Latest / Carne Cruda Podcast / Derroteros: Ñoño, con Santiago Alba Rico (CARNE CRUDA EXTRA)

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Derroteros: Ñoño, con Santiago Alba Rico (CARNE CRUDA EXTRA) · Carne Cruda Podcast

• 0:06
  Farewell the moon goes likewise course you have a good time, road direction medium
• 0:12
  taken to reach the end, proposed set of data that indicate the way to
• 0:16
  reach a good place, that we do not go, direction that is given
• 0:20
  in writing for Mary travels German in order of a book that contains a defeat,
• 0:27
  line marked on the map of tides to guide the pilots in broken or
• 0:36
  directions. Man, let it go, jate, course two, think walking
• 0:43
  with Santiago Albarico. Santi, how are you, how are you? Good
• 0:48
  morning, Javier, what a joy to hear you again. Well, we
• 0:51
  keep going over the alphabet and thinking through words and letters. It' s
• 0:58
  our turn today if I don' t remember the lyrics that won' t
• 1:00
  be easy. Well or so, yes, which one you' ve chosen.
• 1:03
  No, well, look, it' s complicated to talk about a
• 1:07
  word with the lyrics. We have to talk about the lyrics, which is
• 1:11
  a particular letter specific to Spanish, if also in Galician, I believe that
• 1:17
  in Tagalog, but specifically Castilian, and that, moreover it produces very few
• 1:23
  words, unless they begin with that lyrics are just three hundred and fifty.
• 1:30
  So much so that I was tempted to break this letter and go to the
• 1:34
  p o, cheat and talk about some word like pipe, like pussy,
• 1:41
  like wood that included the letter inside. But in the end I liked the
• 1:48
  challenge. And yet, perhaps indeed, it is appropriate to explain why we
• 1:52
  have such a rare letter in our language that it has become even the standard
• 1:57
  of some institutions, such as the Cervantes Institute, for example, what the
• 2:05
  origin is. Of course it means that the sound, which is the result
• 2:08
  of the palatization of Latin, has many languages, Portuguese, Welsh, Italian,
• 2:15
  French, Catalan, even some not Latin, not romances, like Czech.
• 2:23
  The issue is this, this strange spelling and it comes from the medieval
• 2:29
  copyists, apparently, to breviate the consonant group of the double N, they
• 2:36
  wrote the letter n once with a virculilla on top. That was for the
• 2:43
  words that in Latin had an n as no or as nonus or as so
• 2:52
  many annus where next year. But that also apparently extends with Alfonso X the
• 2:59
  sage to words, whose Latin palantization does not come from the consonant group LN
• 3:06
  but from the consonant group GN as in lignum that gives wood or the consonant
• 3:14
  group. Or there where there is an n is followed by as the word
• 3:19
  pineapple that comes from pine, then all these phonetic evolutions that have given this
• 3:25
  sound under the graceña. That already in the Castilian grammar of Nebrija is
• 3:34
  absolutely consecrated, or in the treasure of the Castilian language of Covarrubias. But
• 3:40
  in any case, it is interesting to note that, as a specific letter
• 3:49
  in the title of the Spanish alphabet, it only appears from one thousand eight
• 3:58
  hundred and three. The dictionary of la, the Spanish Academy of one thousand
• 4:00
  eight hundred and three is the one that consecrates this idiosyncratic letter of Castilian as
• 4:14
  an inalienable and legitimate member of our alphabet. But in Spain, in the
• 4:17
  name is from the beginning. In Spain, the name is not from the
• 4:23
  beginning. It' s actually Hispania. There is an n with i is
• 4:29
  not añ if it is transformed intoÑa. And then, in fact,
• 4:33
  the soundñ of Hispania hispa España, because it is written coneñe,
• 4:42
  because probably that since it begins to be written Spain, which is a graph.
