{"id":6301,"date":"2022-02-08T12:01:40","date_gmt":"2022-02-08T11:01:40","guid":{"rendered":"https:\/\/editorialconcreta.org\/?p=6301"},"modified":"2024-08-28T17:22:49","modified_gmt":"2024-08-28T15:22:49","slug":"wild-encounters-art-consumption-and-cannibal-tourism","status":"publish","type":"post","link":"https:\/\/editorialconcreta.org\/en\/concreta-texts\/arte-y-turismo-series\/wild-encounters-art-consumption-and-cannibal-tourism\/","title":{"rendered":"Wild Encounters: Art, Consumption and Cannibal Tourism"},"content":{"rendered":"\n
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INTRO<\/h2>\n\n

The cannibals have always been the others. This is a common and widespread prejudice throughout the world. It is a way of attributing to the stranger the negative mark of an extreme otherness that allows us to delimit the borders of our own identity. The term cannibal was born linked to the conquest of America, the cultural confrontation, the imperial war and plunder. For centuries, Europe used it as an instrument of legitimization of imperialism and colonialism. However, during the last decades of the last century, with global tourism and the devaluation of the exotic, we witnessed the displacement of the figure of the cannibal from the edges of our world to the center, from our outer space to our inner space.<\/p>\n\n

The myth survives strongly, but now it is explicitly revealed as a story that no longer speaks about them, but about us. This shift is evident both in art and media culture and in the academic field, where the cannibal has become a basic category for social sciences from postcolonial, racial or gender perspectives. It is no longer an excess attributable to others, but to us as voracious consumers and to our cultural imagination that invents it as a ghost. This book addresses the disturbing and sinister figure of the wild devourer, that stranger who lives among us, from a transdisciplinary perspective located between the history and theory of art, anthropology, criticism and cultural history, with examples taken from the literary field, the art, cinema, architecture, urban planning, media culture and political activism.<\/p>\n\n

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TABLE OF CONTENTS<\/h2>\n\n\n\n

Introducci\u00f3n. Esos extra\u00f1os salvajesJos\u00e9 D\u00edaz Cuy\u00e1s<\/strong><\/p>\n\n\n\n

Fetiches, fantasmas y can\u00edbales: tres vengadores premodernosFernando Est\u00e9vez Gonz\u00e1lez<\/strong><\/p>\n\n\n\n

Los or\u00edgenes del salvajismo pol\u00edticoDean MacCannell<\/strong><\/p>\n\n\n\n

Sobre la inexplicable persistencia de los extra\u00f1osJuliet Flower MacCannell<\/strong><\/p>\n\n\n\n

Canibalismo t\u00e1cito en la obra de Raymond Roussel (algo sobre arte y literatura)Juli\u00e1n D\u00edaz S\u00e1nchez<\/strong><\/p>\n\n\n\n

Filmar lo peor: Las Hurdes y las experiencias de lo extremo en Espa\u00f1aVicente J. Benet<\/strong><\/p>\n\n\n\n

Arte de acci\u00f3n, comuni\u00f3n carnal y seducci\u00f3n tur\u00edstica: la comuna de Otto Muehl en CanariasRalph Kistler<\/strong><\/p>\n\n\n\n

Arte, consumo y transgresi\u00f3n can\u00edbal: a prop\u00f3sito de Yves Klein, Tennessee Williams y el cine exploitationJos\u00e9 D\u00edaz Cuy\u00e1s<\/strong><\/p>\n\n\n\n

Banal can\u00edbal, Calib\u00e1n cabalEsteban Pujals Gesal\u00ed<\/strong><\/p>\n\n\n\n

Comer con los ojos: el can\u00edbal en la edad del turismoJuan Pablo Wert Ortega<\/strong><\/p>\n\n\n\n

La marea can\u00edbal: gastropol\u00edtica o la l\u00f3gica cultural de la temporalidad de crisis en el Estado espa\u00f1ol (2008-2014)Germ\u00e1n Labrador M\u00e9ndez<\/strong><\/p>\n<\/div>\n<\/div>\n\n

Serie arte y turismo<\/strong><\/strong>En colaboraci\u00f3n con Turicom y vinculado al Proyecto PGC2018-093422-B-I00. Con el apoyo de TEA Tenerife Espacio de las Artes.<\/p>\n\n

Dise\u00f1o y maquetaci\u00f3n: jaume marco \u2013 estudiIdioma: Espa\u00f1olISBN: 978-84-946891-7-8Tama\u00f1o: 21×14,8cmP\u00e1ginas: 340Precio: 18 euros<\/p>\n\n

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<\/div>\n","protected":false},"excerpt":{"rendered":"“Cannibals have always been others. This is a common and widespread prejudice throughout the world. It is a way of attributing to the stranger the negative mark of an extreme otherness that allows us to delimit the borders of our own identity. The term cannibal It was born linked to the conquest of America, the cultural confrontation, the imperial war and plunder. For centuries, Europe used it as an instrument of legitimization of imperialism and colonialism. However, during the last decades of the last century, with global tourism. and the devaluation of the exotic, we witness the displacement of the figure of the cannibal from the edges of our world towards the center, from our external space to our internal space. Jos\u00e9 D\u00edaz Cuy\u00e1s\n","protected":false},"author":1,"featured_media":5931,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"csco_singular_sidebar":"","csco_page_header_type":"","csco_custom_appearance":"","csco_disable_excerpt_posts_layout":false,"csco_page_load_nextpost":"disabled","csco_post_video_location":[],"csco_post_video_location_hash":"","csco_post_video_url":"","csco_post_video_bg_start_time":0,"csco_post_video_bg_end_time":0,"footnotes":""},"categories":[147,146],"tags":[149],"ppma_author":[54],"class_list":{"0":"post-6301","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arte-y-turismo-series","8":"category-concreta-texts","9":"tag-texto","10":"cs-entry","11":"cs-video-wrap"},"authors":[{"term_id":54,"user_id":1,"is_guest":0,"slug":"minimizan21","display_name":"Minimiz\u00e1n","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/0504d13f59855a1d78370ac914d15d3b0fe884ceaa2639016522b1db14b43e5a?s=96&d=mm&r=g","0":null,"1":"","2":"","3":"","4":"","5":"","6":"","7":"","8":""}],"_links":{"self":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts\/6301","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/comments?post=6301"}],"version-history":[{"count":0,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts\/6301\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/media\/5931"}],"wp:attachment":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/media?parent=6301"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/categories?post=6301"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/tags?post=6301"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/ppma_author?post=6301"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}