Actually, the words of any new language you learn are probably going to be expletives see some Russian Swear Words for examples! Spanish is a very expressive language and I think it reflects the people that use it as their first language. So here you go, here are some Spanish Swear Words, Slang, and Expletives that range from not too bad to downright offensive! Plus how to speak like a Kiwi bro! The Travel Tart is an Australian Travel Blogger and Writer who dribbles on about the funny, offbeat and weird aspects of world travel today.
Travel wasn't meant to be taken too seriously! Check out his the Travel Blog and social media profiles to say hi or sign up for his silly newsletter! Haha this list is awesome. He too is given to us from the same stage: a peasant from La Mancha, the head of a family made up by his wife and two children. As such, he represents any of the workers who live on the Iberian Peninsula and who are dedicated with their wives to keep their family going. Sancho, gifted with great intelligence and not only manual intelligence, but also verbal and even literary , gets along perfectly with other peasants and people of his social status.
And like them or many of them , the well-fed Sancho he is not a pariah from India, condemned to live a life of misery in his assigned station, even if in the presence of the "Whole" is willing to leave his home and serve a knight who can expand his horizons, regardless of the risks that such an adventure may have in store for him. And Dulcinea? In the words of Ludwig Pfandl nearly a century ago, "Dulcinea is nothing other than the incarnation of the monarchy, of nationality, of faith.
The one-armed man [Quixote] strives for her, fighting against the windmills. But if I were to accept Pfandl's interpretation, wouldn't then Dulcinea's reference get confused with the reference that Carrasco saves for Don Quixote, the "Spanish nation"? In some general way, yes, much as Sancho too such as I have presented him must refer to this same Spanish nation which now seems consolidated into, or existing as, a historical nation, regardless of the deep crisis that it is suffering after the defeat of its Armada.
However, although the circumstantial reference of Don Quixote, Sancho, and Dulcinea may be the same - Spain - the perspectives from which each of these characters of the trinity refers to Spain are nonetheless distinct to each other.
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Historical spread of the trinity of Don Quixote : past, present, and future. Perhaps Don Quixote refers to Spain from the perspective of the past, Sancho from the perspective of the present, and Dulcinea from the perspective of the future and for that Dulcinea is a matter of faith, not of actual evidence. These three perspectives are necessarily involved with each other, just as the trinity of Quixote are involved with each other.
In other words, if each person in this stage trinity - Don Quixote, Sancho, and Dulcinea - refers to a Spain that has entered into a profound crisis, it's because each person refers to it through or by the mediation of the others. Don Quixote is seen from a past that, even during the time on the stage, is still close the time in which Spanish knights used lances and swords instead of harquebuses and cannons , and Sancho is seen from the present in a village that lives thanks to the fruits that the land, which must keep producing in every moment, gives after hard labor.
Dulcinea represents the future, as a symbol of the mother-Spain, but I take this reference literally, which has little to do with a reference in the sense of an "ideal figure" of an "eternal femininity" and more to do with the representation of a mother able to give birth to children that as rural workers or soldiers will make the future of Spain possible.
With that said, in a historical time like that which corresponds to Spain, the present, past, and future are not mere points on a line that represents astronomical time. The time of Spain as an emerging generating Empire that is beginning to show the deep wounds that its enemies, the European predatory empires, are inflicting upon it, this time is historical time - a flowing, constantly interacting collection of millions of people, each one used to eating daily and in constant agitation and interaction.
This flowing collection, this oceanic river of people who make history and are swept away by it, can be classified in three classes or circles of people theoretically well-defined:. First, there is the circle made up by people who mutually influence one another, supporting or destroying one another during the course of their lives - a circle whose diameter can be estimated as a hundred years - the years which correspond to what I call the historical present which is not, of course, the instantaneous, adimensional present corresponding to a flowing point on the time line.
Second, there is the circle of finite, but indeterminate diameter made up by people who influence the people of the present for better or worse and whom we take as references, molding them nearly completely, but without us being able to influence them in any way, neither profoundly nor superficially, because they have died. This is the constituent circle of a historical past , the circle of the dead, those who increasingly tell the living what to do.
