The Unknown City: Contesting Architecture and Social Space
The Unknown City: Contesting Architecture and Social Space The Unknown City: Contesting Architecture and Social Space
The Prints of José Guadalupe Posada 12.3 | “Fusilamiento del que se comió a sus hijos” (The execution of the man who ate his children). After 1891. Posada made a number of versions of the firing squad, which Vanegas Arroyo used and adapted over and over again. This is a strangely familiar image, bringing to mind Manet’s Execution of the Emperor Maximilian as well as Goya’s Third of May. There is no evidence to prove it, but Posada probably saw prints of both. cution. In relation to the definition of news, and the mapping out of its limit cases, neither the murders nor the executions were specified in the imagery: we get gore, but we do not get details. The points of the sequence at which news becomes most like its antithesis, the blotting out in death of all individual particularities, are emphasized. There are also ways in which we can consider the relationship of Posada’s pictures in the sheets on which Vanegas Arroyo printed them to the newspaper, rather than to news as a cultural genre. Journals of opinion tended to have names that inscribed their readers either into measured time (El Diario, El Diario de Hogar, El Tiempo, El Siglo XIX), into a relationship with the constructed nation (El Pais, El Mundo, El Universal, La Patria, El Monitor Republicano), or into a public discourse (El Heraldo, El Imparcial, El Partido Liberal). To buy a paper was to buy and wear a particular sort of badge that marked one as belonging in a distinctive way to a restricted social group. In addition, newspapers both represented an insertion into the global culture of capital and mediated an insertion into the city. They represented the connectedness of Mexico to the rest of the world, not only by reporting world news but also through such devices as carrying the address of a Paris or New York advertising and subscription agency below the masthead, or reprinting news items or caricatures from papers published in London or Chicago. Subscribers, getting their copy more or less reliably by
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<strong>The</strong> Prints of José Guadalupe Posada<br />
12.3 | “Fusilamiento del que se comió a sus hijos” (<strong>The</strong> execution of the man who ate his<br />
children). After 1891. Posada made a number of versions of the firing squad, which Vanegas<br />
Arroyo used <strong>and</strong> adapted over <strong>and</strong> over again. This is a strangely familiar image, bringing<br />
to mind Manet’s Execution of the Emperor Maximilian as well as Goya’s Third of May.<br />
<strong>The</strong>re is no evidence to prove it, but Posada probably saw prints of both.<br />
cution. In relation to the definition of news, <strong>and</strong> the mapping out of its limit<br />
cases, neither the murders nor the executions were specified in the imagery:<br />
we get gore, but we do not get details. <strong>The</strong> points of the sequence at which<br />
news becomes most like its antithesis, the blotting out in death of all individual<br />
particularities, are emphasized.<br />
<strong>The</strong>re are also ways in which we can consider the relationship of<br />
Posada’s pictures in the sheets on which Vanegas Arroyo printed them to the<br />
newspaper, rather than to news as a cultural genre. Journals of opinion<br />
tended to have names that inscribed their readers either into measured time<br />
(El Diario, El Diario de Hogar, El Tiempo, El Siglo XIX), into a relationship<br />
with the constructed nation (El Pais, El Mundo, El Universal, La Patria, El<br />
Monitor Republicano), or into a public discourse (El Heraldo, El Imparcial, El<br />
Partido Liberal). To buy a paper was to buy <strong>and</strong> wear a particular sort of<br />
badge that marked one as belonging in a distinctive way to a restricted social<br />
group.<br />
In addition, newspapers both represented an insertion into the<br />
global culture of capital <strong>and</strong> mediated an insertion into the city. <strong>The</strong>y represented<br />
the connectedness of Mexico to the rest of the world, not only by<br />
reporting world news but also through such devices as carrying the address<br />
of a Paris or New York advertising <strong>and</strong> subscription agency below the masthead,<br />
or reprinting news items or caricatures from papers published in London<br />
or Chicago. Subscribers, getting their copy more or less reliably by