• 4:50
  In any case, late, it is a distinctive, a banner of
• 4:56
  Castilian. And I don' t know if you know I didn' t
• 5:00
  remember it and I remembered the other day that in nineteen hundred and ninety-
• 5:08
  one the European Union proposed the suppression, the elimination of the letterñ of
• 5:15
  the Spanish alphabet, of the Spanish alphabet. And, of course, to
• 5:20
  homogenize the keyboards for commercial reasons, for industrial reasons, and immediately the government
• 5:29
  of Felipe González issued a decree prohibiting the sale of keyboards without the letterñ
• 5:35
  and forcing the inclusion of the letter n on both computers and typewriters. I
• 5:43
  would say, for my part, that this is the maximum of Spanish nationalism
• 5:47
  that I can reach, this linguistic nationalism that we share with other Spanish speakers
• 5:56
  from the rest of the world. For example, in a thousand nine hundred
• 5:58
  and ninety- three, Gabriel Mar Que, shocked at this request of the
• 6:03
  European Union, wrote precisely in defense of the n saying that it was an
• 6:13
  enormous abuse and arrogance because they considered theñ as an archaeological antique, when
• 6:20
  it was quite the opposite. He said it was a cultural leap of an
• 6:24
  romance language that he had left behind the others by expressing in a single letter
• 6:30
  a sound that in French or Italian or Portuguese is still expressed with two letters.
• 6:36
  And then García Márquez ends up saying. The logic. It is not
• 6:41
  that Spain has to give up one of the letters of its own name,
• 6:46
  he said, but on the contrary, it is necessary to ask the other
• 6:51
  languages of European paradise to become mononymous by adopting also the letter E which is
• 6:59
  simple, light and modern. Well, this is a very interesting explanation.
• 7:03
  What' s the word with eñe, a wood you' ve chosen.
• 7:08
  That was going to tell you how difficult, very demanding and I hope to
• 7:13
  be able to carry beyond your own difficulty and your own linguistic interest. It
• 7:18
  is the word gnoño or gnoñería, or gnoñezñoñaño, which is a complicated
• 7:26
  word because not everywhere it means the same thing and because, moreover, it
• 7:30
  is very difficult to define that it does not mean the same thing everywhere.
• 7:33
  It is clear if you think about the very different use that occurs in different
• 7:40
  countries of Latin America, not to say in Puerto Rico means affectionate. In
• 7:45
  Paraguay it is a large bottle of beer. In Mexico he is a sensiblona
• 7:51
  and crybaby person. In Argentina, Bolivia and Chile it applies more to a
• 7:56
  student a little ner soso and boring. In Ecuador, being gnoño means being
• 8:03
  cheerful or jury. And as for the HKSAR, the royal Academy of Language,
• 8:09
  it defines it in three ways. He' s got three meanings.
• 8:13
  The first is to refer to a dull and insubstantial thing, the second to
• 8:18
  describe a highly apologetic and short- ingenuity person and perish that says he is
• 8:26
  already in disuse to refer to something outdated or chocho in the sense of outdated.
• 8:33
  Instead, I don' t know how you' d define it,
• 8:37
  but I think you figure out how they' ve defined it. The truth
• 8:39
  is that I don' t want to see if I prefer that in the
• 8:43
  end, this is the question. It' s a complicated word, because
• 8:48
  everyone in their own family lexicon gives it a meaning. But let' s
• 8:52
  see if ours, Javier, who I think yes, in Spain, or
• 8:58
  at least in some areas of Spain, there could be a consensus on this.
• 9:03
  And if we think about it, especially from its Latin etymology, because
• 9:07
  we haven' t said where it comes from. It comes from nonnus the
• 9:13
  Latin meant grandfather or old, or it was also used for the preceptor,
• 9:18
  who took care of one or give lessons to a child and who, therefore,
• 9:22
  used many diminutive hypocoristics and a speech to some extent infantile or infantilized.