Finally, there is the circle of indefinite diameter made up by the people influenced by those who are living in the present, with the latter nearly molding the former entirely by marking their paths, but without the former being able to influence those who are living in the present, because they don't exist yet. This is the circle of the historical future. We have been supposing - or if it's preferred, we depart from the supposition - that the references of the symbolic allegorical characters that Cervantes offers us on the stage of his most capital work must be placed in Spain.
Spain, however, is a historical process. So to affirm that Spain is the place in which the references of the stage characters - Don Quixote, Sancho, and Dulcinea - must be placed is still not saying much. To begin, we must determine the parameters of the present, the present in which our stage is situated, and with that perspective as a platform we can look toward both the past and the future.
Undoubtedly these parameters must be obtained following the method of analysis of the literary immanence - the immanence of the stage itself, the stage on which the characters act. These indications are various and concordant and lead us to fix the date in which the characters act - the time "of the great Philip III". Even more precisely, there is the letter that Sancho, as governor of the island of Barataria, writes to his wife Teresa Panza, dated July 20, It must be concluded then that Don Quixote took off in search of Dulcinea in those days.
The central point of his diameter is found very close to - the date of the battle of Lepanto, in which the twenty-four year old Cervantes took glorious part. From his present , of course, Cervantes summons a stage whose reference is Spain, but not exactly the Spain of the Middle Ages as Hegel thought when he interpreted Don Quixote as a symbol of the transition from the feudal to the modern period. Don Quixote crosses a now unified peninsula without interior borders between the Christian kingdoms and even more, without borders with the Moor kingdoms: the Spain that Don Quixote crosses is subsequent to the capture of Granada in by the Catholic Monarchs.
This, therefore, is the "literary stage" not the historical stage of Don Quixote. Nevertheless, Don Quixote does not yet walk across a modern Spain Cervantes's Spain - where the smell and noise of gunpowder were well-known, where galleons came and went to America - a Spain to which there is practically no reference in the book. In the first chapter of the book, Cervantes takes great care to tell us that the first thing Don Quixote did before leaving his house "was to clean a suit of armour that had belonged to his forefathers and that, covered in rust and mould, had been standing forgotten in a corner for centuries.
However, this past, as is natural for every historical past, continued to heavily influence the present, for the "dead increasingly tell the living what to do". Nonetheless, as I have said above, Don Quixote and his group don't operate in a medieval period, but rather in a modern one. There are no longer Moor kings in Spain.
Some Moriscos that were expelled even return to Spain, and meet with Sancho:. It seems as if Cervantes had deliberately wanted to return to a previous Iberian Spain, perhaps not before the discovery of America, but as least earlier than the massive Spanish entrance in the New World Peru, Mexico… and the repercussions that such an entrance would have in Spain itself. As such it isn't a Spain contemplated on the scale of a coeval political society, although the stage is placed in that political society which acts as its platform.
This intemporal air comes from a society that, like the Spanish, has already matured as the first historical nation. Nonetheless, it still needs the care of knights armed with lances and swords, even in those moments when it is abstracted from its imminent political responsibilities those which oblige the mobilization of armies with firearms - today we would say missiles with nuclear heads.
For the interior, "intemporal" peace in which this society lives, the peace that knights believe themselves capable of finding if they dress up as shepherds, has nothing to do with celestial peace, given that bandits, murderers, thieves, liars, cheaters, and heartless, cruel scum will continue to rob, murder, steal, lie, cheat, and deceive. When we want to come to some political interpretation of Don Quixote , how can we not take seriously this "intemporal Spain" that Cervantes would have artificially illuminated with the ultraviolet light presented above?
The stage of Don Quixote refers to Spain, to the historical Spain, and to its political empire. It does so not in an immediate way, but rather through the use of an intemporal Spain, one not unreal but seen simply under an ultraviolet light in which a civil society, set in the historical time that the Iberian peninsula lives, lives according to its own rhythm.
Two types of philosophical-political interpretations of Don Quixote : catastrophist and revulsive. Difficulties spring up now when we interpret the figures of Don Quixote ; even supposing that their condition as allegorical symbols with ambiguous references that play a double role in political and civil society is admitted, as I have suggested, difficulties remain.
