This post was written by Sarah Wadsworth, a first-year Spanish & Arabic student at St Anne’s College.
“What’s the hardest thing about studying Golden Age Spanish?” my friend says, repeating the question I asked her, pretending to think. She laughs. “The fact that all the words sound the same. They all begin with ‘al’!”
Gross overestimation it undoubtedly is, but in considering the lexicon of just one Spanish text – in this case, Cervantes’ novela Rinconete y Cortadillo – I can see where she’s coming from. Words like ‘almojarifazgo’, ‘alcabala’ and ‘almofía’ abound even in this short story that we study in first year. It’s something we have both noticed, the prevalence of a little syllable which in turn speaks to a wider history of language transference.
For almost 800 years, there was Arabic social and cultural hegemony from Andalusia to Toledo and even into southern France at the Moorish empire’s peak in the 8th century. Though the Reconquista (‘Reconquest’) would eventually return power to the Catholic monarchs with the surrender of Granada in 1492, the effects of centuries of linguistic transference were already evident, a consequence of history that still echoes in so many Spanish words. The influence of Arabic is visible both in the esoteric terms mentioned above and in more vernacular language, as is demonstrated by the Spanish word “hasta” (meaning “until”) and its Arabic cognate “حَتَّى” or “ḥatta”. The place names Andalucía and Almería are also of Arabic origin; they are just two of the hundreds of Arabic names for various regions, cities, towns and villages across the Iberian Peninsula.
From the Moorish characters of numerous Spanish ballads to the magnificent architecture of the Alhambra, it is a past that continues to resonate in both Spanish literature and the language itself. But the modern twist on the tale? Given the emigration of Arabic speakers to Latin America from the 19th century onwards, there are now significant Middle Eastern communities in the New World too, like that in the Colombian city of Barranquilla. There are those with roots in both cultures who have risen to fame – the singer Shakira is just one notable example. The linguistic connections between Arabic and Spanish seem as potent today as they were more than 600 years ago.
We have just launched our annual competitions in French and Spanish. Details are below. If you have any questions please contact firstname.lastname@example.org. We look forward to reading your entries! Bonne chance! ¡mucha suerte!
Spanish Flash Fiction Competition
Did you know that the shortest story in Spanish is only seven words long? Here it is:
‘Cuando despertó, el dinosaurio todavía estaba allí’ (Augusto Monterroso, “El dinosaurio”).
Write a story in Spanish of not more than 100 words, and send it to email@example.com noon on Friday 30th March 2018 with your name, age and year group, and the name and address of your school. A first prize of £100 will be awarded to the winning entry in each category (Years 7-11 and 12-13), with runner-up prizes of £25. The judges will be looking for creativity and imagination as well as good Spanish! The winning entries will be published on our website.
French Film Competition
The Department of French at Oxford University is looking for budding film enthusiasts in Years 7-11 and 12-13 to embrace the world of French cinema. To enter the competition, students in each age group are asked to re-write the ending of a film in no more than 1500 words. You can work in English or French. We won’t give extra credit to entries written in French – this is an exercise in creativity, rather than a language test! – but we do encourage you to give writing in French a go if you’re tempted, and we won’t penalize entries in French for any spelling or grammar mistakes.
The judges are looking for plausible yet imaginative new endings, picking up the story from the point specified (see below). There are no restrictions as to the form the entry might take: screen-play, play-script, prose, prose with illustrations. We’d also love to see filmed entries (e.g. on YouTube): feel free to experiment!
For the 2018 competition we have chosen the following films for each age bracket:
Years 7-11: Une vie de chat (2010, dir. Jean-Loup Felicioli and Alain Gagnol)
Years 12-13: Des Hommes et des dieux (2010, dir. Xavier Beauvois)
A first prize of £100 will be awarded to the winning student in each age group, with runner-up prizes of £25.
Your re-writing must pick up where the film leaves off, from the following points:
Une vie de chat: from 49:20, when Nico says: ‘Allez, accroche-toi bien Zoë’.
Des Hommes et des dieux: from 1:38:50, where Christian says ‘J’ai longtemps repensé à ce moment-là…’
Here are the trailers, to give you a taster:
DO’S AND DON’TS!
