Néstor García Canclini - Böcker

Is popular culture merely a process of creating, marketing, and consuming a final product, or is it an expression of the artist's surroundings and an attempt to alter them? Noted Argentine/Mexican anthropologist NÉstor GarcÍa Canclini addresses these questions and more in Transforming Modernity, a translation of Las culturas populares en el capitalismo. Based on fieldwork among the PurÉpecha of MichoacÁn, Mexico, some of the most talented artisans of the New World, the book is not so much a work of ethnography as of philosophy-a cultural critique of modernism. GarcÍa Canclini delineates three interpretations of popular culture: spontaneous creation, which posits that artistic expression is the realization of beauty and knowledge; "memory for sale," which holds that original products are created for sale in the imposed capitalist system; and the tourist outlook, whereby collectibles are created to justify development and to provide insight into what capitalism has achieved.Transforming Modernity argues strongly for popular culture as an instrument of understanding, reproducing, and transforming the social system in order to elaborate and construct class hegemony and to reflect the unequal appropriation and distribution of cultural capital. With its wide scope, this book should appeal to readers within and well beyond anthropology-those interested in cultural theory, social thought, and Mesoamerican culture.

An essential analysis of the ways consumerism and globalization intersect with political power.Social Theory/Latin American StudiesAn essential analysis of the ways consumerism and globalization intersect with political power. In Consumers and Citizens, NÉstor GarcÍa Canclini, the best-known and most innovative cultural studies scholar in Latin America, maps the critical effects of urban sprawl and global media and commodity markets on citizens-and shows at the same time that the complex results mean not only a shrinkage of certain traditional rights (particularly those of the welfare or client state) but also new openings for expanding citizenship. GarcÍa Canclini focuses on the diverse ways in which democratic societies recognize markets of citizen opinions, however heterogeneous and dissonant, as in the fashion and entertainment industries. He shows how identity issues, brought to the fore by the aligning of citizenship and consumption, can no longer be understood strictly within the purview of territory or nation. Rather, the postmodern citizen-consumer inhabits a transterritorial and multilingual space, structured more along the lines of markets than states. Defining this space, GarcÍa Canclini seeks to formulate a participatory and critical approach to consumption in which national culture, far from being extinguished, is reconstituted in transnational, cultural interactions. ISBN 0-8166-2986-2 Cloth £34.50 $49.95xxISBN 0-8166-2987-0 Paper £14.00 $19.95x256 Pages 5 7/8 x 9 AprilCultural Studies of the Americas Series, volume 6Translation Inquiries: University of Minnesota Press

When it was originally published, Hybrid Cultures was foundational to Latin American cultural studies. This now-classic work features a new introduction in which Nestor Garcia Canclini calls for a cultural politics to contain the damaging effects of globalization and responds to relevant theoretical developments over the past decade.Garcia Canclini questions whether Latin America can compete in a global marketplace without losing its cultural identity. He moves with ease from the ideas of Gramsci and Foucault to economic analysis, from appraisals of the exchanges between Octavio Paz and Jorge Luis Borges to Chicano film and grafitti. Hybrid Cultures at once clarifies the development of democratic institutions in Latin America and reveals that the most destructive ideological trends are still going strong.

A leading figure in cultural studies worldwide, NÉstor GarcÍa Canclini is a Latin American thinker who has consistently sought to understand the impact of globalization on the relations between Latin America, Europe, and the United States, and among Latin American countries. In this book, newly available in English, he considers how globalization is imagined by artists, academics, migrants, and entrepreneurs, all of whom traverse boundaries and, at times, engage in conflicted or negotiated multicultural interactions. GarcÍa Canclini contrasts the imaginaries of previous migrants to the Americas with those who live in transnational circuits today. He integrates metaphor and narrative, working through philosophical, anthropological, and socioeconomically grounded interpretations of art, literature, crafts, media, and other forms of expression toward his conclusion that globalization is, in important ways, a collection of heterogeneous narratives. GarcÍa Canclini advocates global imaginaries that generate new strategies for dealing with contingency and produce new forms of citizenship oriented toward multiple social configurations rather than homogenization. This edition of Imagined Globalization includes a significant new introduction by George YÚdice and an interview in which the cultural theorist Toby Miller and GarcÍa Canclini touch on events including the Arab Spring and Occupy Wall Street.

