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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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?

Criticas y reseñas

Not only are indigenous groups made to seem ‘the axis of national culture’ but they are also represented as traditional. Hybridity is a botanical metaphor closely linked therefore to the notion of hibeidas as cultivation, but it has some of the same problems as mestizaje. How do we speak of modernity? The industrial analogy is not intended to be frivolous.

Gender is not a woman’s problem but an essential category of analysis. The book found a way out of the false dichotomies of tradition or modernity, artisan products or art. 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. 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.

But the scene surely also illustrates the breakdown of the old categories of public and private.

Finally the big question: 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. Thus for instance Bal’s semiotic study points out that the nineteenth century statue cultuas Queen Maya giving birth to the Buddha from her side, marks a transition between the exhibition of animals to that of foreign humans.

The very idea of ‘modernity 7 expressed in the title seems awkward. How do we analyse those phenomena cultuuras are not covered by traditional categories of high or popular culture? In Latin America, the staging of difference is perfectly compatible with integration into the global system. 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.

Culturas hibridas – Nestor Garcia Canclini. Entrada. by marvin code on Prezi

I cannot go into the details of her analysis. 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?

Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Jean Franco Publicado en: This is evident from a photograph of the interior of the ethnology room of the Museum which cupturas a group of life-size figures representing an indigenous family The archaeological exhibition is on the ground floor and represents the past.

For further discussion of monumentalism, see Susan Stewart: 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’.

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.

Francis Barkeretal Colchester, Essex, vol. 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’.

Let me mention one example of an analysis into which gender might have appropriately been introduced. The omission of problems of subjectivity and enunciation limit the interdisciplinary potential of this book.

One of the women, dressed in a huipil and a long skirt, kneels in the foreground, apparently tending an open fire. Introducing gender into a discussion of the national patrimony might also canclimi led to the question of how male and female have been significantly recoded by the media and private enterprise.

Let me simply quote the sentence that concludes her discussion of this statue: 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.