There are many interpretations formulated on diverse scales. Albeit briefly, let's examine some interpretations of the meaning of Don Quixote belonging to the group we have labeled as "catastrophist" and in whose stock a certain "pacifist naivete" is found. According to these interpretations, Cervantes, in his fundamental work, would have supplied the most ruthless and defeatist vision of Imperial Spain that could ever have been offered up.
As clever psychological critics say, Cervantes - resentful, skeptical, on the border of nihilism and disappointed by the innumerable failures that his life handed him mutilation, captivity, prison, failure, and rejection - especially in his request to move to America, a right he felt he deserved as a hero in Lepanto - this Cervantes would have eliminated from his brilliant novel any reference to the Indies, as well as any to Europe.
And so if the graduate Sanson Carrasco said to Don Quixote that he was "the honour and mirror of the Spanish nation", it's easy to understand what he meant. For what is it that this mirror reflected? A deformed knight who goes on delirious and ridiculous adventures from which he returns defeated time and time again. Isn't this the reflection of the Spanish nation?
Accordingly, Cervantes must be placed among those men inside the Spanish nation not outside who have most contributed to the development of the Black Legend although others have done so in a much more subtle and cowardly way. Nonetheless, Miguel de Cervantes Saavedra himself must be the central figure of this list. Cervantes, with his Don Quixote , would have made a brilliant and hidden framing of the Black Legend to use against Spain while also contributing to its diffusion throughout Europe. Montesquieu would have already advised of it: "The most important book that the Spanish have is nothing other than a critique of other Spanish books.
In short, no Spaniard who maintains even an atom of national pride could see himself reflected in Don Quixote's mirror. Only a group of people as "inflated with pride" and "charged with rights" as Spaniards as Prat de la Riba, from Catalonia, was already saying in , could identify themselves with some of the abstract qualities of the Knight of the Sad Face. Folch y Torres, another separatist who took great delight in Don Quixote's failures particularly insofar as these failures represented Spain's , went so far as saying, in the same year in which "Castilian Quixotes were so crazy to declare war against the United States" in the course of the conflicts with Cuba and the Philippines : "Let the Castilians keep their Don Quixote, for whatever he's worth.
What's more, this defeatist interpretation taken from Don Quixote and therefore from the interior of the Spanish empire, whereby both are the work of a megalomaniacal, cruel delirium, would not only have framed the Black Legend, but also would have fueled it as it was promoted from abroad by enemy powers France, England, Holland - those predatory empires and scavenging pirates that fed themselves from their infancy to their youth on the offal they went ripping off from Spain. In this defeatist interpretation, must we then follow the path that Ramiro de Maetzu himself initiated when he advised to temper the cult of Don Quixote not only in schools, but also in the Spanish national ideology?
If Don Quixote is a mad and ridiculous Spanish antihero, a mere parody and counterfigure of the real man and the real modern knight, then why is there this determination to keep him as a national emblem by celebrating his anniversaries and centennaries with such uncommon pomp?
Only the enemies of Spain - internal enemies above all, like Catalonian, Basque, or Galician separatists - could delight in the adventures of Don Quixote de la Mancha. It would still be possible to try to restore a less depressing symbolism of Don Quixote, even while recognizing his incessant defeats. For these radical pacifists the adventures of Don Quixote could serve as an illustration, a reductio ad absurdum either in fact or in counterexample, of the uselessness of war and the stupidity of violence and the use of weapons.
Wanting to save Cervantes, the more audacious critics in this line might even dare to say that Cervantes, with his Don Quixote, has given to Spain and to the world in general an "ethical lesson" that teaches us of the uselessness of weapons and violence. Along this line, these naive critics could see in Cervantes a convinced pacifist who tries to demonstrate the importance of evangelical peace, tolerance, and dialogue along a path of reductio ad absurdum of counterexamples - weapons that turn out to be useless, regardless of the bearer's force of spirit. This conclusion or moral is taken from the fallacious petitio principii premise that Don Quixote's weapons represent weapons in general.
What if Don Quixote, through his peculiar and cryptic way of speaking, were insisting on the essential difference between firearms those with which the victory of Lepanto was obtained and the ancient knights' bladed weapons? According to this interpretation, Don Quixote's failures with his rusty blades would immediately convert into an apology of the firearms that begin modern war, as seen in those first battles which Cervantes himself attended on various occasions Lepanto, Navarino, Tunisia, La Goleta, San Miguel de las Azores.