A leading figure in cultural studies worldwide, NÉstor GarcÍa Canclini is a Latin American thinker who has consistently sought to understand the impact of globalization on the relations between Latin America, Europe, and the United States, and among Latin American countries. In this book, newly available in English, he considers how globalization is imagined by artists, academics, migrants, and entrepreneurs, all of whom traverse boundaries and, at times, engage in conflicted or negotiated multicultural interactions. GarcÍa Canclini contrasts the imaginaries of previous migrants to the Americas with those who live in transnational circuits today. He integrates metaphor and narrative, working through philosophical, anthropological, and socioeconomically grounded interpretations of art, literature, crafts, media, and other forms of expression toward his conclusion that globalization is, in important ways, a collection of heterogeneous narratives. GarcÍa Canclini advocates global imaginaries that generate new strategies for dealing with contingency and produce new forms of citizenship oriented toward multiple social configurations rather than homogenization. This edition of Imagined Globalization includes a significant new introduction by George YÚdice and an interview in which the cultural theorist Toby Miller and GarcÍa Canclini touch on events including the Arab Spring and Occupy Wall Street.

First published in Spanish in 2010, Art beyond Itself is NÉstor GarcÍa Canclini's deft assessment of contemporary art. The renowned cultural critic suggests that, ideally, art is the place of imminence, the place where we glimpse something just about to happen. Yet, as he demonstrates, defining contemporary art and its role in society is an ever more complicated endeavor. Museums, auction houses, artists, and major actors in economics, politics, and the media are increasingly chummy and interdependent. Art is expanding into urban development and the design and tourism industries. Art practices based on objects are displaced by practices based on contexts. Aesthetic distinctions dissolve as artworks are inserted into the media, urban spaces, digital networks, and social forums. Oppositional artists are adrift in a society without a clear story line. What, after all, counts as transgression in a world of diverse and fragmentary narratives? Seeking a new analytic framework for understanding contemporary art, GarcÍa Canclini is attentive to particular artworks; to artists including Francis Alÿs, LeÓn Ferrari, Teresa Margolles, Antoni Muntadas, and Gabriel Orozco; and to efforts to preserve, for art and artists, some degree of independence from religion, politics, the media, and the market.

First published in Spanish in 2010, Art beyond Itself is NÉstor GarcÍa Canclini's deft assessment of contemporary art. The renowned cultural critic suggests that, ideally, art is the place of imminence, the place where we glimpse something just about to happen. Yet, as he demonstrates, defining contemporary art and its role in society is an ever more complicated endeavor. Museums, auction houses, artists, and major actors in economics, politics, and the media are increasingly chummy and interdependent. Art is expanding into urban development and the design and tourism industries. Art practices based on objects are displaced by practices based on contexts. Aesthetic distinctions dissolve as artworks are inserted into the media, urban spaces, digital networks, and social forums. Oppositional artists are adrift in a society without a clear story line. What, after all, counts as transgression in a world of diverse and fragmentary narratives? Seeking a new analytic framework for understanding contemporary art, GarcÍa Canclini is attentive to particular artworks; to artists including Francis Alÿs, LeÓn Ferrari, Teresa Margolles, Antoni Muntadas, and Gabriel Orozco; and to efforts to preserve, for art and artists, some degree of independence from religion, politics, the media, and the market.

In this book, renowned Latin American intellectuals, Pablo Alabarces and Néstor García Canclini, bring us up to date on the changes in the status and role of the popular classes in Latin American democracies over the past two decades. Building on decades-long research and experience in the field of cultural studies, the authors ask how the digitalization and economization of society are changing the reality of political participation and social inequality in Latin America and beyond, leading to new forms of economic and cultural marginalization. García Canclini focuses on the rapid digitalization of our society and economies, ruminating over the future of political participation and democracy in the coming age of algorithms, transnationalization, and social precarity for growing swaths of the population. By contrast, Alabarces focuses on the disintegration and commodification of popular cultures throughout Latin America in the last two decades and discusses the consequences on democratic projects in the region. Both pieces approach the question of how democratic projects on a local, regional, national, and transnational level can deal with galloping social disintegration and accelerating political discontent as an increasing number of people within the course of this digital revolution gain voice: all this against the authoritarian or technocratic alternatives that have been gaining ground again. The introduction by Sarah Corona contextualizes the contributions and their authors in the academic and political debate. She connects their focus on popular cultures to broader questions regarding the future of nation-states and democracies facing multiple crises in the region and beyond. Post-Popular Cultures and Digital Capitalism in Latin America will be of interest to researchers and postgraduate students in political science, sociology, and cultural studies looking to freshen their views as well as develop an understanding of the Global South’s perspective on current global issues.