Hernán Pas

Luis Pérez y la creación de una publicidad orillera

Introduction

Luis pérez y la creación de una publicidad orillera. Analiza a Luis Pérez, gaucho periodista, y el impacto de la prensa en su 'publicidad orillera'. Explora audiencia y el diálogo entre cultura impresa y popular.

Abstract

En la breve historia del género gauchesco, la novedad introducida por Luis Pérez (y enseguida retomada por otros, como Godoy, Moyano, Ascasubi), la de un gaucho periodista o gacetero, ha sido suficientemente comentada por la crítica (Romano, 1994; Lucero, 2003; Schvartzman, 2013). Los recursos comunicacionales del periódico puestos en juego, en cambio, todavía no han sido materia de un examen global. En el presente trabajo procuramos entonces examinar el impacto de las cualidades mediáticas del impreso periódico en la producción de Pérez, a fin de iluminar aspectos –como el tipo de público lector convocado, los recursos utilizados para ello, el diálogo entre prensa plebeya y prensa culta, entre cultura impresa y cultura popular, entre otros– hasta ahora poco atendidas por la crítica, o atendidas, en todo caso, en forma parcial.

Review

The proposed article promises a valuable re-examination of Luis Pérez's contributions to the *género gauchesco*, specifically focusing on his role as a "gaucho periodista." While the novelty of this figure has been well-documented by critics, the abstract compellingly argues for a significant lacuna in scholarship: a comprehensive analysis of the *communicational resources* and *mediatic qualities* of the periodical press that shaped Pérez's production. This framing immediately positions the work as addressing a critical gap, shifting focus from a purely literary or thematic reading to a more socio-media informed perspective. The strength of this proposal lies in its commitment to exploring the *impact* of the printed medium's characteristics on Pérez's work. By doing so, the author intends to shed light on crucial, yet underexplored, aspects such as the nature of the intended readership, the specific communicative strategies employed, and the intricate dialogue between "prensa plebeya y prensa culta" and "cultura impresa y cultura popular." The title's intriguing concept of "publicidad orillera" hints at a nuanced understanding of how popular media utilized its format for specific, perhaps even peripheral or grassroots, forms of communication or persuasion. This interdisciplinary approach, merging literary criticism with media studies, offers a fresh and potentially illuminating lens through which to understand Pérez's unique position and lasting influence. Should the full paper deliver on the promise outlined in this abstract, it stands to make a significant contribution to both *gauchesco* studies and the broader history of print culture in Latin America. The well-defined scope and clearly articulated research questions suggest a focused and rigorous analysis. I anticipate that the work will not only deepen our understanding of Luis Pérez but also provide valuable insights into the dynamic interplay between emerging media, popular culture, and literary production in the period. I recommend this paper for publication, confident that its innovative approach will stimulate further critical discussion on the material conditions of literary creation.

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