Schutzian Frames of Apperception and the Inquisitorial Grammar in Branca Dias
Dados Bibliográficos
| ID | 8250871 |
|---|---|
| Autores | Fernando Luiz Nobre Cavalcante (0000-0003-2803-5291, Duquesne University, autor correspondente) |
| Ano | 2025 |
| Volume | 10 |
| Fascículo | 1 |
| Páginas | 413-440 |
| Data de publicação | 2025-12-09 |
| Peer Reviewed | Sim |
| Open Access | Sim |
| Tipo | ARTICLE |
| Periódico | International Journal of Latin American Religions (JOURNAL) |
| Identificadores do periódico | ISSN: 2509-9965 • E-ISSN: 2509-9957 |
| Editora | Springer Science and Business Media LLC (PUBLISHER) |
| DOI | 10.1007/s41603-025-00310-y |
| OpenAlex | W4417167542 |
| Idioma | EN |
| Referências citadas | 16 |
I draw together history and dramaturgy through the figure of Branca Dias Coronel (Koren) (c. 1505–1589). This article offers a phenomenological reading of O Santo Inquérito , the play by Dias Gomes (O Santo Inquérito, 1995, p 83), treating it as a symbolic field where forms of violence are reinscribed—religious persecution and sensory and typificational violence. The question guiding my inquiry is whether Branca’s posthumous persecution, staged as a sacrifice, might be read not merely as the product of inquisitorial repression but as a dramaturgical condensation of silencing practices that operate at the level of the body, gesture, and sign. I turn to Alfred Schutz in Symbol, Reality and Society ( Collected Papers I: The Problem of Social Reality , 1967, pp. 297–299), whose distinction of our different orders involved in the appresentational situation—namely, the apperceptual, appresentational, referential, and interpretational orders—provides a generative lexicon for describing the layers of embodied perception that unfold within the scene. A ritual and sensuous dimension of performance emerges, in which Branca’s body—motionless, aromatic, inflamed—figures as a living trace of a symbolic struggle for recognition and survival
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| Velocidade de citação | historical |
|---|---|
| Altamente citado | Não |