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Nevertheless, it is necessary to affirm that in any case the catastrophist interpretations of Quixote would affect Cervantes rather than Don Quixote. According to Unamuno's thesis, a resentful and skeptical Cervantes behaved as a wretch with Don Quixote, trying time and time again to project him as ridiculous. He didn't achieve his goal, however, and that is best evidenced by the universal admiration which Don Quixote arouses, which is not due except for psychiatrists to him being a paranoid madman.
For as many times as Don Quixote falls down and gets beat up, so too does he pick himself up and recover; in this way, he represents the fortitude, firmness, and generosity of a knight who lives not in a fantasy world, but in the real, miserable world where he doesn't give up when faced with misfortune.
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Furthermore, in no way is it clear that Cervantes held the nihilist, resentful attitude toward the Spanish empire which Unamuno attributed to him. Cervantes always maintained the pride of a combatant soldier in Lepanto, where the Holy League headed by the Spanish Empire stopped the influx of the Ottoman Empire, "the greatest occasion that the centuries saw," as Cervantes said. In Don Quixote itself, we can also note that Cervantes approved of the Spanish policy to expel the moriscos and that he always showed himself to be a convinced subject of the Catholic Hispanic Monarchy.
Cervantes's method was subtler. His results were without a doubt more ambiguous because of that - so ambiguous that they allowed the enemies of Spain to transform him into a pretext for derision of its history and its people. Now let's examine some of the critical interpretations of Don Quixote that can be grouped together as revulsive.
According to these interpretations, before anything else one can find in Don Quixote a devastating criticism directed against all those Spaniards who, after having participated in the most glorious battles - those "events of weapons" in which the Spanish Empire was forged - had returned to their homes or to the court as satiate hidalgos and knights ready to live off the rent in some intemporal world, content with the memories of their glory days. They lived forgetful of the fact that the same Empire which protected their welfare, their happiness - their more or less placid and pacific life — was being attacked on all sides and starting to show alarming signs of leak after the defeat of its Armada.
After the first great push of the Empire which is now starting to collapse , this mass of satiate people is in danger of producing the "I wan't but can't" of some strained knight, a knight for whom nothing is left but to wait, to wait for ridicule in trying to take up the rusty armor of his great grandparents, or the paralytic boats of the invincible Spanish Armada. The lances and swords of his grandparents, or the bacinelmet Don Quixote himself makes, can then be seen as allegories through which Cervantes, without even needing to be aware of it, meant to represent the Spain that resulted from the ultraviolet light he used.
According to this, Cervantes, with his Don Quixote, could have attempted or if what he had attempted was to unleash his skepticism bordering on nihilism at least could have succeeded in exercising the role of an agent of a revulsion before the government of the successive kings of Catholic majesties - Carlos I and even Felipe II, in the times of Lepanto.
What Cervantes would be saying to his compatriots is that with rusty lances and swords, with paralytic boats, with solitary adventures, or less still, dressed up as bucolic and pacific pastors, that with all of this the Spanish people would be destined to failure because the Empire that protected them and the one in which they lived was being seriously threatened by neighboring ones.
Nonetheless, Cervantes would also be seeing - albeit with skepticism - that it was still possible to overcome the depression that without a doubt appeared in some of the characters - among them Alonso Quijano transformed as Don Quixote. As such, Cervantes seems to want to stress in every moment that his characters effectively have the necessary energy - even if it had to be expressed in the form of madness.
According to this interpretation, Don Quixote's message would not then be a defeatist message, but rather a revulsive one. Such a revulsion would be destined to remove satiate Spaniards from their daydreams - those who thought they could live satisfied after the victorious battle, savoring the peace of victory or simply enjoying their "welfare state" as Spaniards will say centuries later provided by a new order. But this new order which Spaniards had succeeded in imposing on their old enemies came from beyond their borders - from the same America that Cervantes himself eliminates from Quixote.
This perspective provides an explanation of why nothing is said in Don Quixote about everything that surrounds the peninsular enclosure with its adjacent islands and territories, of why nothing is said about America, Europe, Asia, or Africa. As such, Don Quixote, along with his follies, would be offering some hints of the path it would be necessary to follow. The first of these, before any other, would be to travel and explore the lands of the Spanish nation: Cervantes takes care that Don Quixote de La Mancha leaves his village in the fields of Montiel and crosses the Sierra Morena.
