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CLASSIC
Emilio Uranga
e philosophy of Mexicanness
With a new introduction and commentary by Carlos Alberto Sánchez & Robert Eli Sanchez, Jr
Introduction
Like Ramos’s unflattering portrait of the Mexican in the Profile, the purpose of
Uranga’s analysis of Mexican sentimentality is not simply to put the Mexican
on trial. Instead, there is an underlying lesson about the human condition that
the Anglo-European can learn from Mexican self-examination. To be accidental
is not the tragic fate of Mexicans – the peculiar source of their misery or
fascination with death. Instead, it is an essential feature of being human. In
other words, if Uranga is right, the belief in the self-sufficiency or substantiality
of human existence that defines modern European history – a belief that
provided Europeans with a justification for a history of conquest, colonialism,
exclusion and exploitation – is not just mistaken or false, it is inhuman.
25 June, 2018
Classic Text
Emilio Uranga
e philosophy of Mexicanness
From ‘Essay on the Ontology of the Mexican’, translated by Carlos Alberto Sánchez
With a new commentary by Carlos Alberto Sánchez & Robert Eli Sanchez, Jr
Samuel Ramos dedicates a section in his book Profile of 1 Uranga begins by citing Samuel
Ramos’s Profile of Man and
Man and Culture in Mexico to a ‘psychoanalysis of the
Culture in Mexico, first
Mexican character’. In that essay, he writes:1 published in Mexico in 1934,
in part because it is arguably
Others have spoken about the sense of inferiority the first major text in la
filosofía de
Readlo mexicano, and
more
of our race, but no one, as far as we know, has
systematically used the idea to explain our
character. For the first time, in this essay, we
make methodological use of these old
observations, rigorously applying [Alfred] Adler’s
psychological theories to the Mexican case. What
must be presupposed is the existence of an
inferiority complex in all those individuals who
manifest an exaggerated preoccupation with
affirming their personality; who take a strong
interest in all things or situations that signify
power, and who have an immoderate eagerness
to dominate, to be the first in everything. Adler
affirms that the sense of inferiority appears in the
child in realising the insignificance of his
strength in comparison with his parents. At its
birth, Mexico found itself in the civilised world in
the same way that a child finds itself with his
elders. It appeared in history at a time when a
mature civilisation already prevailed, something
that an infantile spirit can barely understand.
From this disadvantageous situation emerges the
sense of inferiority that is aggravated by the
conquest, mestizaje, and even by the
disproportionate magnitude of nature.
In a session at the Center for Philosophical Studies [at the 2 Following Alfred Adler, Ramos
locates the origin of an
National University in Mexico City], held this previous
inferiority complex in
year [1950], we proposed to Ramos to substitute the ‘childhood’ which, in the case
concept of inferiority, which he applies to the Mexican of the Mexican nation, he
individual, with that of insufficiency. In the case of the argues begins with the
Inferiority is a modality of insufficiency, but it is not the 4 Uranga’s use of the term
‘ontology’ merits deeper
only one. How does one go from a constitutional or
study. He uses the term to
ontological insufficiency to inferiority? Answering this refer to the phenomenological
question means giving an account of what Ramos has experience of being Mexican.
called the Mexican’s inferiority complex. However, one might argue that
Uranga is misusing
Read more the term as
When one considers their character, Mexicans are 5 The notion that the Mexican is
‘sentimental’ was a common
sentimental.5 At the core of this very particular human
theme in the poetry,
being there is a strong emotive mixture, involving philosophy and literature that
inactivity and the disposition to ruminate on each one of emerged from the Mexican
life’s events. Mexican life is impregnated with a Revolution of 1910. In this
sentimental character and it can be said that the tone of essay, Uranga argues that
Read more
Emotionality is a species of internal fragility; the Mexican 6 Fragility refers to the sense
of mortality and finitude in
feels weak or fragile inside. He has learned from infancy
the face of uncertainty. It is
that his interiority is vulnerable and brittle, which gives related to zozobra, which
rise to all the techniques for preservation and protection Uranga defines as a kind of
that the Mexican constructs in order to impede external restlessness of being caught
forces from penetrating and injuring him. is helps between being and non-being.
Read more
Inactivity is the mark of the sentimental character. e 7 Here Uranga briefly takes up
the theme of ‘boredom’, which
various obstacles that oppose themselves to the various
does not appear again in his
activities of the Mexican do not motivate him to grow or writings. However, this quick
overcome those obstacles, but, rather, fold him over and comment suggests a familiarity
drive him into himself [lo repliegan y ensimisman]. is is with Heidegger’s discussion of
In unwillingness, our spirit colours itself with a particular 8 Ramón López Velarde (1888-
1921) was an anti-modernist
repulsion for things, with a quiet repulsion for everything
(not post-modernist) Mexican
that surrounds us.8 But, the unwilling man does not stop poet who exerted an indelible
seeing a meaningful structure in the world (the world does influence on Uranga’s work. In
not appear to him as it appears in [Jean-Paul Sartre’s 1938 his poem ‘La tejedora’ (‘The
In unwillingness there is disgust [asco] for the meaning 10 One might question why Uranga
thinks that unwillingness is a
that things have, for the sense that they contain. When it is
fact of Mexican identity. Is
said of something that it provokes disgust we are not it an unfounded assumption
saying that we disapprove of the contingency of its being, about Mexican life? Or is
of its stubborn lack of all sense or transcendence, but Uranga’s observation justified
by the phenomenological
Read more
rather that as an indeterminate sense it calls on my
collaboration while chaining me to a task that, as over-
11 ‘When I told him that we were
determined, can bring me only closer to abjection.
