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Trafficking: Narcoculture in Mexico and the United States
Duke University Press, 2020
Cloth: 978-1-4780-0764-7 | Paper: 978-1-4780-0804-0 | eISBN: 978-1-4780-0903-0 Library of Congress Classification HV5840.M6A43 2020
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
In Trafficking Hector Amaya examines how the dramatic escalation of drug violence in Mexico in 2008 prompted new forms of participation in public culture in Mexico and the United States. He contends that, by becoming a site of national and transnational debate about the role of the state, this violence altered the modes publicness could take, transforming assumptions about freedom of expression and the rules of public participation. Amaya examines the practices of narcocorrido musicians who take advantage of digital production and distribution technologies to escape Mexican censors and to share music across the US-Mexico border, as well as anonymous bloggers whose coverage of trafficking and violence from a place of relative safety made them public heroes. These new forms of being in the public sphere, Amaya demonstrates, evolved to exceed the bounds of the state and traditional media sources, signaling the inadequacy of democratic theories of freedom and publicness to understand how violence shapes public discourse. See other books on: Amaya, Hector | Drug traffic | Prevention | Trafficking | Violence See other titles from Duke University Press |
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Nearby on shelf for Social pathology. Social and public welfare. Criminology / Drug habits. Drug abuse:
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Trafficking: Narcoculture in Mexico and the United States
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
Duke University Press, 2020
Cloth: 978-1-4780-0764-7
Paper: 978-1-4780-0804-0
eISBN: 978-1-4780-0903-0
Cloth: 978-1-4780-0764-7
Paper: 978-1-4780-0804-0
eISBN: 978-1-4780-0903-0
In Trafficking Hector Amaya examines how the dramatic escalation of drug violence in Mexico in 2008 prompted new forms of participation in public culture in Mexico and the United States. He contends that, by becoming a site of national and transnational debate about the role of the state, this violence altered the modes publicness could take, transforming assumptions about freedom of expression and the rules of public participation. Amaya examines the practices of narcocorrido musicians who take advantage of digital production and distribution technologies to escape Mexican censors and to share music across the US-Mexico border, as well as anonymous bloggers whose coverage of trafficking and violence from a place of relative safety made them public heroes. These new forms of being in the public sphere, Amaya demonstrates, evolved to exceed the bounds of the state and traditional media sources, signaling the inadequacy of democratic theories of freedom and publicness to understand how violence shapes public discourse.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
