En los últimos años del siglo XX y principios del XXI docenas de jefes policíacos mexicanos han muerto a manos del narcotráfico. Son pocos sin embargo, los corridos compuestos en honor a policías caídos; la gran mayoría de los corridos que tratan sobre el narcotráfico optan por la modalidad del narcocorrido panegírico, aquellos que glorifican la vida del narcotraficante. Este ensayo primero da un panorama breve de la historia y desarrollo del corrido de policía y luego estudia dos corridos dedicados a la memoria de Juan Meneses, un jefe policiaco de la ciudad de Mexicali, México, asesinado en 1947. Con estos corridos dedicados a la memoria de Juan Meneses, la cultura popular ayuda a preservar un pasaje prácticamente olvidado de la historia fronteriza. Los corridos de Juan Meneses nos ayudan a comprender la evolución del corrido con temática de narcotráfico pero asimismo nos ayudan a entender la evolución de la sociedad fronteriza y de su noción de heroicidad.
Prólogo -- 1. El exilio -- 2. Una juventud sacrificada -- 3. La alianza -- 4. «Cuando no éramos nadie» -- 5. De Juanito a Juan Carlos -- 6. ¡Por fin llega a sucesor! -- 7. Un príncipe moderno -- 8. Agobios y tanteos -- 9. El animal político despierta -- 10. Frente al golpismo -- 11. Honores y decadencia -- 12. El juancarlismo. ¿Y después? -- Epílogo -- Agradecimientos -- Fuentes y bibliografía -- Créditos
Zugriffsoptionen:
Die folgenden Links führen aus den jeweiligen lokalen Bibliotheken zum Volltext:
Juan Carlos Onetti is less known in the English-speaking world than other Latin American authors such as Gabriel Garcia Marquez, Júlio Cortázar or Mario Vargas Llosa. To these writers, however, he is 'the master', affectionately regarded as one of the major founders of modern Latin American literature. Born in Montevideo on 1 July 1909, his first short story was published in 1933, winning the prestigious La Prensa prize. In 1939 he joined the editorial staff of the newly-founded magazine Marcha, working as its literary editor and also writing a regular humorous column. Although he left Uruguay two years later for Argentina, his association with Marcha continued, helping to make it Latin America's foremost cultural publication, the tribune of two generations of writers and intellectuals. Until his return to Montevideo in 1955, Onetti worked in Buenos Aires as a journalist, translator and editor of English-language novels. In 1957 he was appointed Director of Montevideo's Municipal Libraries, and ten years later became a member of the governing body of Uruguay's National Theatre (Comedia Nacional). In 1972, he was chosen as the 'best Uruguayan narrative writer of the last 50 years' by 35 writers and poets interviewed by Marcha. It was his association with Marcha which finally cost Onetti his freedom and his country after the 1973 military takeover. Never an overtly political figure, Onetti had nevertheless given his support to the left-wing Frente Amplio (' Broad Front') electoral coalition, and was highly regarded for his independent, disquieting vision of Uruguayan society. In 1974 he was a member of the jury for the annual Marcha literary competition. The story chosen for the prize, El guarda espaldas ( 'The Henchman') by Mercedes Reiss, was taken by the authorities as an attack on the police. Marcha was closed for good, and several members of its staff, including Onetti, arrested ( see Index on Censorship 4/1974 and 2/1979). After a week in a police cell and four days in a sports stadium, he was held for three months in a psychiatric clinic before being brought to trial. Among the defendants found innocent of any charge, Onetti later left Uruguay, first for Italy, then for Spain, where he now lives.
This article analyzes the short story "Agnieszka en la costa" by Hugo Fontana(included in his book Desaparición de Susana Estévez, 2015) as a sophisticated re-elaborationof several narrative materials (characters, scenes, and topics) from the fictional world ofJuan Carlos Onetti. I aim to reveal the painstaking narrative design of Fontana's work, aswell as the implications on meaning of this literary remaking. Fontana shares with Onetti astrong interest in the detective novel and they both incorporate resources from this genreto their works. However, Fontana shows an additional facet in his use of the detective noveldevices: a critique about the political situation. ; En este trabajo se ofrece un análisis de los préstamos y recreaciones que lleva acabo Hugo Fontana de los materiales narrativos provenientes de la obra de Juan Carlos Onettien su cuento "Agnieszka en la costa" (incluido en Desaparición de Susana Estévez, 2015).Mi objetivo es revelar tanto su esmerada adaptación como las implicancias semánticas queresultan de esa labor. Onetti era lector de novela negra y varios textos suyos recrean losmecanismos narrativos de este género. En Fontana encontramos un interés parecido, perocon una faceta nueva: la denuncia política. ; Este trabalho oferece uma análise dos emprétimos e recriações que Hugo Fontanafaz dos materiais narrativos provinientes da obra de Juan Carlos Onetti em seu conto"Agniezka en la costa" ( incluído em Desaparición de Susana Estévez, 2015). Meu objetivo érevelar tanto sua cuidadosa adaptação como as implicações semânticas que resultam destetrabalho. Onetti era leitor de romance negro e vários textos seus recriam os mecanismosnarrativos deste gênero. Em Fontana encontramos um interesse parecido, porém com umanova faceta: a denúnica política.
Taking advantage of our tenth edition, we once again have a conversation with Juan Carlos Monedero, who was the first interviewee of our magazine. At that time, five years ago, Juan Carlos had the creation of Podemos in his hands, although we did not find out until later. Today, after five years of political upheaval in Spain, with the strong irruption of Podemos in Congress and amidst political scandals by the Spanish government, we have the opportunity to interview Juan Carlos and discuss the political situation in Spain and Latin America. ; Aprovechando nuestra décima edición volvemos a tener una conversación con Juan Carlos Monedero, quien fue el primer entrevistado de nuestra revista. En aquella época, hace ya cinco años, Juan Carlos tenía entre manos la creación de Podemos, aunque no tuvimos conocimiento hasta fechas posteriores. Hoy, después de cinco años de agitación política en España, con la fuerte irrupción de Podemos en el congreso y entre escándalos políticos del gobierno español, tenemos la oportunidad de entrevistar a Juan Carlos y dialogar sobre la situación política en España y América Latina. ; Aproveitando a nossa décima edição, mais uma vez conversamos com Juan Carlos Monedero, que foi o primeiro entrevistado de nossa revista. Naquela época, cinco anos atrás, Juan Carlos tinha a criação do Podemos nas mãos, embora só tenhamos descoberto mais tarde. Hoje, após cinco anos de convulsão política na Espanha, com a forte irrupção do Podemos no Congresso e em meio a escândalos políticos do governo espanhol, temos a oportunidade de entrevistar Juan Carlos e discutir a situação política na Espanha e na América Latina.
