Table 1. New perspectives of qualitative progress

The philological perspective pays attention to the historical tracking of this hate speech, therefore looking, fundamentally, at book sources, with the later incorporation, already in the nineteenth century, of journalistic ones, and in the twentieth, of modern audiovisual products. For its part, the linguistic perspective deals with the construction of the reality that we are analysing from the perspective of Critical Discourse Analysis, insofar as it conceives any discursive practice of a social nature (Fairclough and Wodak, 1997) that always pursues ideological objectives (van Dijk, 2015). Based in our experience, taking this perspective, we insist on issues such as political instrumentalisation or linguistic columnism practised by certain authors in the media, in order to mitigate the negative view of the Andalusian language variety.

2.2. The philological perspective

Alberto González Troyano’s work (2018: 9-37) examines the image of what is related to what Andalusian is from the end of the 18th century to the present day. After the ephemeral passage of the Age of Enlightenment, a large part of the stereotypes that continue in the present were created from the descriptions of foreign romantic travellers. And, despite its noble original endeavour, Costumbrism did not help to neutralise the distortions perpetrated by them. Rather it served, especially in the case of the epigones of Serafín Estébanez Calderón, to amplify them. It insists, thus, on the topic without there being any way to contain its overwhelming momentum. Costumbrism evolves to become a perpetuated genre. To this fact, it must also be added the construction, in an interested way, by the Centre and North of Spain, of a series of prejudices around Andalusian, so that, as a dominant group, they maintain their position.

In line with the design of this hierarchy in power relations, critical sociolinguistics speaks of the inferiorisation of Andalusian in relation to the remaining Spanish territory (Rodríguez-Iglesias 2015: 99-104 and 2018: 98-109). The conversion of that movement into a genre reaches modern audiovisual products, since the existence of certain characters, generally of low social status and funny, is identified with their Andalusian origin, manifested in their way of speaking. We are talking about dozens of television series and movies that have exploited Andalusian and its association with the already known stereotypes, their actants and their settings. The premiere of Ocho apellidos vascos (2014) has served to reactivate that association. The latest milestones, following the success of the film, are the series Allí abajo (2015) –whose title is an evidence of the similarity between the geographical and hierarchical position– and the film El mundo es suyo (2018).3