The Story of Meat FINAL

The first one who, having enclosed a field or bit of land, decided to exclude everything there, was the true founder of the following historical era. Agriculture and culture have the same origin or the same foundation, a white spot that realizes a rupture of equilibrium, a clean spot constituted through expulsion. – Michel Serres, The Parasite (1980). Between 1868, when meat production facilities were expelled by decree from the city of Buenos Aire, and 1940, just a few years after the Great Depression, Argentina became one of the largest producers of meat in the world. Revealing the convergence of two usually separated movements-hygenics and eugenics-the meat industry in the province of Buenos Aires created a scientifically supported arena for the biopolitical appropriation of land and resources, including human and non-human animal bodies, bearing out a unified ideology of purification, medicalization, aestheticization and productivity. The movement to eradicate blood, offal and stench from the city's waterways and streets was paralleled by industrialists' desires for productive land on the Pampas (cleansed of its native " unproductive " inhabitants), and echoed in the fear of death and disease displaced onto immigrant populations in this story of commodification, industrialization and modernization. Appropriating the iconic gaucho (or cowboy) traditions of the Argentinian pampas, a globalized appetite for meat worked, almost invisibly, to transform the city of Buenos Aires and the natural resources of its surrounding countryside into an industrial commodifying machine of global proportions. The division of human and non-human animals required for the bulwarking of culture, alongside the dual processes of taming and bestializing populations undergirded Argentinean elites' civilizing agenda which begins this story of modernization through pastoralization.

Urban History, 2018

Urban History, 2017

ABSTRACT:Between 1868 and 1950, when meat production facilities were expelled from the city of Buenos Aires, Argentina became one of the largest producers of meat in the world. Beginning in 1945, bringing the city into the countryside and the countryside into the city, agriculture was instrumentalized as an urban function. Revealing the convergence of two usually separated movements – hygenics and eugenics – the meat industry in the province of Buenos Aires created a scientifically supported arena for the biopolitical appropriation of human and non-human resources, bearing out a unified ideology of medicalization, aestheticization, urbanization and productivity.

Journal of Historical Geography, 2001

La gran depresión americana fue llamada de varias formas como "el crack", "el jueves negro" y "el martes negro". Es mundialmente conocido por todos los impactos negativos que causo en la historia de la economía mundial.

Journal of Interdisciplinary History, 2014

2014

"Il s’agira dans cette communication d’analyser le jeu que les auteurs et éditeurs font en rendant visibles des éléments d’une société capitaliste dans leur démarche et ce, dès le XIXe siècle. Ce jeu s’assimilant à une lutte de pouvoir idéologique pose la question suivante : comment pratiques poétiques et éditoriales tentent de créer un rapport de force symbolique avec les institutions en place ? L’objet de cette communication sera de décrire la situation de l’édition de poésie radicale en France quand celle-ci se propose d’être critique. Nous définirons donc tout d’abord notre objet d’étude, les pratiques poétiques issues d’une « crise de vers » amorcée par Mallarmé et qui sont imprégnées formellement des bouleversements sociétales, selon un parcours de crises, historique, économique, financière. Puis, nous verrons que la revue est le medium grâce auquel a pu se développer ce type de poésie. Pour finir, nous ancrerons notre réflexion dans notre contemporanéité en analysant la démarche éditoriale originale des éditions Al Dante."

Il s’agira dans cette communication d’analyser le jeu que les auteurs et éditeurs font en rendant visibles des éléments d’une société capitaliste dans leur démarche et ce, dès le XIXe siècle. Ce jeu s’assimilant à une lutte de pouvoir idéologique pose la question suivante : comment pratiques poétiques et éditoriales tentent de créer un rapport de force symbolique avec les institutions en place ? L’objet de cette communication sera de décrire la situation de l’édition de poésie radicale en France quand celle-ci se propose d’être critique. Nous définirons donc tout d’abord notre objet d’étude, les pratiques poétiques issues d’une « crise de vers » amorcée par Mallarmé et qui sont imprégnées formellement des bouleversements sociétaux, selon un parcours de crises, historique, économique, financière. Puis, nous verrons que la revue est le medium grâce auquel a pu se développer ce type de poésie. Pour finir, nous ancrerons notre réflexion dans notre contemporanéité en analysant la démarche éditoriale originale des éditions Al Dante.

Bulletin of Hispanic Studies, 2002

Even nowadays it is dif®cult to de®ne the group of writers who formed the Latin-American boom. These writers came from different countries, social classes and diverse socioeconomic realities. Edwin Williamson considers that the publishing ®rm Seix Barral promoted actively the new novelists who later shaped the movement. Among other reasons there were some aspects that were very appealing to western audiences such as the discovery of Borges by French critics, the Cuban Revolution and the fascination in Europe with`nouvelle roman'. 1 Andrew Debicki comments the birth of the movement in the following manner: by the mid to late 1960s, Spain, and speci®cally Barcelona, had become a publishing center for the whole Hispanic world. The publishing house Seix Barral directed by Carlos Barral, a prominent poet and man of letters, made its name by discovering the principal authors of the Spanish American`boom,' beginning the interest iǹ magic realism' that would make Spanish American writing known throughout the world. Thanks to its proximity to France and its economic success, the city of Barcelona was at this time the most dynamic and culturally open place in Spain, in contrast to the more bureaucratic Madrid. 2 But some critics still go further. In the opinion of A Â ngel Rama, this movement is de®ned more by its commercial characteristics than by its compactness. 3 If we take into account these particular de®nitions, it is obvious that the ®gure who uni®ed the movement was the Spanish poet and publisher Carlos Barral. It is true that the Latin-American boom crossed the Atlantic Ocean in a clear boomerang effect. The books written by Garcõ Âa Ma Ârquez, Vargas Llosa, Corta Âzar and others were published ®rst in Barcelona and Turin, received important prizes such as the Prix International Formentor and Biblioteca Breve and after that were popular in the American continent. The purpose of this study is not to back up the idea that the boom was a