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Semanario Quinto Poder | April 20, 2014

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“Las aventuras y negocios de Fernandito”. - Semanario Quinto Poder

“Las aventuras y negocios de Fernandito”.
Quinto Poder

Por Prof. Joaquín G. Puebla

“Los ojos no sirven de nada a un cerebro ciego” Proverbio árabe

“El poder es como la plata: se gana, se pierde y se recupera. Pero la autoridad es como la vergüenza: una vez que se pierde no se recupera nunca más” J. D. Perón

Fernandito, obviamente, no es Fernando Espinoza, pero todos saben quién es. Es hijo de una “ilustre” matancera que intentó ser, pero gracias a la ayuda de sus hijos (principalmente de Fernandito) no llegó nunca a la calle Almafuerte como quería llegar.

2 - fernandito“Fernandito” no es municipal de carrera, tampoco es funcionario municipal (más allá de que actúa como tal), simplemente es un “ñoqui de lujo”. Es empleado jerárquico (no por capacidad sino por antigüedad y los buenos oficios e influencias de mamá) en la Honorable Cámara de Diputados de la Nación. Cobra allá y dice trabajar acá (también cobra acá pero no con recibo sino en “sobres marrones”) haciendo… En realidad muy pocos saben realmente qué hace, pero algo hace porque tiene una oficina en el área de prensa.

Es flaco y desgarbado, usa pantalones “chupines” tratando de emular a Tinelli. Es de Ramos Mejía y anda en una camioneta importada; le gustan los autos llamativos, a tal punto es así, que una vez lo echaron de municipio por aparecerse con un mini cooper colorinche que escandalizó a Alberto Balestrini (Intendente matancero en ese momento), quién lo rajó, sin contemplaciones, por ostentación.

“Fernandito” es un tipo raro, nadie lo banca ( en realidad lo banca el otro Fernando y con eso le alcanza), es uno de los tipos más odiados del Municipio de La Matanza (más de diez personas prestaron sus testimonios inmediatamente apenas se enteraron que estaba escribiendo la presente nota y otras tantas quedaron para una posible segunda parte).

“Fernandito”, como ya dije, tiene un despacho en el área de prensa, y se hace llamar “coordinador de prensa del municipio”. Suele llegar, casi siempre, de mal humor y se encierra con llave en su despacho; pueden pasar minutos u horas pero al salir los hace a los gritos, maltratando al personal de la Subsecretaría de Prensa y Difusión: les grita, los amenaza, los humilla, en fin, es un “maltratador serial”. No suelen darle mucha bola porque lo toman por desequilibrado, en realidad, lo ven como a un “boludo importante” (que suelen ser los peores).

“Fernandito” no solo maltrata al personal municipal, sino que suele hablar peyorativamente de todos, el que no es “un negro de mierda”, es “un boludo” y así sucesivamente de cualquiera, habla de los Concejales, de los funcionarios municipales, de los Secretarios del gabinete municipal y hasta lo han escuchado hablar mal del mismísimo Intendente municipal. Es un crítico por excelencia, de un cinismo recalcitrante. Tiene rasgos paranoicos, cree que todo el mundo está pendiente de él y que lo persiguen.

“Fernandito” usa al personal municipal para cuestiones personales, suele enviar a una de las empleadas al banco a realizar diferentes operaciones bancarias: a pagar impuestos, a realizar transferencias de dinero, a depositar dinero, etc. Trámites que despiertan la sospechas de todos.

Hay muchas historias de oficina de “Fernandito”, un día convocó a dos esbirros (tiene muchos desparramados en diferentes áreas del municipio) suyos y les ordenó que intimiden y que no dejasen entrar hasta a su despacho a cierta persona. Dicha persona apareció, minutos después, y no lograron intimidarlo ni hacerle creer que “Fernandito” no estaba, que no había llegado, que se había retirado, etc. Imperturbable el hombre se dispuso a esperar a “Fernandito” y este, encerrado bajo siete llaves en su oficina, transpiraba de pánico. Después de varias horas de guardia estrecha, “Fernandito” no pudo más y salió sigilosamente de su oficina y subió, por una escalera interna, al primer piso, desde ahí, por una escalera de emergencia se descolgó en el estacionamiento del Palacio municipal y salió corriendo por el portón de la calle Entre Ríos.

“Fernandito” tiene delegados en muchas áreas, en tránsito, en cultura, en las áreas contables del municipio (son los que le hacen rápidamente sus milagrosos suministros y son tan eficientes que el mismo suministro lo hacen por triplicado), ha extendido su poder por toda la municipalidad. Cualquiera, fuera de matanza, diría que “Fernandito” es un poderosos “coronel” de la estructura del PJ matancero, que garantiza votos por millares y que tiene una capacidad de movilización de varios miles de personas, pero no es así, “Fernandito” no mete cuatro personas un micro, no aportó ni una sola ficha de afiliación al PJ, no garantiza ni cuatro votos en una elección, al contrario, es un “piantavotos”, como se dice vulgarmente, porque donde aparece, le resta votos al candidato.