DO keep to the word limit (1500 words)! Going over will lead to disqualification.
DO use your imagination, and present your re-writing in any format you like – essay, screenplay, short film, storyboard, etc…. There is nothing stopping you from watching the ‘real’ ending and then modifying it as you see fit. Indeed, you might find this helpful. We’re looking for creative, entertaining and inventive new endings, which address as fully and plausibly as possible the strands of the story that are left unresolved at the end-points we’ve specified above.
DO send in (through your teacher) individually named submissions. If you work in a group, the entry must still be sent under one name only: this is just to ensure as much as possible parity and fairness between entries, and to avoid any distinction between smaller and larger groups. There is a limit of 10 entries per school per age group.
DO make sure you give your teacher enough time to approve and forward your submission!
DON’T worry about which language you write in – and if you write in French (which we encourage, if you would like to), remember we do not penalise grammatical errors or spelling mistakes.
DON’T forget to include a filled-in cover-sheet, signed by your teacher. Without this, your entry will not be judged.
DON’T worry if you’re at the lower end of your age-range (especially Years 7 and 8). We particularly encourage entries from younger students, and we’ll take your age into account when judging your entry.
Where can I or my school/college get hold of the films?
The DVDs are readily and affordably available via Amazon (http://www.amazon.co.uk or http://www.amazon.fr). The films may also be available through legal streaming services (e.g. Amazon Prime, Google Play, or Blinkbox).
How do I send in my entry?
We’d like all your school’s entries to be submitted via your teacher please. Ask your teacher to attach your entries to an email, along with a cover sheet, which you can download here, and send it to firstname.lastname@example.org by noon on 31st March 2018. NB, to avoid missing the deadline, we suggest that you aim to give your teacher your entry and completed cover sheet by 24th March at the latest.
by Hector Stinton, a third-year undergraduate in French and Spanish at Keble College
Chilean Spanish is the most idiosyncratic Hispanic variant, and it’s partly why I applied to work as a teacher in Santiago for my year abroad. Its earliest phonetic influence was from Andalusian conquistadores, who brought to America yeísmo (/y/ and /ll/ pronounced the same) and seseo (soft /c/ and /z/ pronounced as /s/, itself unpronounced word-finally), but it developed into a more distinctive accent with the conversion of /j/ into aspirate /h/ and the elision of /d/ in words like ciudad. Chile’s geo-political isolation made its patois evolve rapidly and hermetically: separated from its neighbours by the Andes and the Atacama until the 19th century, and with relations soured by conflict and suspicion since then, Chileanese became a point of national pride.
As in other Latin countries, the diminutive –ito/a is used to express affection and diminish the urgency, directness or importance of something, e.g. making something annoying seem more pleasant, and the voseo (use of vos as a second person singular pronoun instead of tuteo) forms the bottom two of the four grades of formality, below tú and usted. Interestingly, however, among friends, Chileans prefer the Italianate –ai or –ei ending to the Iberian –as or –es when using tú in the present tense. More unusual still is the replacement of nuestro ‘our’ with de nosotros, and the rejection of vosotros in favour of ustedes for ‘you plural’.
But above all, Chilean-speak is known for its plethora of peculiar idioms and neologisms, known as chilenismos; look in any Spanish dictionary, and you will see they predominate over all other vernaculars. There are three broad categories: Argentine / Rioplatense / Lunfardo (argot from Buenos Aires and Montevideo) terms carrying either covert prestige or criminal Coa undertones (hacer perro muerto ((literally, ‘to do a dead dog’)) – ‘to dine and dash’); Mapudungun / Quechua loanwords (copihue – Chile’s national flower, huaso – ‘cowboy’); and French / (Swiss-)German / English / Croat loanwords (confort – ‘loo paper’, lumpen – ‘lower class’, cachar – ‘to catch one’s drift’, corbata – ‘tie’). Together, they further enrich the Chilean dialect, which never fails to surprise and delight.
hacer perro muerto – to dine and dash
huaso – cowboy
confort – loo paper
cachar – to catch one’s drift
A blog for students and teachers of Years 11 to 13, and anyone else with an interest in Modern Foreign Languages and Cultures, written by the staff and students of Oxford University. Updated every Wednesday!
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