He even takes care to make him arrive at the beach of Barcelona the same beach, it seems, in which Cervantes saw how the boat carrying his patron the Count of Lemos took off to sea towards Italy, without Cervantes being able to catch it for a final chance. For Don Quixote doesn't believe in universal harmony, nor in perpetual peace, nor in the Alliance of Civilizations. Don Quixote lives in a cosmos whose order is nothing but appearance, one that covers the profound convulsions that its parts experience, parts that never adjust to one another: "May God send a remedy," he says in Chapter 29 of the enchanted boat, "for everything in this world is trickery, stage machinery, every part of it working against every other part.
I have done all I can. Quixote so offers a precise message not to men "Man" in general , but to Spanish men: an apology of arms. A message of perpetual peace and disarmament directed to the Spanish nation would be lethal, however. It could only be understood as a message sent to Spain by its enemies, hoping that once Spain had disarmed herself, they could then go in and split her up. In any case, it's not necessary to suppose that Cervantes, as a finis operantis of his master work, deliberately proposed to offer a parody that would serve as a revulsion to those court favorites of the monarchy, knights of the Court, dukes, priests, or barbers in order to make them see through the adventures of a grotesque knight where their complacency, their welfare, and even their literary taste for knights-errant or the pastoral life could lead them.
It's sufficient to admit the possibility that Cervantes could have immediately perceived a particular kind of madness in the hidalgo whom he called Alonso Quijano and who was driven mad by reading chivalry books. Cervantes undoubtedly found an interest in both his condition as madman and, even more so, in the nature of his madness; there is very little in common between the madness of the licenciado Vidreiera and Don Quixote's madness, although the differences between the two end up grossly erased when they are considered only in their common denomination as "madmen".
To summarize - in this nobleman gone mad by books of chivalry and converted into a knight - "a knight armed with derision" - Cervantes could have sensed the ridiculousness of those happy and complacent knights who fueled themselves on old stories. Even further, it can be conceded that this allegory - suggested from the beginning, but in chiaroscuro - became a constant stimulus for the author and gained momentum as it went, driving the author to dedicate himself with greater fervor to the development of such an ambiguous character, one so ambiguous that it became inexhaustible - a character that promised so much, even from its initial, simple definition.
The hectic development of his brilliant invention - that is, the discovery of "a nobleman from La Mancha mad for his effort to turn himself into a knight-errant" - could be, of course, the river bed that gathered the powerful current pouring into Cervantes. Alonso Quijano is a madman, and while Don Quixote channels his madness through generally violent means, they are nonetheless filled with strength and generosity. In addition, the hero - a madman in his acts and exploits - is a judicious and ingenious hero in his speech, so unlike a madman.
But Cervantes thinks that discourses conform and give sense to acts to such a point that the latter can be erased and transformed by the former. Given this belief and due to the objective force of the main character and those around him, Cervantes would have seen himself obliged to attribute Don Quixote's constant failures less to his madness, and more to the instruments which this madness used - archaic weapons, starving knights, and ridiculous bacinelmets.
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Accordingly, little by little Quixote would have become a work that objectively according to its finis operis began to assume simply by Cervantes's skeptical filter the function of a revulsion directed at those same courtesan or village knights, dukes, and graduates who Cervantes knew and who ridiculed Don Quixote's projects in Part Two. It's as if Cervantes, developing the virtuosities of Quixote's character, had come to reach a disposition of spirit that would have made him capable to say to his compatriots: "See how, from the complacent and satisfied magma of national heroes, idle, knights, villains, scribes and legists, priests, and barbers, see how the figures of Don Quixote, Sancho, and Dulcinea have emerged and how their rank elevates them immediately above the vulgar crowded atmosphere.
Why then are these triadic figures laughable, especially the figure of Don Quixote? Not for his efforts, strength, fortitude, or generosity, but rather because he uses laughable instruments or proposes laughable goals: broken lances, bacinelmets, windmills, flocks of goats, even the governance of an island. But he does so always maintaining that forceful, firm, and generous energy inherited from his lineage. Let's substitute broken lances for cannons, starving horses for armed light boats, knights-errant for companies or battalions individual violence redress wrongs but rather unleashes new ones , windmills for giant Englishmen or Frenchmen who are attacking us; let's substitute the squire Sancho for millions of workers who leave their homes to accompany knights in the fight against real enemies; and let's substitute Dulcinea for the thousands of women who bring into the world new workers and soldiers.