foreigners [extranjeros], he
Unwillingness is precisely the disgust that overtakes us stopped smiling, and looked at
when we foresee that our action might contribute to a me with more respect. I had
consolidation of the abject sense of things. All action is pronounced, without knowing,
therefore valued, in unwillingness, within the horizon of its the sacred word: extranjero
[foreigner],
Readamore
word that in
contribution to depravity and corruption [podredumbre]. It
is thus conceivable that unwillingness emerges by the
12 ‘Pochismo’ refers to the act
simple fact that one is Mexican.10 It is an attempt to of appropriating English words
dislodge oneself from that contingency, to uproot oneself into Spanish, what we would
from that facticity; an attempt to be disgusted with today call ‘Spanglish’;
‘malinchismo’ refers to giving
contingency and facticity. Unwillingness not to be
preference to foreign ideas,
otherwise, for our history not to be otherwise, for our
tastes or attitudes;
Read more
customs not to be otherwise; unwillingness that prepares
the choice for another who will be our saviour or the
choice for an inferiority complex. From there emerges that
eagerness to see things as the outsider sees them, of
allowing ourselves to be justified by others.11 From there
emerges also ‘pochismo’, ‘malinchismo’, ‘Europeanism’,
and ‘indigenism’.12 With unwillingness, one of the modes
of insufficiency, the Mexican flees from himself by
choosing inferiority. Here we bear witness to how
insufficiency transforms itself into inferiority by means of
unwillingness – an inferiority that predisposes the
Mexican to his sentimental character.
But inactivity also gives rise to other feelings that we will 13 Uranga’s use of ‘dignity’ is
related to Sartre’s ‘bad
qualify as dignity.13 e Mexican lives in a constant state
faith’ in that it refers to a
of indignation. Noticing that things begin to go badly, he is way of not being oneself, of
always prepared with a principle in accordance with which hiding from one’s true self,
to condemn those things; however, he is also not disturbed or of pretending to be someone
by them going badly, and so he does not throw himself else. Read more
What in the Spaniard shows itself as honour, in the 14 A reference to José Zorrilla’s
Don Juan Tenorio: drama
Mexican appears as a proper sense of dignity. With this we
religioso-fantástico en dos
touch upon the most profound layers of the different partes (1844). It is
modes of being human. We touch upon the idea that considered one of the greatest
freedom, which every human being represents, cannot be Spanish plays ever written.
A certain honesty bordering on arrogance comes with 15 The Mexican is ‘a man that
constantly relives past
honour; a certain discretion bordering on immodesty
adventures’. José Gómez
accompanies dignity. e atmosphere that honour adds to Robleda, Imagen del mexicano
our decision is one of clarity and warmth, while that which (1948).
is added by dignity is nebulous and cold. e dignified
man, through his decisions, allows a certain fragility to
shine through, a certain incurable inconsistency. An
internal rumination constitutes the third characteristic
element of the sentimental man. Preserving our being
means nothing else than allowing or bringing about an
internal substitution of activity, allowing or bringing about
a certain species of dreaming that involves re-living
everything that has been lived, going to and fro in interior
life. Behind every face that evades activity and nausea we
find an interior life, what every person has lived, their
memories, their worries, their joys, a repertoire of facts
that every Mexican cares about and continuously retells.
e Mexican individual always gives the impression of
having already lived, of carrying deep within his soul a
world that has already been, and that because of its
emotive weight was indelibly recorded.15 On that is
grounded our melancholy, and that appearance of a man
of bitter experience.
our heads but forebodings with hard external edges.16 e that one can
Readcome
more under attack
marasmus, those nightmares, are dissolved; as soon as the lacónico grito’ (‘A Laconic
Cry’) (1916).
Read more
decision is made to consider the whole interior life as a
macabre dance that will come to an end with the first ray
of light; as soon as this is done and he throws himself
courageously into the adventure, he is violently attacked,
reviled and reproached, maltreated and humiliated. ese
are the oscillations, so familiar to Mexican existence, of a
diligent enthusiasm, a hopeful deliverance to a movement
that is followed almost immediately by a deep depression,
by a falling once again in a hopeless dreaming.17
ere exists for the Mexican the possibility, which is 21 The connection between the
ontological constitution of
always open, that the world gives itself as ‘friend’ or
Mexican being and Mexican
‘enemy’, as a danger or salvation, as threat or ally. ese politics is not surprising.
categories are especially valued in what is known as the Uranga relates the inability
political attitude. For the politician, being appears above of Mexicans to own their
all with a profile of neither friend nor enemy. us, Ramos existentialRead
contingency,
more
Ontologically speaking, inferiority marks the project that 27 Readers will connect this
passage to contemporary
involves being saved by others, of transferring onto others
discussions on dependency
the task of justifying our existence, of unburdening us of theory.
zozobra, of allowing others to decide for us. So that such a
project can be realised, it is necessary to have bestowed
others with unlimited justification. And this is precisely
what happens when we rely on the decisions of others.
