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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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.

What then is the stake in ‘hybridity’?

File:Canclini Nestor Garcia Culturas – Monoskop

The very idea of ‘modernity 7 expressed in the title seems awkward. 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 hibridzs melting pot is occupied only by baseball stars, media personalities and best-selling authors. Gender is not a woman’s problem but an essential category of analysis.

The subjectivities constituted in this new world order are gendered and mobile. 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.

Criticas y reseñas

By gender I do not mean women or making space for women. What does a television producer or a market researcher understand culfuras the popular?

For further discussion of monumentalism, see Susan Stewart: In its weaker sense, it might simply refer to the postmodern permission to use all repertoires without worrying about authenticity.


But it is only the latter that undo the power of the centre. The book found a way out of the false dichotomies of tradition or modernity, artisan products or art. What is distinctive about Latin America now. Let me simply quote the sentence that concludes her discussion of this statue: 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.

How do we analyse those phenomena that are not covered by traditional categories of high or popular culture? 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’.

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. In Latin America, the staging of difference is perfectly compatible with integration into the global system.

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.

The industrial analogy is not intended cancliini be frivolous.

Canclini Culturas Hibridas prologo | Iván García –

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 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 canlcini the market, to national culture and to local history.

How do we study modernity? And not only must he make notes but he must also make sense: Indeed the discussions of theories of modernity and postmodernity which hbiridas reproduced here only strengthen the impression that these words are mere props that only disguise a rather old problem – that of Latin Culturae difference.


One of the women, dressed in a huipil and a long skirt, kneels in the foreground, apparently tending an open fire. 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’. But the scene surely also illustrates the breakdown of the old categories of public and private. 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’.

Jean Franco Publicado en: How do we reconcile different disciplinary approaches to the question? 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. One contemporary recodification of gender is, indeed, graphically represented by a photograph of a group of canclink standing in front of the statue of Mexican Motherhood.

How do we speak of modernity? Finally the big question: Beside her are two baskets filled with what looks like the leaves used for making tamales the details of the photograph are not clear.

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?