Imágenes en conflicto. Las representaciones del pasado rural como instrumento de pugna política al interior del movimiento anarquista argentino, 1900- 1910
Palabras clave:
Anarquismo, Intelectuales, Mundo ruralResumen
Durante la primera década del siglo XX, Buenos Aires albergó un heterogéneo grupo de intelectuales ligados en mayor o menor grado al movimiento anarquista. Desde 1897, el periódico La Protesta Humana y, desde 1903, La Protesta, se había constituido en la tribuna más destacada del movimiento. En sus comienzos, el periódico había sido fundado por un grupo de inmigrantes españoles que recayeron en la Buenos Aires finisecular, cada vez más atenta a la cuestión social. Sin embargo, la sanción de la ley de Residencia (1902) había modificado las filas del liderazgo militante y, frente a la deportación o el exilio de sus máximos dirigentes, se abrió el espacio para que otros ocuparan su lugar. El poeta Alberto Ghiraldo, cuyas inquietudes políticas lo habían acercado previamente al radicalismo y al socialismo, había adherido al ideario libertario con firmeza hacia fines del siglo XIX y, luego de ser un fervoroso colaborador del periódico, se transformó en su director en septiembre de 1904. Con varias obras literarias atravesadas por su interés militante y como director de la Revista ilustrada de crítica y arte Martín Fierro, Ghiraldo se transformaba en uno de los voceros más importantes y, al mismo tiempo, más ecléctico del movimiento ácrata local. Sin embargo, las inclinaciones estéticas y doctrinarias de Ghiraldo y su círculo editorial fueron perdiendo terreno frente a un sector más ortodoxo, conducido por Eduardo Gilimón, quien llegaría a liderar la publicación a partir de 1907.
En el marco de nuestra investigación, dedicada a las imágenes del mundo rural y sus usos en el anarquismo local, hemos advertido que la utilización de lo telúrico y del pasado rural puede ser entendida como un instrumento de pugna entre estos dos sectores del anarquismo que distinguiéramos anteriormente. Mientras que el uso dado por Ghiraldo y los artistas que lo rodearon, tanto en Martín Fierro como en las obras literarias que esta publicación patrocinaba y en el periódico La Protesta durante su dirección, es de carácter reivindicativo y responde a contenidos alternativos a los impulsados por el gobierno nacional, la aparición de imágenes de lo rural en La Protesta dirigida por Gilimón y en el Suplemento cultural que apareció con ésta entre 1908 y 1909 no respondió a los mismos cánones. Sugerimos, entonces, que el uso de las representaciones del pasado rural se transformó en un recurso político que demostraba las diferencias programáticas y doctrinales que distinguía cada uno de estos grupos al interior del movimiento libertario. En este sentido, los recuerdos de lo rural se introdujeron en la disputa política y sirvieron para diseñar discursos no sólo disidentes respecto del oficial, sino también entre sí.
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