Esther Díaz, Posmodernidad, capítulo 1 by pedrosantiago14 in Types > Instruction manuals, posmodernidad, and filosofía. Title: Esther diaz posmodernidad, Author: HABLEMOS DE BIBLIA, Name: Esther diaz posmodernidad, Length: 15 pages, Page: 1, Published: Esther Díaz. * “Posmodernidad”: manifestaciones culturales contemporáneas. * Ruptura / Continuación de la modernidad. *Crítica a la noción.
|Published (Last):||25 August 2013|
|PDF File Size:||1.62 Mb|
|ePub File Size:||9.80 Mb|
|Price:||Free* [*Free Regsitration Required]|
Nationalist mentality, by its part, negatively rejected this process, mainly because it was brought by North Americans imperialism and imperial intervention. This erudite posmoderndad helped to guide and inspire the national thinkers who followed him, especially the educators for the next three or four decades.
With this particularity, her verses offer the most attractive and esfher examples of female literature of the first half of the twentieth century. This can be wiewed first in a literary form with the employment of metaphors and symbols that reached intensity as a developed colonial society with a desire for modernization and the sense of freedom that had increased.
Finally, the character goes to the roof of his building and notices the brilliant stars, which he sees as symbols of freedom and poetic continuity of the national existence even in edther foreign country like USA. Casas is one of the most prolific and serious dramatists of her time, and is still very productive today. This is why we should be careful with the European point of view that we have internalized along the two centuries eesther which we have not yet discussed properly.
In general, in this political context, literary expression took a defensive position of nationalist anti-interventionism. Te dejo, amor, la mar como una ofrenda de Carme Riera.
But the political situation demanded an imperial submissiveness that was confronted with an ancient and coherent society of a proud Spanish past and cultural inheritance. Riaz has been indeed close to a postmodern position taken by some recent thinkers, like myself as I will explain later. As mentioned before, the Spanish inheritance was present in all these times as a substantial and strong force, historically and culturally speaking.
This is important because some writers had refused to accept the existence of the Puerto Rican un USA as part of an inevitable reality, and no returning. Not even Cuban literature and that of the rest of subaltern Latin American showed an obsession over national identity as Puerto Ricans demonstrated with great passion these times.
Some jurist and political leaders along with artistic lettered people were alarmed because they knew what was to come from being a subordinated colony and what the imperialist American interests in Puerto Rico represented in the long run. This symbolic grasping of the struggle gave substance to the Puerto Rican discourse of resistance and desire of freedom.
In the historical field, the Grito de Lares and the abolition of slavery in Puerto Rico represent capital events in the strife taken by the most radical patriots in trying to reach the national independence and the petitioning of a more just and free society.
Where and when women could claim more opportunities to express themselves, is something that escalated and became different, and gave the beggining of complex definitions of femininity, and started claiming independence from a culture dominated by chauvinist obsessions.
As time went on, this literature grew and exposed its experience independently of the political and ideological pertinence it had for the lettered islanders. All of these poets and their works created the bases for a patriotic scriptural spirit that would last in until the 60s and the 70s. After the journalistic development in the first four decades of the nineteenth century, some criollo writers, mainly poets, exposed the experiences and the will in finding styles of how they felt as posmodernicad islanders and every time placed themselves more and more in a Caribbean estger context.
An aggressive process of modernization and transculturation was imposed on the Island by the invaders. After invasion, during the first decades of the century, given in part to the economical and political context, the absent North American bourgeoisie took the best lands and welt resources of the island. Just like in USA there is not a radical party which could give an alternative voice for a significant movement of change to follow. Modernity has to be understood in a subaltern agricultural and rural context and not in the European disposition for the advanced industrial societies and cultures.
This was beyond the repressive context established by the official institutions with all sorts of punishments and vigilant structures and official agencies. They are somehow skeptical about the fact that Canales was a black person who never addressed this matter. This is a promotional group of artists, primarily insisting in giving special defense and continuity to the Spanish inheritance and its discursive insistant presence in Puerto Rico.
I am referring to the Hispanic and Latin American modernization of artistic forms and ways of exposing symbols and the handling of language in general.
These were literary and cultural periods which paid attention to a more advanced society with a growing sense of modernity, moving closer towards industrial and bourgeois societies ways of thinking. The popular audience disz now to be more interested in cinema an TV Youtube and its ways of depicting a different type of society. On the other hand, literature, in general, would pose a strong rejection esthef the social neocolonial context that was visibly and symbolically dominating part of a socio-economical structural development with no coherent end.
Popular culture was not willing or capable of rejecting frontally the colonial interventions from modern USA. During the s, national independence became an obsession for the majority of the lettered people. This gives him the authority to write books dealing with social history and racial issues, which maintain much relevance for today’s mentality.
At the beginning of this migratory process, literature follows as a continuation many of the imaginary, allegories and national Puerto Rican symbols. From a modern perspective, beyond the criticism in these times, although production in the hacienda and the bourgeoisie interests were the main tools of the dominant social actants social agentsthere is no reason as to why the subaltern population had to respond to modern demands and the desire of groups to get rich, and in control and domain in the colony.
: Esther Díaz: Books, Biography, Blogs, Audiobooks, Kindle
In contrast the popular culture began having and showing its strong influence from the United States media, evident by the s in Puerto Rico. Later in history, even by the s, the insistence in giving emphasis to national local ideology did not allow some writers to see how political oppression would come, not from a frontal and visible political empire as in the realism and neorealism of the 19th and 20th centuries.
But the Puerto Rican literature kept more closely related with the European and Latin American literary tradition than the North American one. In general, literature of the cultural changes was not capable of viewing with ironic distance and tri-dimensional complexity even the novel, as a dialectic genre the process of colonial modernization with its different ideological negotiations.
By the middle of the nineteenth century, the social conditions that emerged allowed the flourishing of a literature that could be considered Puerto Rican and not an imitation of what was coming from Spain, as it had previously occurred.
Nevertheless, as mentioned before, it cannot be denied that some writers presented texts of relevant and impressive ideological and artistic value that was very skillful in the national and as well as in a universal sense. The Cancionero de Borinquen followes this desires of presenting their constructions of national proudness.
Entrevista con Luisa Etxenike. These opportunists groups saw with good ayes the advanced Fordist United States Nation, as an enviable complex production force of an industrialized, liberal and popular nation with a government, worthy of follow-up and emulation something that the popular sectors accepted in general.
De Diego was also very aware and skillful regarding the handling of modern colonial intrigues of the official powers the imperial Other. The Romantic idealism of happiness turnes into pessimism as the second half of the century develops. His posthumous Mis memorias expresses, by the second half of the nineteenth century, how the work of these intellectuals and artists was targeted under a powerful colonial repression and a governmental censorship that served as an obstacle to the development of the Puerto Rican culture.
In general, the book contains the world vision of the criollo the natives from the Island and the hacienda social class and bourgeoisie values. The situation urged writers to look for new metaphors and symbols to depict and represent the type of new world that was being rejected for its anti-humanist orientation, and the alienated objectionable social imaginary it offered. In this period, we encounter many writers who have been either too liberal or extremely radical, and who showed a great fear of loosing what they considered their deep and unchangeable native and criollo identity.
It was a social class with no sympathies for nationalist interests; they tended to be rather pragmatic and materialist in their claims and expectations. Gender Dimension in Media and Communication Studies: The national owners had to submit to dealings with the North American “absentee bourgeoisie” and their financial endeavors, based mainly in the sugar cane posjodernidad, when the Island had an economy based in coffee plantation.