a "love", she responded with a somewhat ambiguous yet dense «I don't know». Rita traces the reasons for this feeling to the camp phenomenon, in its ability - paraphrasing Sontag - to eliminate every element of morality, neutralizing indignation through the passion for exaggeration, for what is artificial and consequently «intimately "against", even if it does not throw bombs. The performance alone is sufficient to be explosive. Almost always she discovered to be subversive without being aware of it», revolutionizing and promoting «instances of extreme modernity without even noticing it», according to Barra. As a skillful interpreter of the world that surrounded her, Raffaella Carrà defined this feeling in terms of the imagination, thus recognizing an "other" space as the only place where a sense of community could be established, where it is too often possible to legitimize a principle of equality which is denied in the reality. Carrà deposed the star forms by exciting «the public to marvel with her, not at her», as Rita wrote, in a sort of "meta-transvestism" which is very reminiscent of the processes of appropriation and re-semanticization implemented in the use of GIFs and in fanvidding practices. Through a study of remix operations on some social networks, the article tries to draw a map of online condolence messages from the LGBT+ community as soon as it learns about its icon's death. An online space which, following her disappearance, becomes a safer space for her fans, therefore an ideal ceremonial place for the conjugation - which took place quietly at an institutional level - between the icon of sexual liberation and the gay icon, in a secular, spontaneous and transnational beatification process without precedents. [ABSTRACT FROM AUTHOR]