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Este trabajo propone analizar y discutir la construcción de sentido que, desde cierta noción de civilización asociada al mito político civilización y barbarie, se volvió preeminente en el período histórico argentino constitutivo del Estado nacional moderno entre mediados y finales del siglo XIX. Entendiendo que el rol del mito consiste en asignar sentido a la organización de la realidad donde se despliega, la influencia de esta noción de civilización pareció impregnar la dimensión cultural de la época en general influyendo en las ideas, argumentos y relatos políticos, económicos y sociales, como así también en las expresiones literarias y artísticas. Para exponer esta instancia operativa del mito político y de la noción de civilización devenida del mismo se ha seleccionado, particularmente, la obra de época Juan Moreira, publicada en el diario porteño La Patria Argentina, propiedad de la familia Gutiérrez, entre el 28 de noviembre de 1879 y el 8 de enero de 1880. Se plantea así la posibilidad de que esta obra expresara, tanto en su sentido general como en la caracterización de sus personajes y escenarios simbólicos, múltiples nociones arraigadas a una idea preeminente de civilización que podía pensarse en la época como universal y natural, además de cerrada a otro tipo de interpretaciones.

This article examines aspects of the discourse of power by which the figure of the Argentine gaucho was labeled as a “vagrant and idle” subject, based on the study of the archetypical Juan Moreira. In particular, the article explores analyses carried out decades after his death, influenced by the theories of Cesare Lombroso and Nicola Pende. Born in 1829 and killed at the hands of the police in 1874, Moreira became an emblematic personality of local folklore. Although his life has been the subject of extensive literary analysis, largely focused on the publication of Eduardo Gutiérrez’s novelistic portrayal, there has not been as much focus on the attempt to validate scientifically his stigmatization using the theories of these Italian thinkers. This text, therefore, explores readings of Juan Moreira carried out during the 20th century by two doctors, José Ingenieros and Nerio Rojas. In methodological terms, triangulation techniques were used, taking as vertices the legislation in place at that time, the interpretations of his life made through his transformation into a literary and film character, and finally, the aforementioned psychodiagnostic evaluations based on the integration of hypothetical environmental and innate characteristics.

Este artículo aborda, en primer lugar, la relación entre las versiones circenses del Juan Moreira (1879-1880) de Gutiérrez y la llegada del cine a la Argentina, en tanto espectáculos que figuran la entrada en la modernidad como un salto. A partir de tal configuración, se postula que cada aparición de Moreira en el cine se articula sobre: un uso de la violencia como medio legítimo, un estado de la técnica cinematográfica y una idea de fiesta. Finalmente, tomando como estudio de caso la versión entrenada en el Centenario de 1910, se plantea que, al ser un éxito de público pero un intento fallido de hacer de Moreira un gaucho patriota, la película visibiliza las fisuras de un proyecto de nacionalización de masas que avanzaba por vías escurridizas, no controlables por las élites modernizadoras.

Published as a feuilleton in 1879, Eduardo Gutiérrez' novel Juan Moreira became -thanks to its multiple adaptations- a central text of the phenomenon of Criollismo in Argentine culture at the turn of the century. In recent decades, reviewing Adolfo Prieto's landmark work on the subject, a set of studies have reframed the scope of Criollismo based on its relationship with popular culture and the mass media throughout the 20th century. In dialogue with these approaches, the article focuses on the film version of Moreira that Luis José Moglia Barth directed in 1948, and its connection to the emergence of Peronism and the feminization of politics. In this sense, I argue that the film evidences the way in which Criollista cinema was losing its symbolic effectiveness as a discourse capable of channeling popular demands, to be relieved in that role by the emerging Peronist myth and its various forms of intervention on cinema. To this end, three specific aspects of the film are analyzed: the introduction of a femme fatale that was not in the original story, the premiere during the carnival celebrations of 1948, and the nostalgic configuration of the protagonist.

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A partir de la leyenda del gaucho argentino Juan Moreira, en el presente artículo nos proponemos analizar los diferentes atravesamientos artísticos que este cuerpo realiza desde fines del siglo XIX hasta principios del XX: de la novela a la arena del circo y del teatro al cine. Consideramos que en cada cruce y en cada nuevo soporte artístico el cuerpo de Moreira se resignifica y permite construir nuevas identificaciones con los contextos artístico, político y sociales que le son propio. A tales efectos, nos preocuparemos por el estudio de la novela, el drama y su transposición al cine a partir del filme realizado en 1924: El último centauro o la epopeya de Juan Moreira de Enrique Queirolo considerando para este análisis los aspectos constitutivos de la literatura, el teatro y el cine gauchesco.

