Papers by Elizabeth Lozano
Communication Theory, 1992
Melodramatic serials such as American soap operas and Latin American telenovelas work with the na... more Melodramatic serials such as American soap operas and Latin American telenovelas work with the narrative logic of myth and can be endowed with the cultural and performative power of myth. The properties of melodramatic serials, historicity, collectivity, syntagmatic flexibility, and paradigmatic parsimony, are ni important ways common ot mythical narratives. The textual affinity between melodramatic serials and mythical narratives suggests that melodramatic serials might function as myth, that is, as a pedagogical and enculturating discourse. Important implications for the practice of education-development and entertainment are derived. It si suggested that the opposition between entertainment and education might be ideological and logical but not performative. Entertainment and education continuously overlap into a general activity of social enculturation that does not recognize the formal boundaries of ideological discourses.
Transnational Critical Intercultural Communication, 2023
In this chapter, I explore my intercultural communication experience within the realm of higher e... more In this chapter, I explore my intercultural communication experience within the realm of higher education. I use critical autoethnography and a narrative approach to story and re-story my experience in Colombia and in the United States within the field1 of education, and in doing so, I reveal a transnational scenario in which issues of identity, culture, communication, and power are revealed.
In storying, I turn my attention to experiential turning points and mundane situations which challenged and eventually reshaped my subjectivity. These storied events can be seen as signposts of a “cultural field” hitherto invisible to me, and their outcome as increased “cultural capital” and literacy within such a field. In re-storying, I return to the timeline of these events and ponder what I have left unsaid or taken for granted, thus correcting a desire to create a unified narrative where there can be many.
I am telling these events as they come to my memory. Therefore, they are organized, edited, and curated by personal, situated, institutional, and historical layers of understanding. Their truth value resides less on account- ing verily for an objective reality than on tracing how that reality is experienced and constructed intersubjectively. By means of this exploration, I come to understand the role interstitial spaces play in subverting hegemonic
power, transforming communication practices, and thus creating space for
emancipation.
La Manzana de la Discordia, 2016
Mapas nocturnos
De los medios a las mediaciones (DMM), de Jesús Martín-Barbero, ha ejercido una influencia notori... more De los medios a las mediaciones (DMM), de Jesús Martín-Barbero, ha ejercido una influencia notoria en la constitución, transformación conceptual y afirmación teórica de los estudios de comunicación de América Latina. El libro ya es parte de la historia de la construcción de un espacio de conocimiento, la comunicación social, y como tal cumple en la práctica no sólo una función teórica. De los medios a las mediaciones es también un manifiesto político: en él se declara una postura frente a los..
La obra de Jesús Martín-Barbero De los medios a las mediaciones cumplió recientemente diez años d... more La obra de Jesús Martín-Barbero De los medios a las mediaciones cumplió recientemente diez años de transitar por las academias y universidades americanas, españolas y algunas otras europeas. Más que una medida del tiempo transcurrido, es el motivo para convocar las producciones de un pensamiento cuya novedad no deja de provocar efectos decisivos en nuestras formas de pensar y de comprender la realidad. Su piedra de toque es un concepto, que a pesar de tener el nombre de una accion, no se presenta ni en infinitivo ni en singular: mediaciones, concepto que en su pluralidad e ilocalidad señala toda la potencia que alberga. Este texto reúne las reflexiones de distintos investigadores iberoamericanos de la comunicación y la cultura en torno a los aportes diversos de la propuesta teórica de Martín-Barbero, la cual irrumpió en el debate latinoamericano par mirar de una manera nueva el proceso de constitución de nuestra modernidad.Mapa nocturno: un mapa para indagar la dominación, la producción y el trabajo, pero desde el otro lado: el de las brechas, el consumo y el placer. Un mapa no para la fuga sino para el reconocimiento de la situación desde las mediaciones y los sujetos. Para cambiar el lugar desde el que se formulan las preguntas, para asumir los márgenes no como tema sino como enzima. Porque los tiempos no están para la síntesis y son muchas las zonas en la realidad cotidiana que están aún por explorar, y en cuya exploración no podemos avanzar sino a tientas, sin mapa o con sólo un mapa nocturno. Jesús Martín-Barber
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Critical Studies in Mass Communication, 1999
Jorge Gonzalez identifies with sharp and almost devastating clarity some of the central problemat... more Jorge Gonzalez identifies with sharp and almost devastating clarity some of the central problematics and theoretical limitations of communication studies in Latin America. His critique of the state of the field, and his suggestions for change need to be a very serious ...
