Canclini Culturas Hibridas prologo. 10 Pages. Canclini Culturas Hibridas prologo . Uploaded by. Iván García. Download with Google Download with Facebook. 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. Culturas Hibridas by Nestor Garcia Canclini. ( ratings). Paperback Book, pages. Description: The essays in this book address the latest topics and.

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The very idea of ‘modernity 7 expressed in the title seems awkward.

Culturas hibridas en tiempos gloalizados. by Lucia Garcia on Prezi

Hence the significance of hibridass question posed by Nelly Richard: 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.

I cannot go into the details of her analysis. In the weak sense and since there have always been plunderings, borrowings and intertextuality, the task of the critic seems to be confined to the accumulation of evidence of new hybrids. Not only are indigenous groups made to seem ‘the axis of national culture’ but hhibridas are also represented as traditional.

In its weaker sense, it might simply refer to the postmodern permission to use all repertoires without worrying about authenticity. But the scene surely cancilni illustrates the breakdown of the old categories of public and private.

How does one study the culturzs of indigenous people and peasants who migrate to major cities or the workers who are incorporated into canclino industrial organization of work and consumption?

One of the women, dressed in a huipil and a long skirt, kneels in the foreground, apparently tending an open fire. The omission of problems of subjectivity and enunciation limit the interdisciplinary potential of this book. Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. 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 cultuas.

The trouble with the old term mestizaje was that it suggested that culture sprang naturally out of copulation. The archaeological exhibition is on the ground floor and represents the past.


While there is nothing particularly startling in this observation, gendering is surely significant in this representation since it is the family that can best demonstrate the official view of the unchanging continuity of private life between the remote past and the present.

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 the only form of contraception available to poo’r women.

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.

Jean Franco Publicado en: Francis Barkeretal Colchester, Essex, vol. How do we reconcile different disciplinary approaches to the question? For further discussion of monumentalism, see Susan Stewart: 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.

How do we speak of modernity? By gender I do not mean women or making space for women. Indeed the discussions of theories of modernity and postmodernity which are reproduced here only strengthen the impression that these words are mere props that only disguise a rather old problem – that of Latin American difference.

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. The industrial analogy is not intended to be frivolous. How do we analyse those phenomena that are not covered by traditional categories of high or popular culture? 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 And not only must he make notes but he must also make sense: One contemporary recodification of gender is, indeed, graphically represented by a photograph of a group of feminists standing in front of the statue of Mexican Motherhood.

Gender is not a woman’s problem but an essential category of analysis. This vocabulary has the advantage of demystifying culture and tearing it away from the romantic notion of creation; the disadvantage is that the economic metaphor makes it impossible to broach the problem of subjectivity.


But it is only the latter that undo the power of the 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.

As many critics have pointed out, however, Latin American culture has been produced canclinl a mestizo population whose culture, though predominantly Hispanic and European, was shaped in contact with indigenous and African-American groups. Let me simply quote the sentence that concludes her discussion of this statue: How do we study modernity?

What is distinctive about Latin America now. Finally the big question: The subjectivities constituted in this new world order are gendered and mobile.

What does a television producer or a market researcher understand by the popular?

Criticas y reseñas

When one looks at this photograph, it is precisely the difference between Woman and women that is hibrivas display, the public sanctification of formally private life which feminists have made a matter of public debate, xanclini that abortion is not only a ‘woman’s question’. What then is the stake in ‘hybridity’? In Latin America, the staging of difference is perfectly compatible with integration into the global system.

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. 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. This representation of the national patrimony over-looks the hybrid forms assumed by traditional ethnic groups when they come into contact with capitalist socioeconomic and cultural development’.