• 9:31
  I believe that I, as I would use it or as I want to
• 9:37
  define it here to speak beyond your linguistic interest, I would use it to
• 9:46
  define a person who is muffled, derelict, melindrossy, emphatically childish cry as
• 9:58
  an impossibly childish course and leire. Cursi, very well you' ve added,
• 10:05
  corny, because I think corny belongs legitimately to that semantic constellation. And
• 10:11
  all this has to do with a kind of false sweetness, because notice that,
• 10:18
  for example, used fold and melindrosus, which are two words that I
• 10:24
  would certainly include that semantic field and both include in their words the concept of
• 10:31
  honey in muffled and melindrosus. And, if I' m not mistaken,
• 10:37
  melindroso, plus, it' s a typical Galician skillet fruit made with Flour,
• 10:45
  Flour and Honey In any case, it' s the melindre, the
• 10:52
  remylgo, the cursilerías are I think, the ones that, how to put
• 11:01
  it, the almost physical notes that we identify with this, with this term
• 11:09
  and it' s the one that I' m going to use. But
• 11:11
  it is true and, by the way, the difficulty is also that how
• 11:18
  it is said in Galebo, because or in Catalan and Ustera, because of
• 11:22
  how it is very difficult to define, you have to specify what it is
• 11:28
  referring to and have given me different solutions. For example, in Catalan it
• 11:31
  would be a mixture of fat and melindros. In Euskera it would also be
• 11:37
  hechurati and pipirina, a very beautiful word, although apparently, in Euskerax it
• 11:43
  is also gnoño and there is cursive with k and in Galego, from two
• 11:48
  different sources, obtained figureiro and also melindroso. I think the shots go that
• 11:52
  way. Not then, because there' s also one thing that I really
• 11:58
  like about the word gnoño and it' s gnome. The word itself exactly
• 12:01
  you' re absolutely right is in itself. It seems that it is like
• 12:07
  soft flaccid, it gives a bit of trouble to touch it and almost pronounce
• 12:11
  those words that chosen not for its beauty, but for interest completely alien to
• 12:20
  its sound vibration. But why is it so difficult to define and I have
• 12:22
  wondered I think that because there are concepts that are so anchored in social reality
• 12:31
  to such an extent produced by the very relationships between bodies that escape any clear
• 12:39
  definition. It is what I had many years ago in a book of the
• 12:43
  year two thousand revelations of culture. That is, how you define macarra,
• 12:48
  or how you define pijo cinemas or how you define cursi cinemas, which is
• 12:52
  a very interesting word associated with the gnoñería that was born in the 17th century,
• 13:01
  which may not be equivalent to Kich in any of the ways and which
• 13:07
  has to do in fact, with something very very physical, very very tangible
• 13:13
  and very visible, because its etymology seems there is some doubt, but there
• 13:20
  are only two possibilities. Apparently, one that proceeds from the manner of dressing
• 13:24
  of French women who lived in Cadiz in the 19th century, who were the
• 13:33
  Sikur sisters and that, by a repetitive metathesis, as we did of little
• 13:37
  nun, we turned it into ham, because if kours and Kursi Kur had
• 13:43
  ended up giving corny and the other possibility than to the other guesses that come
• 13:48
  from Arabic of the word corny that today means, for example, in Tunisia,
• 13:54
  simply chair, but that has been used to refer to the upright arched
• 14:00
  throne, hanky charro that is used in weddings, in wedding ceremonies, where
• 14:07
  the bride sits, the bride converted, therefore, in the object. I
• 14:13
  believe that this element of curujlery is very interesting as a revelation of culture to
• 14:18
  explain precisely why there are certain qualities that are not easy to define, that
• 14:30
  you can define an elephant, obviously as a mammal of the pachyderms, provided
• 14:35
  with proboscide and nongulate legs, or you can define courage even as a quality
• 14:43
  of the one who will not take off in any danger. But how to
• 14:46
  define these revelations of culture only by accumulating material, indumentary, verbal, gestural
• 14:54
  signs, not that it is a dick. A dick is not simply being
• 14:58
  of the upper class, because there are middle- class people or even of
• 15:03
  disadvantaged classes, who, precisely to hide their social class, imitate speech or
• 15:09
  brands or buy brands that use the old ones and the same happens contest.
• 15:16
  We can only define that it is a preference person, by experience, through
• 15:20
  the accumulation of visible material signs, how they speak, how they dress,
• 15:26
  what gestures they make. Therefore, it can be imitated, but it cannot
• 15:30
  be defined, and that has to do with the social class and with gender
• 15:35
  and with and good above all with regard, in this concrete case, with
• 15:39
  the social class. As Pierre Bourdier reminds us in his book of nineteen hundred
• 15:43
  and seventy- nine, the distinction where he speaks of all these instruments,
• 15:48
  of what he calls enclamation. We are classed not only in economic terms.
