Acceso usuarios
María Elena Campero
From the moment of its emergence, poesía gauchesca has posed the question of identity or being (Ludmer 120) in such a way that the text becomes a discursive battleground in which individuals confront each other while trying to define themselves. When re-writing a contemporary account of this genre’s classic work El gaucho Martín Fierro (1872) by José Hernández, Paraguayan-Argentine poet Óscar Fariña (1980) inscribes his El guacho Martín Fierro (2011) within this tradition. Now, however, Tincho Fierro’s underworld fringe is located in Buenos Aires’s slums and cumbia’s rhythm provides an accompaniment. The fol-lowing issues, that were pertinent to the nineteenth century, return updated to question Cristina Fernández de Kirchner’s administration and political project: 1) whose bodies does the term “guacho” conceal?, 2) what does it mean to be a “guacho” nowadays?, 3) what type of inclusion can be given to these individuals beyond prison or the slum? In order to explore these matters in Fariña’s work the trajectory drafted by the term “guacho” is thoroughly examined as well as its connection with language itself and animalization
