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Gramsci and hegemony of globalized culture.



About the theory of hegemony by Antonio Gramsci (Italy, 1891-1937) and the theoretical situation of the hegemonic system and social structure, in both cultural and non-class domination schemes, we can move in a number of considerations that highlight the unfinished state's role as a guiding instrument of social relations in a particular historical context. To argue that social revolutions can not achieve their goals through confrontation but through mutual collaboration between classes and proletarian hegemony, Gramsci highlights the inherent bias of the latter to be directed at a social function that must necessarily be distributed evenly among the classes so that its premise is possible.

However, the consideration of culture as a social mass leads to a bifurcation of interpretations. On the one hand, the approval for the imposition culture of the ruling class leads to the creation of a depleted profile of individuals, while requiring the elimination of certain distinctive elements of one or more cultural blocks, as is currently profile global citizen, who, having shed much of their value system and tradition, strengthens its susceptibility to the influence of the dominant culture. On the other hand, the factor of unity implicit in a system of social masses can be further catalyst element of autonomy of local cultures in favor of consolidation and permanence, as may well exemplified in the guiding principles of Islamic fundamentalism .

In this sense, Gramsci's great success lies in the approach that these differences must be considered from the structural foundations of the social fabric, ie as the result of a class consisting of historical socio-cultural groups that have a direct correlation and, therefore, are prevented from staying out of each other. This does not necessarily mean that the social good points to the integration of them by way of eradicating the dominant group. On the contrary, it remains unclear other Gramsci's theory that, to make culture possible, must necessarily be in the context of a system of domination.

Thus, the interaction between socio-cultural block can point to the same diversity to uniformity, according to the context of their circumstances, and it is precisely this dynamic which underlies the scheme of mass society, not opposition, but integration through periodic intervention of leading figures whose tissue penetration as well as the proletariat Funj motivator as mediation for various levels of tension inherent in the coexistence between the classes, so that the meaning of revolution social point to the common good rather than the possible repeal of the culture, which is regarded as a (historically corroborated) of hegemonic and subaltern classes.

Thus, on a par with the political and educational, aesthetic activity keep a specific weight and an equally dominant in the existing social formations, despite the trend unilateral economic and cultural globalization standardized, it is from the combination of ethical and aesthetic values \u200b\u200bas can be to channel the ideological reading of the times.

And all this, what tells us our time? ...

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José Lezama Lima ... Among puppets

Rueda the sky that does not agree ... Rueda

the sky
not match your intent and the graceful long-
to visit the possession of the carnation on his neck

cooler that high empire for centuries.
Sky-wheel crown his breath gentle water

Palace silent on the river
speak its clear picture.
Its clear picture.

heaven will assume the dogs revealed
-wind of a scent-
advised. Rueda
heaven on that aroma
quasi
thronging the windows, like a dark power

diverted to new lands. Rueda

heaven on this strange flower sky
of this flower, only
jail
crown without noise ...

José Lezama Lima

E ast December 19, were completed 99 years of the birth of José Lezama Lima, undoubtedly one of the representative poets not only of his native Cuba, but of Latin America.

Lezama Lima was a man who took himself lived and wrote extensively, created and recreated scenes wonderful, memorable characters as Oppiano Licario, stories that transcend the imagination taking a place in the world of reality, as Paradiso and poetry Lezama Lima's poetry was in all things, the poetry that shines in all his works, in every paragraph, every scene, every line. The narrative work of José Lezama Lima, becomes a single great poem, the sublime use of language, the labyrinth of images, ideas and words that turn into poems, prose cuasiperfecta that took us out to a world of nuances that are mixed with reality. José

100 years, Lezama Lima, poet, is still there in his chair - " sentenced to stillness, and still basking forever. My only carriage is imagination, but not dried: mine eyes have ..."- lynx and with those eyes, imagines himself in time to face his death, determined to transcend: "... all survived and have to survive and to death. Heidegger holds that man is a being for death, every poet, however, creates the resurrection, sing about death a victorious cheer ... "

Yasi is, the poet survives beyond death victorious, took a deep breath, lungs filled verses and shouting at the wind expelled, announcing everything, every light, every moment, each arrival and each departure, naming each star and its verses soaked us, like drops of water on a rainy afternoon ...

not dead José Lezama Lima, still alive after 100 years, will celebrate as it should be re-reading his poems, enjoying his language, his poetry and in the meantime the Organization of the United Nations Educational, Scientific and Cultural Organization (UNESCO), has announced that its schedule of festivities for this year, provides for the birthday of Lezama Lima, who will likely receive a fitting tribute, watching from the curtain of the literary universe, where twinkling on one side of José Martí and Neruda, Dario, and Guillen, Vallejo and Huidobro, López Velarde and Cortazar Borges and Peace, in short, by all the stars of the English language, have asserted that Latin American literature.