Cervantes could catch glimpses of this allegory as his story moved forward. The important thing is that Cervantes saw such an allegory, because only then can his disposition be understood to lead Don Quixote, in a given moment in his career, to hang up his arms and so decree his death. For it cannot be forgotten that the final and most profound lesson of Don Quixote that Cervantes seems to want to offer us is this: that although the projects undertaken by Don Quixote and the armed knights he represents seem follies, the only alternative is death.
One must hang up ones arms in order to renounce these follies, to be cured of them after a great fever - but with this comes death which is what the dimwitted pacifist does not see.
After hanging up his arms and entering seclusion, Don Quixote physically dies in the body of Alonso Quijano, and so symbolizes Spain's death, for hanging up her own arms. The faculty to give intelligent and ingenious discourses - that is, the faculty of the learned , those who dominate the letters of the law - is a faculty that Cervantes attributes to Don Quixote directly in his speech, and not abstractly, as if readers would have to take Cervantes word for it.
He makes Don Quixote give intelligent and ingenious discourses that prove this faculty and appear all the more strong while his actions, weapons, and deeds appear to us all the more weak and disjointed. Of course, it cannot be affirmed that Don Quixote lacks discourse in his madness, just as he doesn't lack weapons.
But neither can it be affirmed with Don Diego Miranda, see below that Don Quixote's "incongruence" madness or nonsense is found only in the field of the coordination of his discourses and actions. This goes in spite of the difficulty in determining the line of demarcation between a sane discourse and a degenerated one. When trying to establish this dividing line, it must be kept in mind that the "sane part" of Don Quixote's discourse would have been shared by Cervantes himself.
Or, if you like, that Cervantes would be expressing his own thought through Don Quixote's discourse, and that discourse does not, in total, only oppose actions - deeds, as far as they are actions - but also the judgment of the facts of experience, which themselves are not so much actions as perceptions - without denying that at the same time these perceptions are "trimmed" by some virtual or previous action so as to be integrated in the discourse.
Cervantes if indeed it is Cervantes who is speaking in II,18 through Diego de Miranda doesn't seem to diagnose any disjunction in Don Quixote's discourse. Rather, he seems to put Quixote's madness in the incongruence between his speech - itself sane - and his actions: between his "words" and his "deeds" as others might say.
When Don Lorenzo, poet and Don Diego's son, asks his father's opinion about the knight he has invited home "Mother and I are astonished at his name, his appearance, and his claim to be a knight errant" Don Diego responds:. All I do know is that I've seen him perform the actions of the greatest madman in the world, and heard him speak words of such good sense that they dissipate the effects of his deeds. It isn't then that the deeds dissipate the effect of his words ; instead, the situation is much more interesting: they are the words that dissipate the effect of his deeds according to Don Diego.
According to this diagnosis, Don Diego seems to place Don Quixote's incongruence in a different place where speech and deed contrast each other than where his poet son Don Lorenzo had seemed to put it initially where speech and deed contrast without distinction: where, by extension, Don Quixote's global behavior, coherent in itself, contrasts his personal expression - not only verbal - of those same things: "his name, his appearance, and his claim to be a knight-errant". It seems proper then to test different criteria for the division between coherent and incoherent discourse.
The one which seems to me the most plausible is based on a distinction between doctrinal discourse necessarily abstract, political, and philosophical and the judgment to apply the discourse to the concrete circumstances of the moment — a judgment where prudence and discretion must intervene, not only the wisdom of principles nor the science of the conclusions the coherence of the doctrine. No doubt it got its start from the war on disfavored drugs, but at this point it has a life of its own.
In the last four years a large chunk of the Western US has decriminalized what had been — by far — the most popular illegal drug. Mean while, the U. Nobody knows the amounts and nobody will ever know. Meanwhile, we have show trials of corp ceos on capitol hill to keep everyone mesmerized. The Chinese in Spain are generally very discreet and well behaved. Probably some of that business is a front for gaining residence, the workers are clearly low status.