Communications, 1993
During the past decade or so, television audiences have expanded tremendously in such countries ä... more During the past decade or so, television audiences have expanded tremendously in such countries äs China, India, Egypt, Indonesia and others. For instance, during the 1980s television sets increased by about 30 times in the People's RepubKc of China and by about 15 times in India. Television now reaches an estimated audience of 700 million of China's 1.2 billion people and 250 million of India's 850 million people. National governments of such Third World countries äs China and India, where television broadcasting is state-controlled, often ffeel obligated to broadcast educational-development programs (on such topics äs agriculture, nutrition, family planning, hygiene and others). Such educational television programs usually require a heavy Investment, are perceived by most audiences äs 'dulP, generally receive very low audience attention, and are unpopulär with commercial advertisers. In the same countries, however, entertainment programs like feature films, comedies, serials (both imported and domestic) and game shows obtain spectacularly high audience ratings, are perceived by audiences äs 'interesting* and are highly populär with commercial Sponsors. Quite often television's entertainment and profit potential eclipses its educational-development potential. National governments of both industrialized and Third World countries woiry about the dominance of entertainment television, which invariably drives away educational television. In recent years, broadcasters of certain countries have realized that entertainment and educational television might, after all, not be at odds with one another. In £act, several countries now consciously use such entertainment formats äs television serials, rock music videos and game shows to convey educational-development messages to audiences. More than any other entertainment formal, the melodramatic television serial is being employed to educate viewers on topics such äs gender inequality, sexual responsibility, family planning, and nutrition (Singhai and Rogers, 1988; Lozano, in press). In the present paper we focus on the use of the melodramatic television serial äs an Instrument of education. We take a cultural perspective in investigating the melodramatic television serial äs a form of mass entertainment and education. The mythical nature of televisual melodrama is analyzed and the role of myth in pedagogy is discusses. We present the Mexican experience with entertainment-education television melodramas, making a strong case for using mythical narratives for educational-developmental purposes. The melodramatic serial äs a mythical narrative The melodramatic serial embodies several characteristics of a mythical narrative. A mythical narrative is one that expresses, recreates and gives voice to a myth. A myth is a symbolic 18 (1993) l 115
Communication Theory, 1992
Melodramatic serials such as American soap operas and Latin American telenovelas work with the na... more Melodramatic serials such as American soap operas and Latin American telenovelas work with the narrative logic of myth and can be endowed with the cultural and performative power of myth. The properties of melodramatic serials, historicity, collectivity, syntagmatic flexibility, and paradigmatic parsimony, are in important ways common to mythical narratives. The textual affinity between melodramatic serials and mythical narratives suggests that melodramatic serials might function as myth, that is, as a pedagogical and enculturating discourse. lmportant implications for the practice of
... Patricia TERRERO Rita EDER Ana ROSAS MANTECÓN Guillermo SUNKEL María Cristina MATA AnaWORTMAN... more ... Patricia TERRERO Rita EDER Ana ROSAS MANTECÓN Guillermo SUNKEL María Cristina MATA AnaWORTMAN María Immacolata VASALLO DE LOPES Silvia Helena SIMÓES BORELLI VeraRESENDE Adriana RODRÍGUEZ SÁNCHEZ María Rebeca PADILLA DE LA ...
Paper presented at the Annual Meeting of the International Communication Association (39th, San F... more Paper presented at the Annual Meeting of the International Communication Association (39th, San Francisco, CA, May 25-29, 1989). Videoscreen images (2 pages) will not reproduce. ... Help ERIC expand online access to nearly 340,000 documents indexed ...
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Papers by Elizabeth Lozano
In storying, I turn my attention to experiential turning points and mundane situations which challenged and eventually reshaped my subjectivity. These storied events can be seen as signposts of a “cultural field” hitherto invisible to me, and their outcome as increased “cultural capital” and literacy within such a field. In re-storying, I return to the timeline of these events and ponder what I have left unsaid or taken for granted, thus correcting a desire to create a unified narrative where there can be many.
I am telling these events as they come to my memory. Therefore, they are organized, edited, and curated by personal, situated, institutional, and historical layers of understanding. Their truth value resides less on account- ing verily for an objective reality than on tracing how that reality is experienced and constructed intersubjectively. By means of this exploration, I come to understand the role interstitial spaces play in subverting hegemonic
power, transforming communication practices, and thus creating space for
emancipation.
In storying, I turn my attention to experiential turning points and mundane situations which challenged and eventually reshaped my subjectivity. These storied events can be seen as signposts of a “cultural field” hitherto invisible to me, and their outcome as increased “cultural capital” and literacy within such a field. In re-storying, I return to the timeline of these events and ponder what I have left unsaid or taken for granted, thus correcting a desire to create a unified narrative where there can be many.
I am telling these events as they come to my memory. Therefore, they are organized, edited, and curated by personal, situated, institutional, and historical layers of understanding. Their truth value resides less on account- ing verily for an objective reality than on tracing how that reality is experienced and constructed intersubjectively. By means of this exploration, I come to understand the role interstitial spaces play in subverting hegemonic
power, transforming communication practices, and thus creating space for
emancipation.