Title, La Argentina en pedazos. Colección Fierro. Author, Ricardo Piglia. Editor, Ricardo Piglia. Publisher, Eds. de la Urraca, Length, pages. Buy La Argentina en pedazos (Colección Fierro) by Ricardo Piglia (ISBN:) from Amazon’s Book Store. Everyday low prices and free delivery on eligible orders. Sharing Options. Share on Facebook, opens a new window; Share on Twitter, opens a new window; Share on LinkedIn; Share by email, opens mail client.
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The narrative technique that I like is to fracture stories and never develop them fully. The accounts involved range from the postulation of the quintessential Argentine duality–civilization vs.
My purpose is to argue that, within such a layout, lies a new understanding pwdazos Argentina’s order and Latin America’s cultural outlook, a proposal which, by means of enhancing its fragmentary nature, pretends to be more inclusive.
In other words, by combining the dynamics of two dissimilar representational formulas, prose and graphic art, a pair of intrinsically disparate genres, Piglia manages to put forward an alternative approach for the depiction and explanation of the plglia of Argentine identity.
His juxtaposition of words and images, of written and graphic text, leads to a dialogue that surfaces over the cracks, the fissures, of a plural society, a people which, despite bearing traces of a rich, distinct, multicultural pedazso, have become one where inattention and collectiveness prevail, conforming to the dictates of a al, dreary reality.
Unlike earlier theorists of national idiosyncrasy–e. That is why, in order to deal with a matter of uneven nature, he proposes a theory whose foundation lies elsewhere, somewhere within the limits imposed by generic representation, between the framing of the storyboard and rhetorical ambivalence.
To deal with a population beleaguered by economic argdntina, military repression, warring conflicts, and neoliberal policies, canonical categorization does not suffice. Piglia prefers to validate a theory of the Argentine soul by unconventional methods, emphasizing discontinuity, pigliaa the lack of commitment of the word with the elusiveness of the image. His proposal is compelling; he manifests his understanding of identity as an interactive, evolutionary process, fruit of the type of communication resulting from the ricaro of messages publicized by the modern media.
In short, what Piglia proposes is that, by embracing or condoning the newly fashioned versions of cultural identity proposed by the media, consumers play an active role in the process, thus his interest in a rendition of a national discourse via a more up-to-date mechanism.
Despite the solidity of Canclini’s arguments, founded on the many cultural practices embraced by diverse societal segments in order to conquer a political voice, that is, a position of authority within the general public, this contention denotes a quandary: It helps to remember Piglia’s academic training is in history, and his fascination with the subject becomes obvious as one peruses La Argentina en pedazos.
The book is, above all, a meditation on the role of history and the responsibility of the historian. As writers, historians are accustomed to dealing with fiction, and their work may be described as the retrospective considering of many possible worlds, a chore regularly involving speculation, linear thought, and a prolific imagination. It is evident that Piglia’s goal is to posit and develop an alternate literary version of Argentine history, in other words, a chronology supported by his personal choice of examples of the Argentine cultural mainstream.
In Postmodernity in Latin America: In plain terms, through the seemingly indiscriminate nature of their actions, the military severed the links between the private and public spheres of Argentine life. But, not only did the military threaten the population directly, intending to fictionalize reality in order to disguise repression, during the time of the Dirty War, a key factor contributing to the massive illusion of uniformity propounded by the junta was the substantial increase in the importation of best sellers as well as their ensuing success, conveying, through their foreign context and their disassociation and lack of interest for matters of national relevance, a sense of depolitization, internationalization and modernization welcome by the regime.
That is, through their policy of self-censorship, which kept local publishing houses in constant fear, and their dominating posture, controlling the orientation of discursive relations within the country, the military fractured the social fabric of the population.
In all, the renewed presence of a heavy component of unexacting literature from abroad was congruent with their arguments in favor of the “renovation” of Argentine literary tastes. Throughout this pursuit, it is clear they also attempted a reformulation of the literary patrimony. Asinine policies, such as the vanishing of texts on Cubism, imagining them related to Cuban matters, and hence to left-wing ideologies, are well documented.
