Hermann Herlinghaus – författare

Narcoepics Unbound foregrounds the controversial yet mostly untheorized phenomenon of contemporary Latin American 'narcoepics.' Dealing with literary works and films whose characteristics are linked to illicit global exchange, informal labor, violence, 'bare life,' drug consumption, and ritualistic patterns of identity, it argues for a new theoretical approach to better understand these 'narratives of intoxication.'Foregrounding the art that has arisen from or seeks to describe drug culture, Herlinghaus' comparative study looks at writers such as Gutiérrez, J. J. Rodríguez, Reverte, films such as City of God, and the narratives surrounding cultural villains/heroes such as Pablo Escobar. Narcoepics shows that that in order to grasp the aesthetic and ethical core of these narratives it is pivotal, first, to develop an 'aesthetics of sobriety.'The aim is to establish a criteria for a new kind of literary studies, in which cultural hermeneutics plays as much a part as political philosophy, analysis of religion, and neurophysiological inquiry.

Narcoepics Unbound foregrounds the controversial yet mostly untheorized phenomenon of contemporary Latin American 'narcoepics.' Dealing with literary works and films whose characteristics are linked to illicit global exchange, informal labor, violence, 'bare life,' drug consumption, and ritualistic patterns of identity, it argues for a new theoretical approach to better understand these 'narratives of intoxication.'Foregrounding the art that has arisen from or seeks to describe drug culture, Herlinghaus' comparative study looks at writers such as Gutiérrez, J. J. Rodríguez, Reverte, films such as City of God, and the narratives surrounding cultural villains/heroes such as Pablo Escobar. Narcoepics shows that that in order to grasp the aesthetic and ethical core of these narratives it is pivotal, first, to develop an 'aesthetics of sobriety.'The aim is to establish a criteria for a new kind of literary studies, in which cultural hermeneutics plays as much a part as political philosophy, analysis of religion, and neurophysiological inquiry.

Narcoepics Unbound foregrounds the controversial yet mostly untheorized phenomenon of contemporary Latin American 'narcoepics.' Dealing with literary works and films whose characteristics are linked to illicit global exchange, informal labor, violence, 'bare life,' drug consumption, and ritualistic patterns of identity, it argues for a new theoretical approach to better understand these 'narratives of intoxication.'Foregrounding the art that has arisen from or seeks to describe drug culture, Herlinghaus' comparative study looks at writers such as Gutiérrez, J. J. Rodríguez, Reverte, films such as City of God, and the narratives surrounding cultural villains/heroes such as Pablo Escobar. Narcoepics shows that that in order to grasp the aesthetic and ethical core of these narratives it is pivotal, first, to develop an 'aesthetics of sobriety.'The aim is to establish a criteria for a new kind of literary studies, in which cultural hermeneutics plays as much a part as political philosophy, analysis of religion, and neurophysiological inquiry.

Narcoepics Unbound foregrounds the controversial yet mostly untheorized phenomenon of contemporary Latin American 'narcoepics.' Dealing with literary works and films whose characteristics are linked to illicit global exchange, informal labor, violence, 'bare life,' drug consumption, and ritualistic patterns of identity, it argues for a new theoretical approach to better understand these 'narratives of intoxication.'Foregrounding the art that has arisen from or seeks to describe drug culture, Herlinghaus' comparative study looks at writers such as Gutiérrez, J. J. Rodríguez, Reverte, films such as City of God, and the narratives surrounding cultural villains/heroes such as Pablo Escobar. Narcoepics shows that that in order to grasp the aesthetic and ethical core of these narratives it is pivotal, first, to develop an 'aesthetics of sobriety.'The aim is to establish a criteria for a new kind of literary studies, in which cultural hermeneutics plays as much a part as political philosophy, analysis of religion, and neurophysiological inquiry.

Fronteras de la modernidad designa el espacio conceptual e historizador que reuniera en el III Congreso Internacional de Estudios Culturales de la Universidad de Pittsburgh realizado en marzo de 2002, una gran diversidad de investigadores que han llegado a reformular las premisas de los estudios culturales, las humanidades y las ciencies sociales en las últimas décadas. Un rasgo particular, común en esos debates, es la articulación de estrategias de descolonización del pensamiento de la modernidad, realizada sin expulsar ese concepto del horizonte teórico. Las más innovadoras posiciones críticas reclaman hoy la independencia epistemológica de lo que se solía llamar ‘periferia’ latinoamericana, usando las metáforas frontera y margen para desarrollar proyectos teóricos situados más allá —o más acá— de las dicotomías normativas de la modernidad. Pensamiento de búsqueda que se enfrenta a las agudas crisis producidas por la avanzada globalización a través de un constance sondeo crítico de sus herramientas analíticas y hermenéuticas.El congreso realizado en Pittsburgh logró reunir a los especialistas más renombrados y originales que hoy articulan la agenda teórica de los estudios culturales y las ciencias sociales en el ámbito del latinoamericanismo internacional. El foro contó con la participación de Renato Ortiz, Nicolás Casullo, Santiago Castro-Gómez, Oscar Guardiola Rivera, Tulio Halperín-Donghi, Bolívar Echevarria, John Kraniauskas, Francine Masiello, Adriana Rodríguez-Pérsico, Sylvia Molloy, Javier Sanjinés, Román de la Campa, José Manuel Valenzuela, Cynthia Steele, Renato Rosaldo, Hans Ulrich Gumbrecht, Jens Andermann, Carlos Pereda, Enrique Dussel, Ernesto Laclau, Jesús Martín-Barbero, Diana Taylor, Carlos Monsiváis y Michael Taussig. El presente volúmen reúne los aportes de estos investigadores como contribución a los debates actuales, insertando en éstos propuestas provocadoras y profundas llamadas a influir de manera certera en la agenda teórica de las próximas décadas.~At the III International Congress of Cultural Studies of the University of Pittsburgh held in March 2002, Fronteras de la modernidad designated the conceptual and historicizing space that brought together a great diversity of researchers who reformulated the premises of cultural studies, humanities and social sciences in recent decades. A particular feature, common in these debates, is the articulation of strategies for the decolonization of thought in the modernidad (modern world), carried out while keeping this concept within the theoretical horizon. The most innovative critical positions today claim the epistemological independence of what used to be called the Latin American 'periphery', using the border and margin metaphors to develop theoretical projects located beyond —or closer to— the normative dichotomies of modernity. This line of inquiry faces the acute crises produced by advanced globalization through a constant critical survey of its analytical and hermeneutical tools.The congress held in Pittsburgh brought together the most renowned and original specialists who articulate the theoretical agenda of cultural studies and social sciences in the field of international Latin Americanism today. The forum included the participation of Renato Ortiz, Nicolás Casullo, Santiago Castro-Gómez, Oscar Guardiola Rivera, Tulio Halperín-Donghi, Bolívar Echevarria, John Kraniauskas, Francine Masiello, Adriana Rodríguez-Pérsico, Sylvia Molloy, Javier Sanjinés, Román de la Campa, José Manuel Valenzuela, Cynthia Steele, Renato Rosaldo, Hans Ulrich Gumbrecht, Jens Andermann, Carlos Pereda, Enrique Dussel, Ernesto Laclau, Jesús Martín-Barbero, Diana Taylor, Carlos Monsiváis and Michael Taussig. This volume brings together the input of these researchers as a contribution to current debates, inserting into them provocative proposals which bound to strongly influence the theoretical agenda of the coming decades.