• 15:54
  We are also classed through the clothes we choose, the words we use and
• 16:00
  the public gestures we make and the quantity yes tell me, tell me,
• 16:07
  no, don' t tell me. You see if there are moments of
• 16:12
  history that are mornings or social classes, as you said mornings that others then
• 16:18
  look. I think so, Javier, because I believe that and the purpose
• 16:22
  of his choice of this word is precisely to link gnoñería and cursillaría with violence.
• 16:34
  Then we can say there are magnanimous times than others. I think so.
• 16:38
  I would say that they are precisely those who precede or conceal or disguise
• 16:45
  violence. I don' t know, it was silly and very corny the
• 16:49
  court of Marie Antoinette. Not exactly in that, yes, of course,
• 16:55
  there have been some things that have become more melindrous in the world, more
• 17:00
  melindrous, more completely pietose, and it was precisely the time when the conditions
• 17:11
  for the social outbreak of the most disadvantaged classes of the Sonkulots were larvously created
• 17:18
  in one thousand six hundred and eighty- nine and, in general, all
• 17:25
  the European courts of the eighteenth century, were very cheesy, very young,
• 17:30
  very melodrosous and, therefore, were very violent. That, moreover, let
• 17:36
  us say once again the upper classes. Don' t look. I liked
• 17:40
  very much what I told in a fine book of cart in Martin Gaite of
• 17:44
  the eighty- one thousand nine hundred and eighty- one, loving uses of
• 17:48
  eighteen in Spain. How he spoke of this opposition among the petimatres and petimatras
• 17:53
  who were these eighteen characters, heavily influenced by the Court, by the French
• 18:00
  Court, who used huge wigs of almost a metre that he thought only of
• 18:04
  oils and cosmetics and the most pompous and the most excavated clothes, or put
• 18:15
  the petimatres to the majos and the majas, And how he is envious in
• 18:21
  some way that reflects very well, for example, in Goya, when he
• 18:26
  paints the duchess of dawn disguised as maja, how in the upper classes,
• 18:32
  they imitate the lower classes, the majos and majos, those seamstresses and maids
• 18:38
  and ironers that could in turn envy the luxury of the ladies, but that
• 18:45
  they were envied by the ladies for why, because they danced and talked and
• 18:49
  merrinded and walked with men of the same class, of their same social class,
• 18:56
  and they were more erotic, simpler, more frank, lessññas,
• 19:00
  in the final, But I think, therefore, that there is a matter
• 19:06
  of class and there is an issue. I' d say repression. Let
• 19:12
  ' s not say macho repression. Machist violence has always induced gnoñería, El
• 19:18
  renilgo, el melindre, you see, for example, a story that defines
• 19:22
  this class condition of gnoñería very well. That horrible, infamous Andersen story,
• 19:33
  which is that of the Peas Princess. You remember it' s a night
• 19:37
  in a castle and they knock at the door and there' s a woman
• 19:42
  who pretends to be a princess who' s lost in the rain and the
• 19:48
  mother wants to marry her son to a real princess because her son is king,
• 19:52
  because he tests her, tells her to stay to sleep that night.
• 19:55
  Naturally, and underneath I don' t know how many mattresses. Very fluffy
• 20:00
  he puts a pea and to see if this princess, that this woman perceives
• 20:06
  the pea under so many mullid mattresses or not the woman perceives it. The
• 20:12
  next day, asked by the queen, she has slept well, says that
• 20:17
  not quite well because there was something that was bothering her in bed and then
• 20:22
  they decide that she is a true princess and marry her to the Prince,
• 20:29
  so that, in fact, this idea also of sensitivity we will already ask
• 20:33
  ourselves what is the sensitivity that the princess feels a pea. No, of
• 20:41
  course, she does not draw peas in the kitchen or cut herself with knives,
• 20:48
  she perceives a pea under a mattress and then, at the same time,
• 20:55
  she ends up being the victim of the ill- treatment of a prince
• 21:02
  who imagines it if we follow the story legally rapes her, the rest of
• 21:07
  her life does not think of the female faintings. This is very interesting too.