In La Argentina en Pedazoson the other hand, Piglia enhances formal fragmentation as an evasive reply, a deceptive maneuver of sorts, against the totalizing operational logic resulting from the authoritarian tactics of the Proceso. Piglia wishes to debunk the notion of Argentine lifestyle suggested by the establishment, with the family and Christian virtue as only cornerstones, and with national identity as the consecrated offspring of Western civilization. La Argentina en pedazos is fragmentary in order to augment its odds of theoretical subsistence and elude discursive manipulation; its main object is to neutralize the idea of a nation born of the acceptance of a master narrative championed by the military, an artifice which, given the boundless complexity of the undertaking, was deemed to failure.
Emulating Maggi, his character in the novel, what Piglia fancies is to reconstruct the foundation of what may become the Argentine national cultural identity by looking at the margins of the orthodox, resulting in the presumably awkward partnership between an established novelist and an irreverent team of cartoonists.
Still, whereas some of their choices for the book are customary elements of the canon, some others are not, and the graphic aspect, host to issues of an entirely different discipline, is definitely beyond the scope of the ordinary. Hence, the stories behind his substitute version of tradition are ones where, in agreement with Piglia’s particular perception of the ancestry of power in Argentina and I might add, in much of Latin Americathe criminal element is blatant.
Piglia maintains that, throughout Argentine history, the most consistent configuration of the discourse of power has been that of criminal fiction. Consequently, most of the sequences in his work with Fierro entail, in one or another way, the transgression or infringement of the law or social conventions in the form of conspiracy, deception, or open violence frequently leading to death. This is not a unique concept; Ariel Dorfman, among several Latin American intellectuals, has argued that the tragic history of Latin America is such that even death takes on the aspect of creative act by which myth and memory and therefore resistant histories are activated.
However, aside from giving in to murder, intrigue, and delusions of paranoia, most of the accounts, delineating national variants of different genres–the short story, the novel, drama, and popular music–share other kinds of relevant characteristics: As a founding narrative, ” El matadero ,” although published posthumously, serves to underscore the common legacy of the young Latin American republics of the nineteenth century, a heritage signaling the emergence of a succession of shared attributes: Its pictured equivalent hints subtly, through its omission of specific scenes of torture, at the ways of the government, honoring a practice which seems to have accompanied the Argentine state since the date of its inception.
Indicting a torrid chapter of the making of the nation, the novel narrates the extermination of the indigenous population of the pampas during the latter part of the nineteenth century, denouncing the cruelty of the ruling classes, sponsors of the massive campaigns which, in order to conquer and populate the country, had to, quite brutally, dispose of the natives.
Its illustrated side is more unabashed than its predecessor; the mutilated corpses of the indians lie on the ground, butchered and bathed in blood.
In short, the story’s graphics, which are almost always narrowly fitted amid the characters’ conversation, serve as excuses for the captions, the chief, significant element of the representation. The purpose of the tale is to visit, to outline, the scenery of a popular dance hall, a site where the feared lower classes gathered to join in merry fun. In terms of sheer aesthetics, ” Las puertas del cielo ” is the most distorted, least beautified cartoon strip, prone to enhance the misgivings of social deformity.
The artist, in a stroke of fairness, has included the writer in the allegory, making him equally hideous to his peers in the ballroom.
In the depiction of Rozenmacher’s book, a similarly conciliatory effort is unveiled. Once again, illustrated representation has leveled the turf between the parties: Thus, the rigidity of the sanctioned order, a stalwart ally of unchecked social injustice, appears slightly flawed.
As expected, Piglia appears concerned with cases where a puglia amount of distrust is patent, as in this story, where the cabecita negrapersonified by the police officer, dares to question the merit of first impressions, so widespread in the realm of the bourgeoisie. The sense of distrust, on the other hand, simply contributes to ratify the air of intrigue. Through these bizarre reveries, or at least, through their relation to the implicated individuals, it is feasible to pose a theory of social differences.
The masses, ignorant and unbeware of the potential of knowledge, are disposable, whereas those who deal directly with the advances and benefits resulting from science appear privileged. Stylistically, at a visual level, the images are the least organized ones in the series, indicating the likelihood of a concealed order; unlike the other pieces, this one rejects the adoption of a storyboard format, with its comfortably enclosed quadrilaterals.
