By A. Sharman
Please observe it is a 'Palgrave to reserve' name (PTO). inventory of this publication calls for cargo from an in another country provider. it is going to be dropped at you inside 12 weeks. Modernity in Spanish the United States has been considered by way of a 'postmodern' cultural reports as a situation of the 1st half the 20 th century whose significant political, philosophical and cultural assumptions the area could do good to depart in the back of. This publication explores a corpus of Spanish-American literary texts from that 'modern' interval which dramatize the constitutive dynamics of modernity, specifically the legacy of the French Revolution, the good judgment of nationalism, the founding of the fashionable urban, and the awkward courting to either Western and indigenous traditions. Its argument is that one can't so simply take depart of modernity.
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Additional info for Tradition and Modernity in Spanish American Literature: From Darío to Carpentier
In an era dominated by development models of modernization and by economic, technological, and political plans driven by 36 Tradition and Modernity the United States, such research was administrative and “integrated,” that is to say, closely involved with television companies (usually satellite companies of North American corporations) and state projects, and seeing its principal mission as that of providing information about audiences through surveys and estudios de efectos. From the late 1960s, communication studies in Latin America acquires a radically different character in line with an altered historical context.
Urbanization in Latin America, by which cities now account for 70 percent of the total population, means that peasant and traditional culture of the rural areas no longer represents the majority of popular culture in the region, which is now to be found in the cities, the putative seats of modern life. And even when traditional, rural culture remains in the countryside, it seldom goes untouched by the technical and economic resources of modernity. We recall García Canclini’s account of his epiphanic meeting with the Oaxacan artisan who moved effortlessly “del zapoteco al español y al inglés, del arte a la artesanía, de su etnia a la información y los entretenimientos de la cultura masiva, pasando por la crítica de arte de una metrópoli” (Culturas, p.
78), the imbrication in the economic network of production, distribution, and consumption. ”3 The discourse of modernity persists with the hymn to autonomy because it confers distinction upon the producers and consumers of artistic goods, whose tastes are uncontaminated by the baseness of commercial interest and the passions of rural popular or urban mass culture, from which high culture is to be rigorously distinguished. Although García Canclini’s work ostensibly takes place under the aegis of a new paradigm in Latin American (though not only Latin American) cultural studies, which developed as a critique of the Marxist paradigm of the 1960s and 1970s, the imprint of a classical Marxist theory of ideology on Culturas híbridas remains visible.