Allowing that our own life become a project for others is to
place in their hands every possible authenticating
justification, it is to imagine that others always do the right
thing, that they are closed off to the possibilities of
accident, that they always know what to do. It is the
‘normal’ situation of the child before his parents. is is
why Ramos says that the inferiority complex that he
attributes to the Mexican is acquired at the moment of the
Conquest, since in the eyes of European culture we played
the part of children. But that explanation does not satisfy
us at all. ere is a more profound dimension for the
inferiority complex. Parents do not appear to their
children as beings who are merely justified, but as beings
who are absolutely justified. Sartre has seen this clearly.
Being absolutely justified can be said only of God, and in
the inferiority complex, in the project of being saved by
others, there is transference of properties that belong only
to being-for-itself, to anxiety, and to being-for-another.27
Put in religious terms: in inferiority there is idolatry, a will 28 See Jean-Paul Sartre’s
‘Existentialism is a Humanism’
to make the other an absolutely justified existence.
(1946).
According to Sartre,28 man fundamentally desires to be
God. e transference of an intentional relation to the
29 This line is also the title of
person of the other is precisely inferiority. One is inferior the poem, and it appears in
to the extent that one is idolatrous. e confusion between Ramón López Velarde, La sangre
men and gods that we find at the origins of our Conquest devota (Devout Blood, 1916).
From the choice to be saved by others, a complex series of 30 Here we begin to see the
relation between Ramos’s use
practices will emerge aimed at promoting [propiciar] the
of inferiority and Uranga’s
giving away of the power of justification.30 Imitation, in ontological category of
particular, will be the ploy that will resemble original insufficiency. Inferiority is
possession. A culture of imitation is a culture that rests in an attempt to flee from one’s
accidentality by imitating a
Read more
the fundamental project of being saved by others.
Imitation is to appease [propiciar], to gain a favourable
opinion. To the culture of imitation we oppose the culture
of insufficiency, constitutive of those who have renounced
the project of being saved by others and who risk the
search for justification on their own terms.
Just as frustrating as this project of salvation is the project 33 A ‘malinchista’ is someone who
is willing to betray Mexico
of the ‘malinchista’.33 For the latter, the Spanish is the
for the sake of foreign
means to exclude accidentality. Recently, a friend interests. In the context of
proposed that an ‘accident’ that occurred during a bull run Uranga’s analysis, a
would not possibly happen in Spain. According to my malinchista is someone who is
willing to Read
betray
more Mexico for
friend, Spain represented the absolute exclusion of all
accident; he felt with vigorous peculiarity that
accidentality exists within us, and chose to transfer to
Spain the absolute justification that excludes accident.
Both the ‘indigenist’ and the ‘malinchista’ are mestizos
who refuse to be alone; who throw upon the shoulders of
another the task of justifying their own existence. But the
mestizo must remain alone and, like López Velarde writes,
open himself resolutely to the horizon of zozobra and
accidentality.
Unwillingness, dignity, melancholy and zozobra expose us 34 Uranga ends the essay with a
provocation, rhetorically
to the field or, better yet, the abyss [el pozo] of our
asking about the extent to
existential possibilities; they unmask and reveal us to our which Mexicans will now cover
fundamental project, to the unprejudiced unity that we up all that has been revealed.
must attribute to things in the world, but not so as to He also tells us that these
questions are not ontological,
Read more
prematurely blind us to the abyss, but in order to remain
there, to tirelessly nurture ourselves from the wellspring of
originary possibilities. e danger lies precisely in closing
off the road toward the originary, to allow a certain
scarring to deceive us and conceal the living blood that
runs beneath, that moistens the bandages. e secret to a
fundamental project lies precisely in repetition. To repeat
is to re-open, in the sense in which it is said that one must
‘scratch’ and re-open a scar that has inconveniently healed
so as to allow the wound once again to exist in the play of
its own possibilities. With this re-opening, we allow life
itself, accidental and in zozobra, to remain immersed in its
originary possibilities; we allow it to access its own sources
and we keep it there, and there we nurture it. Inferiority is
an insufficiency that has renounced its origins, that has
lost itself and seeks to cover over the demands that its own
decisions impose on us – rooted as they are in zozobra and
accidentality. What will we do as beings in zozobra? How
will we cover up our accidentality? How will we escape the
proximity of death and zozobra? In maintaining oneself in
the accidental, are we deprived of the possibilities for
action? ese questions no longer belong to ontology
proper, but to morality. Now is not the time to answer
them.34
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