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The law makes delinquents. The continual rewriting of the duel in which the gaucho dies alludes to another important element of the gaucho as a symbol of the 20th century Argentine imaginary. Having put down the guitar and taking up gemran knife, he changes from one seeking justice to one running from justice.

However, through historical revisionism the gaucho took on new titles and new urban identities. In rozenmacger article Dove suggests that the Borges of the s believed that a national myth was missing from Argentine cultural production. He was a displaced product of urbanization and capitalism.

Germán Rozenmacher – Wikipedia, la enciclopedia libre

Borges alludes to Peronism and an unhealthy socio-political atmosphere that military dictatorship and corrupt government fomented in response to decades of Liberal hegemony. It may also have been important in bringing the proletariat together in social environments and in disseminating national ideologies of authenticity, autochthony and social justice from both Liberals and Peronists.

However, one side of the street is indiscernible from the other.

Casa tomada y otros relatos. One of the few voices to be heard clearly during this time was that of the nationalists whose rhetoric had been used to enflame the revolution in the first place. These two short stories provide a response to both literary and social traditions.

Nationalism within the ranks of both political and military structures emphasized age-old rhetoric of national pride, autochthony and social participation.

Skip to main content. His texts often return to the gaucho as fertile ground for continued literary creation and manipulation. When he wrote the story Walsh had not yet fully embraced post Peronism and in fact at that point he declared that he was not a Peronist: Borges, un escritor en las orillas.


Fierro responds that he negr them good counsel. As the story progresses, the siblings hear or imagine that they hear something within the house. The gaucho by the wall acts as an artifact of the old rural tradition.

Indiana University Press, Peronism therefore is the centerpiece of discussion in this chapter as it maps onto gaucho rhetoric discussed in previous chapters. He posited that the protagonist was not a hero but a knife-wielding ruffian Sarlo Liberalism and nationalism overlooked rural migrant and urban immigrant groups and left a large portion of the Argentine working class ignored as non-participants in the political process.

Germán Rozenmacher

Each allows the protagonist to participate in a duel to the death. When speaking of his understanding and fascination with the gaucho and the Pampa, Borges said: The brother even references certain knitting projects she was working on to chronologically mark invasion of the home.

To understand what Peronism was we have to remember those million[s]… who in the four years from to moved from the countryside to the city. What makes these texts relevant to this study is the continuous return to the rhetoric surrounding the gaucho and use as a platform for social critique.

Farrell called for free elections to fill the presidency in his stead.

Not cuentl can it be read as an allegory of the ideological invasion of nationalism, it acts out Peronist ideology through its metatext: The liberal elite unconsciously go about their daily routine without societal participation leaving behind a participatory void to be filled by the working class.

While Borges saw that the gaucho became the literary representation of nationalism through revisionists hands, he perceived that the gaucho could be rewritten and recreated with a contemporary figure like the compadrito and thus constructed a parodic representation of the nationalist icon in the compadrito Britton He emphasized the central role gauchos played in maintaining a discourse of national identity from a nationalist perspective.


Germán Rozenmacher ( of La Argentina en pedazos)

According caebcita Colin Winston, Argentina in still maintained the vestiges of 19th century political ideologies alongside new political tendencies of socialism, communism and anarchism. As Bioy pointed out: While he reached for a French counterpart in naming his followers, he also chose a term that reflects the literary representation of the gaucho.

While the working classes united under ever-growing labor unions, the political leadership looked to rebrand themselves under multiple forms of nationalism against the oligarchy and rely upon revised historical accounts to back up their protectionist political agendas Spektorowski Gestures of compadrito cultural participation through music—the tango, popular literature and story telling—all add to the cultural discourse surrounding Peronism.

Support for the idea of a demonstration sponsored by the old working class assigns demonstrators rozenmzcher active and participatory role in shaping the soon-to-be Peronist government. The inclusion of the gaucho in the discourse surrounding Peronism is not limited to supporting the cause. A question then arises: For Sarlo, Borges reinterpreted the civilization vs.

Though the nationalist military looked for Argentine answers to Argentine problems through restoration of a dictatorial patriarchy modeled after the 19th century Rosas regime, it was through populist nationalism that politicians were able to garner public affection Winston While he would choose Sarmentine-styled liberalism over Rosas-styled nationalism that fact remains that both literary iterations maintain an important hold over how Borges viewed the Argentine political paradigm through a gaucho lens.