Publication: “Quel nobilissimo sesso di Donne”. Descripción de la construcción semiótica de una gramática de los géneros en un texto de la “Querelle des Femmes”: L’assonto amoroso in difesa delle donne, de Cesare Barbabianca (1593).
Authors
Broullón-Lozano, Manuel A.
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
https://doi.org/10.6018/cartaphilus.484271
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info:eu-repo/semantics/article
Description
Abstract
En términos semióticos, el
cuerpo se concibe como un dispositivo
sobre el que se pueden escribir y rees‐
cribir toda clase de significaciones. En
este sentido, en la esfera social, los
sujetos usan sus cuerpos para poner en
escena conductas y representar identi‐
dades, las cuales es posible analizar
como formas semióticas apoyadas en
escrituras reducibles a gramáticas.En consecuencia, el género es una tec‐
nología simbólica y corporal que se im‐
pone a los sujetos, como si fueran arte‐
factos poéticos o teatrales. En este en‐
sayo se analizarán las estructuras se‐
mióticas de algunos conceptos históri‐
cos como los de “belleza” o “virtud” –
pues dichos conceptos contienen pres‐
cripciones de género que rigen cuerpos
tanto masculinos como femeninos–
representados en un texto singular de la
“Querelle des Femmes” italiana y en‐
marcado bajo la Polémica del Véneto:
L’assonto amoroso in difesa delle donne
de Cesare Barbabianca (1593). Dicho
texto, a través de las enunciaciones
performativas de los cuerpos en el
plano discursivo y de los esquemas ac‐
tanciales, muestra una convergencia de
voces y argumentos que, basada en la
discusión desde la tradición, permite
deconstruir modelos, describir las gra‐
máticas prescriptivas del género y, en
última instancia, cuestionar la articula‐
ción semántica de ciertos conceptos
históricos.
Bodies can be defined as de‐ vices, in which, all sort of meanings can be written and re‐written. In this way, on the social sphere, subjects use their bodies to perform behaviours and rep‐ resent identities, which can be ana‐ lysed, both them, as a semiotic form sustained by structures reducible to Grammars. In consequence, Gender, is a a symbolic and embodied technology, which has been imposed to subjetcs, as if they were poetic or dramatic artifacts. In this essay, we aim to analyse the semiotic structure of some historical concepts such as “beauty” or “virtue” –because they contain prescriptions of Gender– on Male and Female bodies represented in a text from the Italian “Querelle des femmes” included at the Veneto Dis‐ pute: Cesare Barbabianca’s L’assonto amoroso in difesa delle donne (1593). This text, through the enounciated per‐ formances of bodies and the scheme of actants, shows a convergence of voices and arguments that, based on the dis‐ cussion eith the tradition, allows us to deconstruct models, describe the pre‐ scriptive grammar of Gender, and, at least, question the semantic articulation of some historical concepts.
Bodies can be defined as de‐ vices, in which, all sort of meanings can be written and re‐written. In this way, on the social sphere, subjects use their bodies to perform behaviours and rep‐ resent identities, which can be ana‐ lysed, both them, as a semiotic form sustained by structures reducible to Grammars. In consequence, Gender, is a a symbolic and embodied technology, which has been imposed to subjetcs, as if they were poetic or dramatic artifacts. In this essay, we aim to analyse the semiotic structure of some historical concepts such as “beauty” or “virtue” –because they contain prescriptions of Gender– on Male and Female bodies represented in a text from the Italian “Querelle des femmes” included at the Veneto Dis‐ pute: Cesare Barbabianca’s L’assonto amoroso in difesa delle donne (1593). This text, through the enounciated per‐ formances of bodies and the scheme of actants, shows a convergence of voices and arguments that, based on the dis‐ cussion eith the tradition, allows us to deconstruct models, describe the pre‐ scriptive grammar of Gender, and, at least, question the semantic articulation of some historical concepts.
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Citation
Cartaphilus, Vol. 19 (2021)
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