Columbus No Longer Measures Up in America

Published in
(Spain) on 26 January 2019
by Hughes (link to originallink to original)
Translated from by Megan Dicken. Edited by Helaine Schweitzer.

OPD 26 Jan 2019, edited by Helaine Schweitzer

The Catholic University of Notre Dame will now cover up murals dedicated to Christopher Columbus, considered degrading to Native Americans, as requested by its president, the Rev. John Jenkins. The ideological shift of current progressive liberalism, which dominates academic culture in the United States, has reached the Catholic campus. It is accompanied by a certain universalism and totemic idea of diversity.

This ideology looks to the past with a different sentiment. It turns history into a gallery of horrors and subjugation that have to be repaired or become stigmatized. History is no longer the product of who we are, but the shame of who we are. Not only is the past detestable; the idea of difference is tolerable only if nothing is superior or inferior, if nothing is imposed upon something else. Legal equality is no longer the issue, it is an ecological, absolute and symbolic equality. Native submission to the superiority of the invader/discoverer is, therefore, an unacceptable idea, so much so that the Rev. Jenkins' letter judges the murals in the context of the late 19th century as having been designed for the hubris of the Catholic emigrants of that time. That is, the work was justified as long as it served to integrate the Catholics among the Protestants. It was justified only to defend certain "marginalized" people. But nowadays, the Catholic Columbus is no longer highly regarded in America. America distrusts Columbus, as he does not have a history that respects its diversity. The ethnic comedians of Netflix laugh at him sarcastically in their monologues.

The unacceptable cannot be represented, so works of art are concealed, something that would be expected from religious fanaticism. Trying to avoid any form of discrimination (even in art), interferes with free expression and permits only neutral spaces that do not threaten the idea of universal and retrospective equality. The Rev. Jenkins believes Columbus repressed "vibrant cultures," only because there is nobody to represent the point of view of those subjected to his brutality.

A liberalism that prevents freedom of expression in order to extend political correctness is no longer exactly liberal, it is anything but.


La católica universidad de Notre Dame cubrirá por «degradantes» para el nativo americano las pinturas murales dedicadas a Cristóbal Colón. Así lo ha solicitado su presidente, el padre John Jenkins.
También al campus católico llega la deriva ideológica del liberalismo progresista actual, que en EE.UU. domina la cultura académica, y que viene acompañado de cierto universalismo y de una idea totémica de la diversidad.

El producto de esta ideología mira al pasado con otra sensibilidad. Convierte la historia en una galería de horrores y sometimientos que han de ser reparados o estigmatizados. La historia no es ya el producto de lo que somos, sino la vergüenza de lo que somos. No solo el pasado es odioso. La idea de diferencia es tolerable solo si nada es superior o inferior. Si nada se impone sobre otra cosa. La igualdad jurídica ya no es la cuestión, se trata de una igualdad ecológica, absoluta y simbólica. El sometimiento nativo a la superioridad del invasor/descubridor es, por tanto, una idea inaceptable.

Tan es así que la carta del padre Jenkins juzga la obra, en su contexto de finales del XIX, como destinada al orgullo de los emigrantes católicos de entonces. Es decir, tuvo justificación mientras sirvió para integrar al católico entre protestantes. Se justificaba solo en tanto defensora de ciertos «marginados». Pero, en la actualidad, el Colón católico ya no está a la altura de América. América recela de Colón, que no tiene una biografía respetuosa de su diversidad. Los cómicos raciales de Netflix se reirían corrosivamente de él en sus monólogos.

Lo inaceptable es irrepresentable y por eso ocultan las obras de arte, algo que se esperaría del fanatismo religioso. Tratando de evitar cualquier forma de discriminación (hasta en el arte), se llega a intervenir la libre expresión y solo resultan admisibles espacios neutros que no amenacen la idea de igualdad universal y retrospectiva. Jenkins considera que Colón reprimió «culturas vibrantes», solo porque no hay nadie que represente el punto de vista de los sometidos a su brutalidad.

Un liberalismo que interviene así la libertad de expresión para extender esta corrección política ya no es exactamente liberal, es otra cosa.
This post appeared on the front page as a direct link to the original article with the above link .

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