Tag Archives: tilde

Eñe as art, with a shout-out to García Márquez

Besides Spanish, my two other main passions are my family and art. I managed to combine all three during a trip to New York’s Museum of Modern Art (MoMA) this past week with my husband and in-laws. At the foot of the main escalator — a prominent position — the museum had hung a new acquisition: a giant painting of the Spanish letter ñ, or eñe, by the Peruvian painter José Carlos Martinat. The picture below shows the painting with its surrounding wall space so that you can see its scale (about 6 by 8 feet).  For a closer view, please visit the relevant page on MoMA’s website.

Ñ (José Carlos Martinet, 2013)

Ñ (José Carlos Martinet, 2013)

I reacted strongly to the painting as both a Spanish linguist and an art lover. On the one hand, the giant Ñ on the wall seemed like a banner welcoming lovers of the Spanish language to the museum. While it is shared by a number of other languages, ñ has emerged as a symbol of Spanish. My favorite anecdotal proof of ñ‘s importance dates from 1991, when the European Community recommended that Spain repeal a regulation that required all computers sold in the country to have an ñ key. Protests came from Spain’s Foreign Ministry, from the Real Academia Española, and even from Colombia’s Nobel Prize-winning author Gabriel García Márquez, whose defense of the ñ, published as an op-ed in El País on May 15, stated that:

It is scandalous, to say the least, that the European Economic Community has dared to propose that Spain eliminate the letter ñ of our alphabet, and even worse, only for reasons of commercial convenience. The authors of such abuse and arrogance should know that the ñ is not an archaeological relic, but the reverse: a cultural leap by one Romance language that left the others behind, expressing with only one letter a sound that in other Romance languages continues to be expressed with two. Therefore, the logical thing is not for Spain to renounce a letter that even forms part of its own name, but that the other languages of the European paradise modernize themselves by adopting the ñ.

On the other hand, as an art lover, I understood the painting as an example of “appropriated art”, a current in modern art in which “found images”, not originally intended as art, are reproduced, often with changes in color and size, as a deliberate artistic expression. The most famous example is probably Andy Warhol’s Campbell’s Soup Cans paintings.

In the case of Carlos Martinet’s Ñ, MoMA’s wall text explained the painting as follows:

José Carlos Martinat’s practice frequently involves appropriating images and texts from the public sphere and recontextualizing them in mixed-medium works and sculptural installations. Between 2009 and 2013, he produced the series Pintas (Impressions), in which he removed street graffiti with advertising, political slogans, or candidates’ names — in the case of this work, that of the former mayor of Lima, Luis Casteñeda. After applying a resin-based medium onto a painted wall, Martinat would peel off the imprint and its material support, creating a new and autonomous image of a single letter or word. Taken out of context and installed in a museum space, the extracted fragment is activated in new ways as a signifier of language, politics, and public space. A residual image of what was previously a word or a phrase, Ñ speaks to the erodible, changeable nature of language and speech, whose users introduce fluctuations that ultimately transform communication itself. As a distinctive letter from modern Hispanic alphabets, “ñ” is also a differential sign, one that indicates otherness in relation to the global hegemony of English.

Some nice press from the UK!

Times Higher Education, the British equivalent of The Chronicle of Higher Education, has cited ¿Por qué? as one of its “Best new books of the week”. It would be tons more exciting if it were the year instead, but I’ll settle for the week!

Screen clip below, link here.

View post on imgur.com

It’s funny that both this review and the one in El diario mention the “la la rule”, which is one of the myths I debunk in the book rather than an actual rule of Spanish. Hopefully readers will get the point.

All about Spanish accents

¡Los acentos importan! — the subject is Panamanian politician Ricardo Martinelli. The accent on él is from rule 3 below, and the accent on cambió is from rule 2.

People are always asking me about Spanish accent marks. I don’t think this is because accents are intrinsically difficult, but rather that most explanations fail to put together some related issues. It’s a not-seeing-the-forest-for-the-trees situation.

As I mentioned in an earlier post, what unites all uses of Spanish accent marks is that they serve to highlight unusual stress: stress on an unusual vowel, syllable, or word.

  1. A written accent can break the normal rules for which vowel to stress within in a vowel sequence. Spanish normally stresses the second of two vowels, as in fuE·go “fire” or diA·blo “devil” (this is actually a slight simplification). A written accent signals a deviation from this pattern, as in con·ti·nÚ·e “continue” or co·mÍ·a·mos “we were eating”. Notice that changing the stress pattern also creates an additional syllable. What power!
  2. A written accent can break the normal rules for which syllable to stress within a word. Spanish normally stresses the last syllable of a word that ends in a consonant, and the next-to-last syllable of a word that ends in a vowel. Think mu.jEr vs. hOm.bre. With a written accent mark you can break this pattern: lÁ.piz ends in a consonant, and hin.dÚ and te.lÉ.fe.no both end in a vowel. A final s or n doesn’t “count” because it’s usually a grammatical marker: there’s no stress difference between hA.blahA.blas, and hA.blan, or between cu.ca.rA.cha and cu.ca.rA.chas.
  3. A written accent marks the member of an otherwise identical word pair that usually carries more stress within a sentence, and can even stand alone. This is most obvious for question words. Compare the stress on accented versus unaccented quien and como in ¿Quién se llama Juan? and ¿Cómo nada un pez? versus Tu amigo, quien se llama Juan, nada como un pez. The accented varieties can stand alone: ¿Quién? ¿Cómo?

Once you know these fundamental rules, mysteries vanish. Why does más have an accent? To distinguish it from the obscure word mas, which means “but”; note that the accented version can stand on its own (¡Más!). Why do some words gain an accent in the plural, some lose an accent, and some keep an accent? These cases all have to do with final n or s:

  • Words that gain an accent change from regular to irregular in the plural. Singular jO·ven has regular stress (next-to-last syllable, word ends in n) but plural jÓ·ve·nes is irregular (third-to-last syllable).
  • Words that lose an accent change from irregular to regular in the plural. Singular ja·mÓn has irregular stress (final syllable, word ends in n) but plural ja·mO·nes is regular (next-to-last syllable, word ends in s).
  • Words that keep an accent have irregular stress in both the singular and the plural. For ca·fÉ and ca·fÉs, regular stress would be on the a; for fÁ·cil and fÁ·ci·lesregular stress would be on the i.

Even native speakers make accent mark mistakes, so please — don’t stress! 😉