Ensayo del libro el matadero de esteban echeverria
The slaughterhouse esteban echeverría pdf
The perspective of the slaughterhouse from a distance was grotesque, full of animation. Forty-nine cattle were lying on their hides and nearly two hundred people were treading on that muddy floor, watered with the blood of their arteries. Here blood is mentioned for the first time in the text, which undoubtedly occupies a central place in «The Slaughterhouse». There is blood not only in the sacrifice of the steers, but also when the bull is sacrificed and when the young Unitarian dies. The blood spilled, that of the animals and that of the young Unitarian, is a clear example of the brutality with which the Federals acted from Echeverría’s point of view. There is even a glee in the blood, at the moment when people throw parts of the dismembered animals at each other as if it were a game. In this explicit way of showing blood there is a clear intention of the author to convey the irrationality and savagery that the Unitarians attributed to the Federals.
The whole story takes place in the slaughterhouse. There is a very detailed description of the physical space, to the point of conceiving it as another character. It is the place where the federales impose their law more than anywhere else. We could say that it is a natural habitat for the federales. For the same reason, it is a danger zone for the unitarios.
El matadero en español
The theme of civilization and barbarism has been one of the most recurrent themes in the narrative of Latin American nations. From colonization to the present, this theme, which contrasts the European and the Christian with the indigenous or African, has been debated from different perspectives and with different purposes. In Argentina, as Professor J. Ramiro Podetti of the University of Montevideo says, this opposition is not only decisively installed through the publication of Facundo, or civilization and barbarism in the Argentine pampas in 1845, but is modified to the point where «the fundamental representation of ‘barbarism’ are the gauchos and the caudillos» while the indigenous are relegated to invisibility (Podetti 92). This same reconfiguration of civilization and barbarism, however, can already be seen present in earlier works such as Esteban Echeverría’s «El matadero». Within this short story written in the 1830s, as in Domingo Sarmiento’s work, one can see how barbarism is related not precisely to the indigenous or African population (although they are not excluded) but to the so-called «federales,» supporters of the dictator Juan Manuel de Rosas who were largely gauchos and caudillos from the urban periphery (Becco 98).
El matadero personajes
La sección principal de este artículo puede ser demasiado corta para resumir adecuadamente los puntos clave. Por favor, considere la posibilidad de ampliar el lead para proporcionar una visión general accesible de todos los aspectos importantes del artículo. (Febrero 2016)
Este artículo necesita citas adicionales para su verificación. Por favor, ayude a mejorar este artículo añadiendo citas de fuentes fiables. El material sin fuente puede ser cuestionado y eliminado.Buscar fuentes: «The Slaughter Yard» – noticias – periódicos – libros – erudito – JSTOR (febrero de 2016) (Aprende cómo y cuándo eliminar este mensaje de la plantilla)
El resumen argumental de este artículo puede ser demasiado largo o excesivamente detallado. Por favor, ayuda a mejorarlo eliminando detalles innecesarios y haciéndolo más conciso. (Febrero de 2016) (Aprende cómo y cuándo eliminar este mensaje de la plantilla)
El matadero (en español El matadero, título traducido a menudo de forma imprecisa como The Slaughterhouse[nota 1]), es un cuento del poeta y ensayista argentino Esteban Echeverría (1805-1851). Fue la primera obra argentina de ficción en prosa. Es uno de los textos más estudiados de la literatura latinoamericana. Escrito en el exilio y publicado póstumamente en 1871, es un ataque a la brutalidad del régimen federalista de Juan Manuel de Rosas y sus matones parapoliciales, la Mazorca.
The slaughterhouse questions and answers
Esteban Echeverría’s revolutionary political critique is undoubtedly based on the liberal ideal of rational and educated subjects, who freely choose to establish fraternal bonds among themselves to form a unitary and national people. However, this ideal never materializes in the spaces of the worlds Echeverría inhabits (be they real or fictitious). Rather than merely historicizing the author, this essay reads his work from the geographical point of view of space and place. This perspective reveals a body of writing that, despite its focus on the liberal subject, offers a catalog of diverse forms of non-subjectivity. Contrary to the author’s intentions, his work unconsciously allows a whole flood of forces, both human and non-human, to enter the capital at a key moment in the formation of the constitutional legal order in Argentina.
It is not our intention to question the reading of Sorbille, a critic who has uncovered Echeverría’s subconsciousness better than anyone else. However, his interpretation does not allow us to specify the political, historical and geographical dimensions of the story. The value of a Lacanian approach lies precisely in its a-historicity; the theory passes beyond history to infer how the history of the subject originates-always anachronistically, outside of time. But the aim of El Matadero is to critique a misstep in Argentina’s political history within time and to point toward a new re-territorialization of citizenship. In other words, Sorbille figures Rosas as an integration of differentiated Lacanian concepts (the Real, objet petit a, the super-ego) under the sign of the «Restorer of the Laws,» but his intention is not to examine how this «floating» sign might denominate real juridical situations.