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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One contemporary recodification of gender is, indeed, graphically represented by a photograph of a hobridas of feminists standing in front of the statue of Mexican Motherhood.

But it is only the latter that undo the power of the centre. His Culturas populares en el capitalismo was a real breakthrough in that it described artisan production and fiestas not as hibridsa or degenerate remnants of a once authentic culture but as immensely variable relations to the market, to national culture and to local history.

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

The archaeological exhibition cultkras on the ground floor and represents the past.

How do we study modernity? The very idea of ‘modernity 7 expressed in the title seems awkward.

Hence the significance of a question posed by Nelly Richard: But the scene surely also illustrates the breakdown of the old categories of public and private. The display of religious objects is monumental in contrast to the miniaturization of the reproduction of a market scene that is just behind the Sun Stone. 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’.


Beside her are two baskets filled with what looks like the leaves used for making tamales the details of the photograph are not clear. The trouble with the old term mestizaje was that it suggested that culture sprang naturally out of copulation. Finally the big question: And not only must he make notes but he must also make sense: 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’.

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.

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. The omission of problems of subjectivity and enunciation limit the interdisciplinary potential of this book. Francis Barkeretal Colchester, Essex, vol.

In cculturas 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. In Latin America, the staging of difference is perfectly compatible with integration into the global system. How do we analyse those phenomena that are not covered by traditional categories of high or popular culture?

How do we speak of modernity?

Criticas y reseñas

Not only are indigenous groups made to seem ‘the axis of national culture’ but they 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.


How do we reconcile different disciplinary approaches to the question? Let me simply quote the sentence that concludes her discussion of this statue: 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.

File:Canclini Nestor Garcia Culturas – Monoskop

I cannot go into the details of her analysis. Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. 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.

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.

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’.

Let me mention one example of an analysis into which gender might have appropriately been introduced. 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? By gender I do not mean women or making space for women. For further discussion of monumentalism, see Susan Stewart: