Centauros Latinoamericanos: El Bandido Como Símbolo Cultural En El Espacio Fronterizo De América Latina
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CENTAUROS LATINOAMERICANOS: EL BANDIDO COMO SÍMBOLO CULTURAL EN EL ESPACIO FRONTERIZO DE AMÉRICA LATINA by PAULO ANDRES HENRIQUEZ A DISSERTATION Presented to the Department of Romance Languages and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2012 DISSERTATION APPROVAL PAGE Student: Paulo A. Henriquez Title: Centauros latinoamericanos: El bandido como símbolo cultural en el espacio fronterizo de América Latina This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Romance Languages by: Pedro García-Caro Chairperson Juan Epple Member Massimo Lollini Member Analisa Taylor Member Carlos Aguirre Outside Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2012 ii © 2012 Paulo Andres Henríquez iii DISSERTATION ABSTRACT Paulo A. Henriquez Doctor of Philosophy Department of Romance Languages June 2012 Title: Centauros latinoamericanos: El bandido como símbolo cultural en el espacio fronterizo de América Latina. This is a multidisciplinary and comparative study of the recurrent representations of bandits in Latin American literature from the second half of the 19th Century to the early 20th Century. After the wars of independence in the Americas, the founding of postcolonial nation-states or Creole Republics (Repúblicas Criollas) marginalized entire rural populations, composed of indigenous people but also of multiracial, mixed populations such as the gauchos, llaneros, and other people who were branded as “bandits” as they were not part of the idealized westernized nation. This complex conflict can also be read as a last struggle between two competing colonizing models in the Americas: the receding Hispanic Catholic rural/feudal model and the liberal “free-trade” capitalist model emerging from the Industrial Revolution and the Enlightenment, represented by the United States in the hemisphere. Both socio-cultural models generated new mappings and diverse political narratives throughout the Americas: Hispanic and Hispanicized bandits created postcolonial cultural symbols of resistance to modernity capable of crossing borders. Joaquín Murrieta and Billy the Kid are extraordinary examples of the complex processes by which mythified and vilified bandits become multicultural transnational symbols. These phenomena are thoroughly studied here iv through the textual and contextual analysis of Facundo: Civilization and Barbarism (1845); El Zarco (1869); Martín Fierro (1872); Doña Bárbara (1929); The Life and Adventures of Joaquín Murieta, the Celebrated California Bandit (1854); Vida y aventuras del más célebre bandido sonorense Joaquín Murrieta: sus grandes proezas en California (1904); Fulgor y muerte de Joaquín Murieta (1967); The Authentic Life of Billy, the Kid (1882) and El bandido adolescente (1965). The peripheral individuals inhabiting these cultural and political borderlines raise important issues of nation, race, state and social identities and allow us to interrogate better the complex processes of Latin American and US national formation. This incursion into the cultural histories of these heterogeneous social conflicts in the Americas during a period of national expansion and construction also seeks to put in conversation diverse intellectual perspectives from the Global North and South. v CURRICULUM VITAE NAME OF AUTHOR: Paulo A. Henriquez GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Universidad Austral de Chile, Valdivia DEGREES AWARDED: Doctor of Philosophy, 2012, University of Oregon Master of Arts, 2005, University of Oregon Licenciado en Castellano (Bachelor of Spanish), 2000, Universidad Austral de Chile Profesor de Castellano (Spanish Teacher), 2000, Universidad Austral de Chile. AREAS OF SPECIAL INTEREST: Hispanic Literature Cultural Studies Social Movements in pre and post-colonial studies in Latin America Medieval Iberian Literature PROFESSIONAL EXPERIENCE: Survey of Peninsular Spanish Literature 316, University of Oregon, 2008-2012 Instructed Intense Beginner Spanish 111, 2012, University of Oregon Instructed 2nd Year Spanish, 201, 202, 203, University of Oregon, 2008-2011 Instructed Spanish Composition and Discussion 331, Willamette University, Salem, Oregon 2007-2008 Instructed 1st Year Spanish, 101, 102, 103, University of Oregon, 2003-2005 vi Resident Director for the Querétaro, Mexico, Summer Spanish Session III, IUSI, 2006. Spanish and Philosophy Teacher, High School for Adult Continuing Education Juan XXIII, Chile, 2001-2002 Spanish Teacher, Colegio Forestal Quilacahuín (High School), Chile, 1997-2002 Head Coordinator of teaching methodologies for all departments, Colegio Forestal Quilacahuín (High School), Chile, 2000-2002 GRANTS, AWARDS, AND HONORS: Graduate Teaching Fellowship, Spanish, 2003 to present Beall Graduate Research Fund, Banditry and Liminality, University of Oregon, 2009 vii ACKNOWLEDGMENTS I wish to express sincere appreciation to Professor Pedro García-Caro for his assistance in the preparation of this manuscript. I also want to thank the members of my Doctoral Committee for their valuable input, and to Professor David Wacks for his continuous support during this process. This investigation was supported by University of Oregon and the Graduate Teaching Fellowship Federation, Number 3544. viii A mi familia, mis amigos y mi amor. To my family, my friends and the woman of my life. ix TABLE OF CONTENTS Chapter Page I. INTRODUCCIÓN .................................................................................................... 1 Notas ............................................................................................................... 18 II. LA FISONOMÍA DEL BANDIDO ....................................................................... 20 Para una semiótica de los bandidos ................................................................ 21 Centauros ........................................................................................................ 24 El caballo y los indígenas americanos ............................................................ 29 La barbarie de los civilizados ......................................................................... 35 Bandidos ......................................................................................................... 43 Naciones y fronteras ....................................................................................... 54 Notas ............................................................................................................... 64 III. LA RELACIÓN ENTRE BARBARIE Y BANDIDAJE EN TEXTOS DECIMONÓNICOS Y DE PRINCIPIOS DEL SIGLO XX: FACUNDO, EL ZARCO, MARTÍN FIERRO Y DOÑA BÁRBARA ................................................................................................... 69 Facundo: Civilización y Barbarie .................................................................. 74 El Zarco .......................................................................................................... 81 Martín Fierro .................................................................................................. 86 Doña Bárbara ................................................................................................. 94 El estado-nación latinoamericano y el bandido .............................................. 103 Notas ............................................................................................................... 106 IV. JOAQUÍN MURRIETA Y SUS DIVERSAS REPRESENTACIONES EN LA REALIDAD FRONTERIZA: ROLLIN RIDGE, IRINEO PAZ, PABLO NERUDA Y ROLANDO GONZÁLES ..................................................................................... 108 Sobre Murrieta. Antecedentes históricos. La expansión Estadounidense, la guerra entre México y Estados Unidos y la California de la fiebre del oro .................................................................. 108 John Rollin Ridge (Yellow Bird) y su utilización de Murrieta Como catarsis ........................................................................................... 117 Irineo Paz y su Murrieta mexicano, patriota y republicano ............................. 131 Pablo Neruda y su Murrieta panamericano ..................................................... 145 Sobre corridos y Murrieta ............................................................................... 153 Notas ............................................................................................................... 162 x Chapter Page V. BILLY THE KID EN EL CONTEXTO FRONTERIZO: PAT GARRETT, CHARLES SIRINGO, MIGUEL OTERO Y RAMÓN J. SENDER ............................................................................................. 165 La leyenda de Billy the Kid ............................................................................ 165 El Billy de Ramón J. Sender ........................................................................... 179 Notas ............................................................................................................... 185 VI. CONCLUSIONES ................................................................................................ 187 OBRAS CITADAS ............................................................................................... 208 xi CAPÍTULO