• 21:08
  If you think, I don' t know. Dickens' play is
• 21:12
  full of women who pass out. Mrs Bartel who denounces poor Pigwick An from
• 21:18
  the courts for a false promise of marriage. She' s dying all the
• 21:26
  time and all her middle- class friends. They are dying all the time
• 21:30
  and the female fainting, which is typical of the middle classes and the upper
• 21:36
  classes, you remember always accompanied by their poms of dust to awaken from their
• 21:45
  fainting, from their faintings, because they are defenses, they are defenses against
• 21:51
  violence. It' s all those defenses that are then going to be diagnosed
• 22:00
  falsely oxidously under the name of Esteria. So fainting is a defense, it
• 22:06
  is a year of flight, It is a flight in moments of commitment,
• 22:11
  difficult moments, committed moments, women run away fainting because they could not flee
• 22:17
  otherwise. Then we wonder what happens to this, what relationship there is then
• 22:26
  between gnostery and violence and how, for example, machismo patriarchy has not stopped
• 22:32
  producing in that which it has called woman. In this production of machismo,
• 22:37
  which is the woman, she has produced it as a flimsy, melindrosy woman
• 22:44
  who faints, the cheesy woman who somehow defends herself from her own body through
• 22:51
  gloves, wigs and perfumes, as to separate herself from the nature to which
• 22:59
  according to machismo belongs and good I do not know. I think there'
• 23:07
  s a very clear relationship between violence and cursilery. I think that the underprivileged
• 23:14
  classes have always been much less gnoñas and much less cheesy than the upper classes,
• 23:18
  and that those middle classes, and that those middle classes because they tell
• 23:22
  it very well a historian, philologist who is called the noel vidal the culture
• 23:33
  of curylería, how the 19th century and the work of Galdos is going to
• 23:37
  be produced in Spain by cheesy women, that of Bringas, for example,
• 23:41
  or the woman and sister of Villamilde Miau as a failure of modernity and a
• 23:48
  failure of gender inclusion. That' s a little bit of cursy related to
• 23:55
  violence, but it' s related to all scales to the point that I
• 24:00
  ' d tell you that this can be daring what I' m going to
• 24:03
  say. I believe that, in reality, fascism and now I explain in
• 24:11
  what sense I say this would be but the separation of the excision between what
• 24:21
  Kant calls, on the one hand, sensitivity and, on the other hand,
• 24:25
  understanding. It is not wrong to remind Kant that he just celebrated the
• 24:29
  third centenary of his birth a few days ago, even if it is to
• 24:36
  somehow form his thought or simplify it in an academically unhonorable way. But look
• 24:45
  at Kant. Kant distinguished between insitivity and understanding, and understanding. Sensitivity says
• 24:52
  that. Let' s say it has to do with the affectation of the
• 25:03
  body by sensitive data, what he calls intuition, involves the sensitivity of data,
• 25:11
  the reception of naked data, raw data of reality and understanding would be
• 25:18
  what thought does with those sensitive data, so that there can be no real
• 25:26
  sensitivity without an understanding, that works on the data of sensitivity, but on
• 25:34
  the contrary, there can be no real understanding. There can therefore be no
• 25:41
  knowledge if there is no, if there is no sensitivity. Let us say
• 25:48
  that an understanding without sensitivity would be pure logic in its ultimate autonomous expression,
• 25:57
  and a sensitivity without understanding would be pure, private, immediate, solipsist emotion.
• 26:06
  I would say that narcissistic, I would say that selfish and that emotion
• 26:11
  can be an emotion Let' s say luminous or positive or an animation negative
• 26:22
  emotion. If there is only sensitivity, that sensitivity can be the cursile of
• 26:29
  the woman who lifts her finger by taking the tea, who puts on gloves
• 26:34
  and, of course, runs away from the blood, because it is very
• 26:40
  sensitive and cannot bear the blood, even if it is hard to leave a
• 26:45
  wounded person on the street. Your sensitivity may, in effect, lead you
• 26:48
  not to apply a tourniquet to someone who is injured because he faints at the
• 26:52
  sight of the blood. But all sensitivity can also be pure sensitivity. It
• 26:56
  is also aggressive emotions, motions visceral emotions, are emotions that lead to kill
• 27:04
  and notice. If you think to give examples of this. In short,
• 27:12
  what Kant would say Knowledge is the Union of sensibility and understanding is knowledge.