That is backed by the US, but not all European countries. Then there is the Spanish state cracking down with all kinds of bureaucracy since gfc.
That goes from formatting and controlling national registries through to openly flouting European directives that counter heavy rules on global taxation for residents. For many of those points it is not just the Chinese that get targeted, though in the above case it seems so. Spain is like that, it can be very tolerant and understanding at the same time as being picky, demanding and bullyish. The locals have to put up with a lot of this also if to a lesser extent , if it is any consolation. I have always wondered how they could stay in business, no matter how low their expenses.
The one near the Jaca cathedral must have paid a very high rent… Around here Chinese nationals mostly own huge stores carrying everything bar food. Quality varies from top of the line personal hygiene, kitchenware etc to downright junk tools, shoes etc but prices are always very good. Regarding the drive to contain China… everybody was rolling out the red carpet to them when they started buying out ailing firms and clinically dead brands. When Foton Lovol bought up another moribund tractor manufacturer local politicians scrambled to shake hands with the Chinese executives, promising the usual bonanza of jobs.
Same thing when HNA bought the financial black hole known as the Frankfurt-Hahn Airport which may be featured in a future piece. Chinese investors are becoming cautious with their money. Even large State-controlled firms with very deep pocket are becoming picky. Yes, they are still around. On some streets there might be five or seven in five hundred meters, all empty of customers most of the day.
Some do well but many just seem like furnishing. I know that Chinese investment is quite a fickle affair and I could not say for sure the motives at work. I do know that major investment projects, whether ports or infrastructure acquisition, are met by quite a lot of concern or opposition from outside in strategic terms nowadays — but that could just be pretext to keep business in house. However I think the Chinese have still got their eyes on global expansion, maybe that is partly a route out of having their domestic economy eventually turn on itself. Here is an interesting article which explains how the 60 cent shops stay in business — basically since people are on a budget.
Those are figures, figures I imagine will be similar when out, maybe slightly more mortgage debt. Number of mortgages and house prices are still very depressed, even the high unemployment rate is rigged downwards by participation figures, type of contract and pay. SO if you wonder how there can be so many and be legitimate, how on Earth they can pay rent in expensive areas selling one euro goods possibly…well,, you maybe need to join the dots!? Is this the government of Spain actually concerned with money laundering or did the Spanish banks get a tap on the shoulder from Uncle Xi encouraging them to put a scare in to any Chinese citizens with money stashed outside the China Country.
If that is the case there was no need to worry about locking up the accounts of the innocent since it only helps in chasing Chinese money back on-shore. Just very ordinary people who emigrated to Spain for a reason or another and have little intention to go back to China if not to occasionally visit the family. As an aside, am I the only one tempted to open a bank account in the name of Sum Tin Wong to see what happens?
Do you think that if your purpose is to launder money, you would emigrate to your target country then buy a massive house, big cars, throw great parties and generally draw a massive amount of attention to yourself!?
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In Spain they are not like that at all…generally family run living frugally, I think the figures were 40 resident. Now the true owners might well be laundering money as well as selling residence opportunity etc. Sure the Spanish might not like even that and not like the cheaper competition, so they might make life difficult for them just to make a point. I looked up the figures for Chinese resident in Spain and it is quite a bit higher, almost Of those just under are registered as part of the social security system e. The figure has tripled to the above over five or so years.
Still remains that most are low status workers. They allege that even though they handed in all nescessary paperwork their accounts remained blocked for weeks or months, that other nationalities had their accounts freed immediately. I know from experience the Spanish will block accounts without question if they are following directives, even if it is just to present paperwork they already have over again, but they usually give good warning and are fast to free any account. This puts the banks on the hook everywhere when the government demands taxes to be paid on all the money.
For super crowded venues, I understand why the merchant would only take electronic payments. Much more efficient on the front and back ends. MLB probably testing out this out in a low risk small market to see if it works well and if it does they can roll it across all of the MLB? Its Tampa Bay. Banks are the epicenter of fraud AND can behave with total impunity. And this case is particularly egregious: no due process, not even the hint of suspiscion and your funds are gone.
Good luck for those running a business. Banks are scum. Bankers are worse.
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