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Gramsci and Spanish Cultural Studies

Gramsci and Spanish Cultural Studies Studies Cultural be true to Gramsci's thought, I already need to indicate that by ' culture' I mean the many different cultures of the heterogeneous social groups comprising the geographical and political entity known as 'Spain'. academics have predominantly internalized French critical models, demonstrating a French cultural hegemony (Gramsci's term) that by the end of the 1970s had largely ceased to operate elsewhere, with the exception of the work of postmodern theorists such as Baudrillard and Lyotard—more influential in the United States than in France—and of cultural anthropologists such as Bourdieu—whose work on the manufacture of taste and on intellectuals has much in common with Gramsci's writings half a century before. It seems symptomatic that scholars should have identified themselves with Parisian rather than Southern European models, with the important exception of feminists who, in addition to French 'difference' feminism, have preferred Italian feminist theory to AngloSaxon varieties: a case, one suspects, of women whose aim is to theorize subalternity (again Gramsci's term) turning to models from a common Southern European heritage that itself occupies a subaltern position with regard to the global media pre-eminence of Anglo-Saxon culture. This general lack of knowledge of Italian cultural theory cuts http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Paragraph Edinburgh University Press

Gramsci and Spanish Cultural Studies

Paragraph , Volume 22 (1): 95 – Mar 1, 1999

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Publisher
Edinburgh University Press
Copyright
Copyright © Edinburgh University Press
ISSN
0264-8334
eISSN
1750-0176
DOI
10.3366/para.1999.22.1.95
Publisher site
See Article on Publisher Site

Abstract

Studies Cultural be true to Gramsci's thought, I already need to indicate that by ' culture' I mean the many different cultures of the heterogeneous social groups comprising the geographical and political entity known as 'Spain'. academics have predominantly internalized French critical models, demonstrating a French cultural hegemony (Gramsci's term) that by the end of the 1970s had largely ceased to operate elsewhere, with the exception of the work of postmodern theorists such as Baudrillard and Lyotard—more influential in the United States than in France—and of cultural anthropologists such as Bourdieu—whose work on the manufacture of taste and on intellectuals has much in common with Gramsci's writings half a century before. It seems symptomatic that scholars should have identified themselves with Parisian rather than Southern European models, with the important exception of feminists who, in addition to French 'difference' feminism, have preferred Italian feminist theory to AngloSaxon varieties: a case, one suspects, of women whose aim is to theorize subalternity (again Gramsci's term) turning to models from a common Southern European heritage that itself occupies a subaltern position with regard to the global media pre-eminence of Anglo-Saxon culture. This general lack of knowledge of Italian cultural theory cuts

Journal

ParagraphEdinburgh University Press

Published: Mar 1, 1999

There are no references for this article.