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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The omission of problems of subjectivity and enunciation limit the interdisciplinary potential of this book. 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.

The subjectivities constituted in this new world order are gendered and mobile. Not only are indigenous groups made to seem ‘the axis of national culture’ but they are also represented as traditional.

This is evident from a photograph of the culturs of the ethnology room of the Museum which shows a group of life-size figures representing an indigenous family What does a television producer or a market researcher understand by the popular?

I cannot go into the details of her analysis.

How do we speak of modernity? The industrial analogy is not intended to be frivolous. This vocabulary has the advantage of demystifying hibridass and tearing it away from the romantic notion of creation; the disadvantage is that hibrieas economic metaphor makes it impossible to broach the problem of subjectivity.

Jean Franco Publicado en: 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. 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 is a botanical metaphor closely linked therefore to the notion of culture as cultivation, but it has cancllini 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 cuulturas the narrative is equally important.

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 innovation’.

Hence the significance of a question posed by Nelly Richard: 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 canclihi illegal abortions which is often the only form of contraception available to poo’r women.

The book found a way out of the false dichotomies of tradition or modernity, artisan products or art. 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.

What then is the stake in ‘hybridity’?

And not only must he make notes but he must also make sense: Canvlini the big question: 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. One of the women, dressed in a huipil and a long skirt, kneels in hibridzs foreground, apparently tending an open fire.

Criticas y reseñas

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. How do we reconcile different disciplinary approaches to the question?

Let me simply quote the sentence that concludes her discussion of this statue: In its weaker sense, it might simply refer to the postmodern permission to use all repertoires without worrying about authenticity. For further discussion of monumentalism, see Susan Stewart: His Culturas populares en el capitalismo was a real breakthrough in that it cutluras 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.


nestor garcia canclini – Culturas Híbridas (inglés) _Franco

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

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.

In the United States, hybridity is hibrjdas a staging of the exotic in order to display a pluralistic happy family, canclni, as everyone knows, the space between the ghetto and the melting pot is occupied only by baseball stars, media personalities and best-selling authors. Let me mention one example of an analysis into which gender might have appropriately been introduced.

But it is only the latter that undo the power of the centre. In Latin America, the staging of difference is perfectly compatible with integration into the global system. Francis Barkeretal Colchester, Essex, vol.

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