Los negocios de “Fernandito”

 

“Fernandito” es el coordinador de prensa del municipio (así se hace llamar), pero no quiere a la prensa local, es más, desprecia a la prensa local. Cuando el Intendente Fernando Espinoza realiza alguna actividad con cobertura de medios nacionales (el 80% de las veces dicha presencia es rentada), notoriamente intenta aislar a Espinoza de la prensa local, primero las cámaras de los canales y después, y si Espinoza quiere y queda tiempo, la prensa local. ¿Cuál será el motivo de dicho encono?, según fuente maliciosas, “Fernandito” se quedaría con un porcentaje de lo abonado a los canales y medios nacionales, pero como la prensa local tiene pautas tan magras no puede sacarles un retorno, por eso no les da bola.

“Fernandito” es un as para los negocios, se dice que es muy rápido y sin escrúpulos. Un dirigente peronista matancero me contó que “Durante toda la campaña del 2011 apoyé con todos mis recursos la candidatura de Fernando Espinoza, nunca solicité nada ni pedí nada a cambio (es un importante empresario con fuertes recursos propios). Después de la elección seguí colaborando en diferentes temas. Una vez me convocan para ayudar a difundir un evento (no recuerdo si era un recital de Panan u otro artista) y puse a disposición más de 20 camionetas con audio que recorrieron toda La Matanza anunciando el evento. Fue una movida de 10 días, no pedí nada ni me dieron nada, ni siquiera un vale de combustible, lo hice y punto. Al comenzar la movida Fernandito me habló y me pidió que controlara a una camioneta de una importante empresa de promoción con la excusa de que dicha empresa solía recorrer menos horas de lo que estaba estipulado y que se hacía para que el municipio apareciese aportando algo al evento dado que estaba pagado por la provincia. Puse una persona a controlar y hasta el almuerzo le tuve que pagar. Pasó el evento y después me entero, por amigos y compañeros, que Fernandito, había facturado mis 20 camionetas con audio como si fueran de la importante empresa de promoción, obviamente no colaboré más con ninguna actividad del municipio”.

“Fernandito” es un fiel defensor de los grandes recitales que se hicieron últimamente en La Matanza, porque acá, en nuestros empobrecidos pagos, todo sale tres veces más… no me expresé mal, todo lo facturan tres veces; es decir, si en Esteban Echeverría un artista cobra 100 mil pesos por una actuación, al municipio de La Matanza le sale 300 mil pesos, más allá que el artista haga un considerable descuento. “Fernandito” ha metido mano y miedo en cultura, andan medios perdidos porque aparecen triplicados cada suministro que se presenta por estos eventos y cuando preguntan, todos dicen que tienen que hablar con “Fernandito” y lo más interesante de todo, es que esos suministros presentados por triplicados, se aprueban sin más y sale la orden de pago.

“Fernandito” y sus carteles

 

“Fernandito” para la última campaña por la interna del PJ sembró de carteles La Matanza con la imagen de Fernando Espinoza, candidato a Presidente de dicho partido. Pero lamentablemente el lunes 2 de diciembre una espectacular tormenta azotó nuestro distrito y los carteles que “Fernandito” había plantaron se cayeron todos, no quedó ni uno en pie. Cuando se revisó con detenimiento varios de esos carteles, se descubrió que estaban mal hechos y aún peor puestos. Un cartel bien hecho, con las dimensiones iguales a los que colocó “Fernandito”, cuesta alrededor de 10 mil pesos, pero los que se colocaron eran de calidad inferior y estuvieron mal colocados, sin los sostenes correspondientes; en el mercado, una cartel de esas características (en lo referente al material) cuesta entre 4 a 5 mil pesos, pero ¿adivinen cuánto facturó “Fernandito” cada cartel?, 10 mil pesos. Es decir, pago por un cartel de excelente calidad y recibió uno de muy baja calidad. ¿Lo habrán estafado a “Fernandito”?

 

La solidaridad no es el fuerte de “Fernandito”

 

¿Se acuerdan del tornado que asoló La Matanza en la Semana Santa del 2012?, fue un desastre de grandes proporciones y puso a prueba todas las áreas del municipio matancero. Con mucho trabajo, esfuerzo y solidaridad se pudo salir adelante.

Ejemplos solidarios fueron muchos, pero “Fernandito” tuvo algo que ver en una donación que se hizo para “reparar los semáforos fuera de servicio”, fuese recibida por un funcionario municipal del área de Tránsito y Transporte y que dicha donación nunca llegara a las arcas municipales. La suma era de 10 mil pesos, fue hecha en efectivo y nunca se registró el ingreso de la misma a las cuentas del municipio. Algunas lenguas maliciosas afirman que “Fernandito” le dijo a la funcionaria en cuestión que “Dámelo a mí que lo ingreso como donación” pero el dinero nunca más se vio.3 - aviso bco provincia

4 - aviso malvinas5 - defensoría

Comments

  1. Materials end up being firmer since it expands so much. I actually solely painted elder scrolls online gold once in a instantaneous flight and they also undoubtedly drained in order to a whole lot.

