By Ulf Hannerz
A wealthy, witty, and available creation to the anthropology of up to date cultures, Cultural Complexity emphasizes that tradition is prepared by way of states, markets, and activities. Hannerz will pay precise awareness to the interaction among the centralizing enterprises of tradition, resembling colleges and media, and the decentering range of subcultures, and considers the exact function of towns because the facilities of cultural growth.Hannerz discusses cultural technique in small-scale societies, the idea that of subcultures, and the economics and politics of tradition. ultimately, he provides the twentieth-century globalization of tradition as a technique of cultural diffusion, polycentralism, and native innovation, concentrating on classes of extensive cultural productiveness in Vienna, Calcutta, and San Francisco.
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Yet "the global village" has too many overtones of the relative symmetries of cultural process in small-scale societies. 27 The Nature of Culture Today 29 The overarching communication structures of the world today are, after all, center/periphery structures, heavily asymmetrical. By way of its superior power over the entertainment industry, news bureaus, the advertising industry, and the media through which they operate, the West strongly influences cultures in oth er parts of the world. This is commonly described and criticized as media imperialism; Charlie's Angels would be among its agents in Kafanchan.
One might be tempted to say "raw experiences," but then experiences are really never raw. For, through communication, the society also makes available set ways of seeing and handling the environment. Its members have one opportunity after another to be on hand to see each other perform tasks and solve problems. In addition, as social distances are on the whole minimal and there are few natural barriers to the communication flow, they can also take in each other's com ments on all this, in whatever modes of expression may be used for the purpose.
In part because of the loss of the master narratives, its interpreters have also said, postmodernism has little coherent sense of history. T h e past is raided instead for commoditizable nostalgias. T h e sense of place is likewise uncertain. In the media everywhere is here, and transnational capitalism thrives on uprootedness, importing workers, exporting work, being simultane ously present in the time zones of N e w York, London, Frankfurt, Hong Kong and Tokyo. Is this the way we should see contemporary culture?