: RICARDO PIGLIA: Books
To deal with the text, the cautious reader will be forced to play detective, figuring out the correct order of the images piglua connection with the dialogue, rendering coherence to the plot as it progresses, much in the spirit of a scientific foray. In the hands of the cartoonists, Lugones’s story serves the purpose of an interactive artistic proposal, and the argument, with its enigmatic resolution, attains the air of a caper, echoing its criminal lineage.
The short story, characteristic pedzzos the author’s despair lw his stay in Misiones, evokes the reprehensive arguments of eugenics, shared by most of the places serving as destinations to the immigrants of the New World.
In the drawings, the single hue departing from the traditional black and white coloring of the book are occasional, vibrant outbursts of red. Red is meant to signify the relevance of blood as a means of cultural and physical contamination, given the hypothetical deterioration of the fabric of Argentine society as an outcome of uncontrolled migration.
As in the first story, the scene with explicit content, where the three witless brothers assassinate their lovely sister, is omitted. In a manner reminiscent of the Procesoviolence, although invariably present, is seldom included in a deliberate fashion.
Eh again, it serves as an example of speech as an instrument of violence; the linguistic evolution of the tango lyrics, which will become increasingly arcane, bears the influence of lunfardo and colloquial overtones of the slang of the streets of Buenos Aires, harbingers of a nascent vernacular identity.
Although a sex scene forms part of the account, the image appears next to a censored copy of itself, where the x covering the couple is made up of strips of photographic film, wrgentina at the visual quality of aegentina for the masses. The pictorial representation, in the form of collage, demands, more than any other chapter in the book, a rupture with linear representation. The heavy use of montage, isolated images, and hovering phrases exacerbate the iconic value of the argument, supporting a surrogate, discontinuous view of events that markedly contrasts the smooth, flowing evolution of narrative, so becoming to arranged history.
According to Piglia, Puig’s method was the sentimental upbringing of the masses via the successful appropriation of popular formats. The inclusion of a mirror bearing Gardel’s image, incorporating the suggestive smile of Argentina’s most famed pedaazos icon to the process, is just a concession to this respect.
In this instance, murder is incorporated as an additional element of the romance, leading to a cryptic resolution. Lastly, there are stories by the two opposing archetypes of Argentine literature: Borgesthe ricsrdo erudite, and Arltthe street-smart, crafty raconteur.
Although ” Historia del guerrero y de la cautiva argsntina is a twist on the familiar theme of civilization vs. Accordingly, the graphics aegentina a negative, where the ricatdo are exposed and what should be evident lies in darkness, a fitting way to end Piglia’s version of Argentine history, alluding at the suffering of recent years.
The predicament endorses an additional, subjugating presupposition: The rich are, by definition, criminals; they always hide something. Thus, capitalism, a system based on the accumulation of wealth, is, in essence, a criminal practice. Under this perspective, the huge inequalities prevalent in Latin America become, once pesazos, a matter of infraction. Each of the stories in this collection stands apart, contributing to the correct operation of a peculiar theoretical model: Piglia’s odd understanding of the practices which constitute the core of the formation of a cultural identity.
In all, each piece operates as a fractal, replicating, in itself, the social geometry of a larger order, regulated by violence and tragedy.
For the Argentine author, the ideal reader is one who is produced by the text, and ideal texts are those which change our way of reading. Therefore, it is only understandable that Piglia has appealed to representation in a format that defies many of the dictates of conventional literature; his aim is to produce a new kind of reader or reading, with national essence as the context which decides appropriations and uses, transactions and barters, and where effacement and deformation such as translation play a significant part.
Amidst an era of hybrid identities and transnational cultures, the question remains whether a redrawing of established methods lla aid or simply ricarddo to informational delusion. The objective should be to locate the remote instances when policies have upheld massive cultural expressions and served as arrgentina of new trends. Following Piglia, pigli a new will is to exist, in order to consolidate Latin America’s cultural domains further, an active integration of modern ways is critical.
The dilemma lies ricaddo how to accomplish this, whether through the merger of authentic spaces of negotiation or some other valid exercise, as in the case of La Argentina en pedazos. Postmodernity in Latin America: Duke University Press, Iberian Studies Institute, Ohio Northern University, An Interview with Ricardo Piglia.
Universidad Nacional del Litoral, La Argentina en pedazos. Ediciones de la Urraca,