The "texts" she reads vary tremendously, from Mario Vargas Llosa's "conversations" to homosexual performance art, from narratives of state terror to Celia Cruz lyrics, from the persecution of seventeenth-century ilusas—women considered "deluded" by the Inquisition in colonial Latin America—to contemporary rumors of organ theft, from magical realism to the Pope's attacks on reproductive rights. Yet Franco's essays forge a particular style of criticism, a feminist way of doing, which positions the critic in tension with the multiple narratives, historical processes and theoretical frameworks that she convenes in her writing.
In her work, power is never beyond the horizons of interpretation, but constantly foregrounded in both its microscopic and its globalized intentions. At the heart of Franco's strategies lies her insistence on reading multiple texts simultaneously and bringing these multiple interpretations to bear on the texts in question.
Cultural evolution of music
This enables her to move beyond the specific protocols of any one text—be it a novel or a telenovela—and construct a referential landscape within which these can be properly analyzed. Her essay on the work of Jorge Luis Borges illustrates this strategy well. She situates her reading of Borges' "fictions" in the context of questions regarding their enigmatic appeal for audiences as diverse as French philosophers, U. This allows her to interrogate the author's narrative themes and strategies in terms of the politics of their reception rather than simply on their own terms.
Franco is able to assemble these referential landscapes through her particular expository style, characterized by a constant movement between historical conjunctures, socio-cultural processes and narrative particulars. This is seen clearly in her reading of the writings of early nineteenth-century British travelers in Latin America. In this essay, she moves seamlessly between historiography, political economy, textual exegesis and feminist critique, constructing a interpretive geography that not only accounts for the informal colonization taking place at the time, but also for the crucial role that gender—marked on the bodies of both European and "native" women—played in that particular colonial enterprise.
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In a similar fashion, her essays on mass and popular culture, written between and , also rely on these reading strategies. Deploying a sophisticated understanding of both economic and academic globalization, Franco insists that "the popular" must be understood in the context of its mass mediations and argues adamantly against metropolitan intellectuals who displace their own desires for authenticity and redemption onto their vision of Latin American popular culture.
Much of his most significant work was produced at that time. Critics find Adorno's aesthetics to be rich in insight, even when they disagree with its broad conclusions.
Although Adorno was hostile to jazz and popular music, he advanced the cause of contemporary music by writing seminal studies of many key composers. To the distress of some of his admirers, he remained pessimistic about the prospects for art in mass society. Adorno was a neo-Marxist who believed that the only hope for democracy was to be found in an interpretation of Marxism opposed to both positivism and dogmatic materialism. His opposition to positivisim and advocacy of a method of dialectics grounded in critical rationalism propelled him into intellectual conflict with Georg Hegel, Martin Heidegger, and Heideggerian hermeneutics.
The creation of the Frankfurt School of critical theory in the s saw the birth of some of the most exciting and challenging writings of the twentieth century.jordants.org/components/historical/the-dawn-volume-ii.php
The interpretation of cultures: selected essays - Clifford Geertz - Google книги
It is out of this background that the great critic Theodor Adorno emerged. His finest essays are collected here, offering the reader unparalleled insights into Adorno's thoughts on culture.
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He argued that the culture industry commodified and standardized all art. In turn this suffocated individuality and destroyed critical thinking. At the time, Adorno was accused of everything from overreaction to deranged hysteria by his many detractors.