Download Citation on ResearchGate | Culturas híbridas: estrategias para entrar y salir de la modernidad / Néstor García Canclini | Incluye bibliografía e índice }. Culturas Hibridas by Nestor Garcia Canclini. ( ratings). Paperback Book, pages. Description: The essays in this book address the latest topics and. How do we speak of modernity?’ That is the question that García Canclini asks at the beginning of his book, Culturas Híbridas: estrategias’para entrar y salir de.
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Criticas y reseñas
Hybridity is a botanical metaphor closely linked therefore to the notion of culture as cultivation, but it has some of the same problems as mestizaje. For further discussion of monumentalism, see Susan Stewart: Beside her are two baskets filled with what looks like the leaves used for making tamales the details of the photograph are not clear.
Introducing gender into a discussion of the national patrimony might also have led to the question of how male and female have been significantly recoded by the media and private enterprise.
Hybridity-as-difference is too indiscriminate to ac-count for both the vernaculars of global culture and the anomalies that truly cause dissent within the happy family.
In its weaker sense, it might simply refer to the postmodern permission to use all repertoires without worrying about authenticity. When one looks at this photograph, it is precisely the difference between Woman and women that is on display, the public sanctification of formally private life which feminists have made a matter of public debate, emphasizing that abortion is not only a ‘woman’s question’.
Gender is not a woman’s problem but an essential category of analysis. The industrial analogy is not intended to be frivolous. Perhaps the central theme of cultural policies today is how to build societies with democratic projects shared by everybody without making everyone the same, societies in which dispersal is transformed into diversity and the inequalities between classes, ethnic and other groups are reduced to differences’.
Finally the big question: Whether this adds up to a more democratic culture is another matter, given that ‘there is still inequality in the appropriation of symbolic goods and in access to cultural innovation’. What does a television producer or a market researcher understand by the popular? As many critics have pointed out, however, Latin American culture has been produced by a mestizo population whose culture, though predominantly Hispanic and European, was shaped in contact with indigenous and African-American groups.
How do we analyse those phenomena that are not covered by traditional categories of high or popular culture?
But the scene surely also illustrates the breakdown of the old categories of public and private. The book found a way out of the false dichotomies of tradition or modernity, artisan products or art. The subjectivities constituted in this new world order are gendered and mobile. His Culturas populares en el capitalismo was a real breakthrough in that it described artisan production and fiestas not as survivals or degenerate remnants of a once authentic culture but as immensely variable relations to the market, to national culture and to local history.
Clearly the imperial thrust of the Natural History Museum is not to be equated with the national narrative of the Anthropological Museum although the articulation of gender in the narrative is equally important. The very idea of ‘modernity 7 expressed in the title seems awkward.
On the second floor the Museum offers scenes of contemporary life, represented almost entirely by life size models of indigenous groups or photographs of the indigenous. One contemporary recodification of gender is, indeed, graphically represented by a photograph of a group of feminists standing cznclini front of the statue of Mexican Motherhood.
How do we study modernity?
nestor garcia canclini – Culturas Híbridas (inglés) _Franco
This is evident from a photograph of the interior of the ethnology room of the Museum which shows a group of life-size figures representing an indigenous family Let me simply quote the sentence that concludes her discussion of this statue: And not only must he make notes but he must also make sense: By gender I do not mean women or making space for women. The nation publicly sanctified motherhood; the women’s movement is now forced to make public what the placid face of motherhood conceals – the death toll of illegal abortions which is often hibridsa only form of contraception available to poo’r women.
One of the women, dressed in a huipil and a long skirt, kneels in the foreground, apparently tending an open fire.
I cannot go into the details of her analysis. Narratives of the Miniature, the Gigantic, the Souvenir, the Collection.
File:Canclini Nestor Garcia Culturas – Monoskop
Thus for instance Bal’s semiotic study points out that the nineteenth century statue of Queen Maya giving birth to the Buddha from her side, marks a transition between the exhibition of animals to that of foreign humans. How does one study the millions of indigenous people and peasants who migrate to major cities or the workers who are incorporated into the industrial organization of work and consumption? What then is the stake in ‘hybridity’?
But it is only the latter that undo the power of cancliini centre. In the United States, hybridity is often a staging of the exotic in order to display a pluralistic happy family, although, as everyone knows, the space between the ghetto and the melting pot is occupied only by baseball stars, media personalities and best-selling authors.
How do we speak of modernity? In the weak sense and since there have always been plunderings, borrowings and intertextuality, the hibbridas of the critic seems to be confined to the accumulation of evidence of new hybrids.