En este artículo nos proponemos analizar la transposición de Juan Moreira en la literatura, el drama y, especialmente, en el cine argentino a partir de la versión que Leonardo Favio realizó en 1972. Nuestro objetivo es dar cuenta de las variantes de significación que se producen de un texto a otro, no solo en lo referente a lo propio del fenómeno transpositivo sino, y en especial, al modo en el que el contexto de producción resignifica los materiales discursivos y propone nuevos mitos sobre este héroe popular.

Although Eduardo Gutiérrez's folletin of Juan Moreira (1879–1880) was crucial in establishing the gaucho as an icon of popular opposition to state violence and of popular demands for inclusion, the popular nature of Juan Moreira himself remains a matter of debate. This article examines two different positions regarding the literary construction of social and cultural memory of Juan Moreira as a popular hero. It goes on to analyse the crystallization of the gaucho as a figure with the right to clash with the legality that excludes him. Lastly, as the return of those who were excluded would force a rearticulation of social relations, the article proposes that the essential structure of gauchesca literature – the story of the harassed gaucho who confronts the pólice – would return in Argentinean culture were it ever necessary to press the opening of new social horizons. [ABSTRACT FROM AUTHOR]

Juan Moreira fue un personaje de la vida real, que vivió enfrentado con las autoridades de su comarca. Sus acciones fueron escritas por Eduardo Gutiérrez, idealizando el personaje hasta hacerlo arquetipo del gaucho y creando muchas situaciones de su vida que no tuvo realmente. Sobre este tema se compuso un libreto para escenificarlo. El éxito de la representación escénica llevó a la popularización del personaje. De este modo habría de merecer convertirse en personaje de ópera, expresión de la mayor importancia en la cultura de occidente en su momento.

Copyright of Temas de Historia Argentina y Americana is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since its appearance in 1879–1880, Juan Moreira has been read as an illiberal novel, casting its eponymous hero (the historical bodyguard and electoral henchman of the same name) as a metaphor for the plight of variously-defined subalterns in liberal and neoliberal Argentina, and a condemnation of the social order they brought about. Contrary to that assumption, and reading the novel in its original context (the newspaper La Patria Argentina, in the months leading up to the Buenos Aires rebellion that would settle the fate of Buenos Aires, and end the cycle of civil wars in Argentina), the article argues that Moreira should be read as an strictly liberal novel, inventing a version of the gaucho not as a premodern barbarian (i.e. Sarmiento's version) but as the embodiment of a modern liberal notion of subject (and citizen, even citizen-in-arms), produced by a functional market economy and a modernizing state, whose descent into criminality is a consequence and a cautionary tale not of the evils of the liberal order, but of what for Gutiérrez was the illiberal (at the same time conservative and barbaric) embodied in his political opponents presidents Nicolás Avellaneda and Julio Argentino Roca. [ABSTRACT FROM AUTHOR]

Various Salmonella serotypes have caused numerous foodborne outbreaks associated with food vehicles in different categories. This study provides evidence on the occurrence and inter-relations between Salmonella serotypes and the number of deaths mediated by the number of illnesses and hospitalizations. Confirmed foodborne outbreaks of Salmonella serotypes (n = 2868) that occurred between 1998 and 2021 were obtained from the Centers for Disease Control and Prevention National Outbreak Reporting System. Causal mediation analysis was performed based on 500 bootstrap samples. The serotypes and the Interagency Food Safety Analytics Collaboration (IFSAC) food categories as confounding effects were considered as categorical variables. A total of 106 single Salmonella serotypes were associated with foodborne outbreaks. Foodborne outbreaks caused by Salmonella serotypes resulted in 81,996 illnesses, 11,018 hospitalizations, and 115 deaths between 1998 and 2021 in the United States. The serotypes Enteritidis (815 outbreaks, 28.42%), Typhimurium (359 outbreaks, 12.52%), and Newport (220 outbreaks, 7.67%) accounted for almost half of Salmonella-linked outbreaks. Poultry products, “chickens”, “eggs”, and “turkey”, were the leading IFSAC food categories, accounting for 14.02% of total outbreaks and 10.44% of total deaths. Certain serotypes had a significant effect on illness, hospitalization, and death counts. Two serotypes, Heidelberg and Saintpaul, and “fruits” as the food vehicle in IFSAC categories had a significant direct effect on the number of illnesses, hospitalizations, and deaths as outcomes of Salmonella outbreaks (p ≤ 0.05). There was strong evidence that illness and hospitalization counts played a key role in the pathway from serotype to death counts on foodborne outbreaks caused by Salmonella based on causal mediation analysis. The findings of this study can help outbreak investigations and lead to prevention and control measures by providing insightful information about the frequencies of Salmonella serotypes and the associated food vehicles causing foodborne diseases.