• 27:19
  If we separate them, then we no longer have knowledge. And if we
• 27:22
  have no knowledge, if we have, on the one hand, sensitivity and,
• 27:26
  on the other hand, we have understanding, we find ourselves in what
• 27:30
  I would define as fascism. Think, for example, of the very interesting
• 27:36
  film. By the way, you' ve seen us, zone, zone
• 27:38
  of interest. I haven' t seen her, but the one that goes
• 27:41
  and you' re really looking forward to seeing her. In fact, then,
• 27:44
  look at these of Jonathan Glazer that you will remember. In addition,
• 27:47
  it has been the only thing that in the Oscar prize entry made a denunciation
• 27:52
  of the genocide of Gafa, for which it was lynched by Zionism, even
• 27:56
  though he is the Jew and who speaks of the garden of Rudolf Hosh'
• 28:00
  s wife was the governor of Auswitch, and there you have the understanding,
• 28:07
  as pure logic of destruction in Auswitch' s ovens, whose smoke rises above
• 28:12
  the wall of Hose' s wife' s garden and you have Josh'
• 28:18
  s garden which is pure sensitivity, with this mother to teach her children to
• 28:25
  know the flowers that delights with the fragrances of these flowers. I believe that
• 28:30
  it is very clearly there, separate sensitivity and understanding, there is no knowledge.
• 28:37
  And, therefore, what there is is fascism. And I believe that
• 28:41
  one of the things for which feminism is fundamental, for which I have always
• 28:45
  described feminism as one as a universal humanism. It is precisely for this reason,
• 28:56
  because somehow it aims to constantly go along with the sensitivity and understanding of
• 29:07
  this neo- machism, which is pure violent sensitivity, which denounces the gnoñería
• 29:15
  of the left and feminism. Rather, it must be said the opposite,
• 29:18
  that feminism is the result of a disparaging cycle and that the negative sensitivity of
• 29:27
  neo- machism is a reaction to this deñoalisation of women. And I don
• 29:38
  ' t always think of examples that can more or less make clear what I
• 29:45
  mean by this relationship between violence and childlessness, on the one hand, and
• 29:49
  this need to keep understanding and sensitivity together. For I will end up remembering
• 29:57
  a film that I quote many times, even in my books, which is
• 30:00
  for me one of the great Westerns in the history of cinema, which is
• 30:06
  much more with Western which is horizons of grandeur. You remember the film of
• 30:10
  nine hundred and fifty- eight William Willer, in which there are several oppositions,
• 30:15
  but the one that interests me to speak precisely of this role of women
• 30:21
  as unifying understanding and sensitivity, is the position between Carroll Baker, who is
• 30:26
  the one who plays the daughter of the fascist farmer, who is a corny
• 30:33
  fascinated by violence. You will remember that the prankster is demanding all the time
• 30:38
  from her fiancé, Gregory Peck, to fight Charton Heston and is fascinated by
• 30:45
  the fascism of the father and the fascism of the foreman who is Starton Heston,
• 30:51
  and in front of Carroll Bater, the farmer' s daughter, you
• 30:56
  have the wonderful land- owner teacher, played by Jan Simmons, you will
• 31:04
  remember that she faces that universe of fascist violence and that she is also an
• 31:12
  absolutely empowered woman, who dresses in the most informal and comfortable way, who
• 31:21
  lives alone, who rides on horseback and who is the exact counterpoint of the
• 31:27
  fascist daughter of the farmer. It is the counterpoint in which that almost organic
• 31:33
  meeting between violence and cursilery is broken. To remind us, in fact,
• 31:41
  that another world is possible in which understanding and sensitivity, therefore, knowledge,
• 31:45
  are united and also save us, save us from fascism. Yeah, I
• 31:53
  reminded myself of all this stuff you said when we were talking about it would
• 31:57
  be debilitating. It is also a way of childizing women that the great women
• 32:01
  of literature from the Nora of the Doll House to Madame Bovary, are the
• 32:07
  least owner of the world. Of course it' s very interesting to make that cordi