  2. There is no inherent reason for an item of clothing, for example a skirt, to be considered feminine. Roland Barthes, in his book The Diseases of Costume, writes of theatrical dress as a kind of language in which the basic element is the sign (Lurie, 1992, p3). This statement can be expanded to include all elements of dress away from the theatre. If clothing is a sign therefore, it must be given a meaning and this meaning, as with all signs, is constructed. For example, society has identified the skirt as a signifier of femininity, which has been reinforced through repeated exposure (both through the media and on the street) to images of women in skirts and men in trousers. The fact that the gender signification of this garment has altered indicates that fashion, just like gender itself, is a social construction, with fashion items becoming loaded signs. If our appearance is an accumulation of signs then we each reveal something about ourselves through our choice of garments; clothing becomes a reflection of our identity. Whilst fashion does allow women to experiment with their image and different ways of portraying femininity, as something primarily constructed for the male gaze it still confines women to a choice between constructed female identities (Barnard, 1996, p140).

  3. The ‘gaze’ plays a significant role in the maintenance of the male/female binary and as such the separation of gender identities. The ‘gaze’ (that is, the act of looking at and objectifying the opposite sex) is considered predominantly masculine, with many images of women in the media being constructed for the male audience (Barnard, 1996, p140). However when a man is the subject of the gaze the binary is not destroyed, as merely reversing the act of ‘looking’ and being ‘looked at’ does not alter the active/passive, male/female binary. These must be transcended in order to begin breaking down the distinction between gender identities (Barnard, 1996, p140). As such fashion, by encouraging the male gaze and helping to define masculine from feminine is supporting the male/female binary. Cross dressing is one way of making it especially clear that this male/female binary exists.

  4. Gaultier’s design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women’s restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

  5. Fashion perpetuates the image of the slender woman being the ideal feminine and can sometimes have significantly detrimental effects. Due to the mass production of clothing, it has become easier for the fashion industry to encourage women to be slender (Macdonald, 1995, p208). Many of the most fashionable garments are not made larger than a woman’s Australian size fourteen. This encourages women to diet and exercise in order to lose weight, a trend also encouraged by the many advertisements involving slender women. One disturbing result of society’s fascination with being thin has been the rise in eating disorders, including anorexia (Macdonald, 1995, p208). In Australia’s November 2004 issue of Cosmopolitan an article was run entitled ‘Anorexia for Sale’. This article discussed Mary Kate Olson, a well known actress, and her public struggle with Anorexia Nervosa. Images of Olsen and other famous women who appear to be unhealthily thin, such a Kate Moss, have been used on websites known as ‘pro ana’ sites, that is, websites supporting anorexia as a ‘lifestyle choice’ as opposed to an illness (Percival, 2004, p62). Many of these sites have begun to sell ‘ana bracelets’ and ‘ana necklaces’ which are a means of identifying other anorexics and which serve as a reminder not to eat. This jewellery has proven quite popular within the anorexic community (Percival, 2004, p62). This is an extreme example of fashion (or in this case accessories) being used to specifically propagate the idea of being thin. On the other hand clothing can also be used to raise awareness of eating disorders and encourage women not to go so far. T shirts with the slogan ‘Save Mary Kate’ and a drawing of her emaciated figure were released with just this intention (Percival, 2004, p62). Released when Mary Kate began her rehabilitation, the emaciated drawing on the t shirts is far from attractive and draws attention to her bones and the unnaturalness of being so thin. The words ‘Save Mary Kate’ could be read in one of two ways however, they could refer to the fact that she is need of help, thus constructing her as a victim, or they could be referring to the desirability of her image and a wish that she remain so thin, thus the implication could be ‘Save Mary Kate from the rehabilitation clinic’. This second reading is supported by the image itself, in which she is smiling and returning the gaze of the viewer. This subverts the intended message that she is a victim.

  6. Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries’ famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

  7. Fashion and Gender

  8. Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, “Signs are only meaningful on the basis of their relations to all other signs” (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society’s expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person’s gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

  9. In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men’s fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud’s assertion that “visual impressions remain the most frequent pathway along which libidinal excitation is aroused” (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women’s clothing section is distinct from the men’s. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

  10. High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to ‘strut’ to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women’s appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

  11. Judith Butler has been an influential figure in the study of whether gender is a construction or inherent. According to Butler in her book Gender Trouble, a gender identity is a series of gender signifiers, for example, gestures, which are learnt via mimesis and reinforced through repetition (Butler, 1990, p6). Through this reinforcement the performance of gender also becomes internalised so that we come to believe these masculine and feminine identities are ‘normal’. As such, gender is a social construction imposed on individuals based on their anatomy (sexual identity) (Butler, 1990, p6 If gender identity is learnt, then it is not inherent, and therefore does not necessarily coincide with ones sexual identity. By encoding specific garments and styles as either feminine or masculine, it becomes much clearer what gender someone is because their appearance (and as such part of their gender identity) is expected to coincide with their sexual identity. In this way, what is considered masculine and feminine in regards to dress is also a social construction. As fashion is primarily considered a feminine concern (, it is through examples of the female gender identity that fashions influence can best be seen.

  12. Madonna has been a ‘sex symbol’ for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden’s in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) ‘Master’ (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier’s corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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