Ioca seriaque: La faz del poeta y la cruz del racionero en los estribillos de Góngora (1581-1583)
DOI:
https://doi.org/10.24310/analecta.v38i1.4344Abstract
RESUMEN: Interpretación de los estribillos y ciertas estrofas de las cuatro primeras letrillas de Góngora. Se ofrecen las fuentes que se imitan y / o parodian, principalmente Diego Hurtado de Mendoza y Pedro de Padilla, y se muestran las operaciones cognitivas que instauran formalmente (mediante el rasgo de «iconicidad polifónica») las dos vías de la parodia gongorina. Planteo la existencia de un indéxico oculto de «citación / descitación» que explica este icono conceptual «de verdad poética»: se trata de extraer los índices del entrecomillado de palabras de una voz externa y proceder a su desentrecomillado con la voz del poeta mediante un signo de suscripción. Se muestra también el desarrollo de la «higa burlesca», concepto de una auténtica «poética del estribillo» gongorino basado en la actio elocutiva.
ABSTRACT: Interpretation of the choruses and some stanzas of the ? rst four letrillas of Góngora. The sources that mimic and / or parody, mainly Diego Hurtado de Mendoza and Pedro de Padilla, are offered, and cognitive operations that formally establish (through the feature of «polyphonic iconicity») the two routes of the parodic demysti? cation are shown. I propose the existence of a hidden indexical of «quotation / disquotation» that explains this conceptual icon «of true poetic»: one must extract the indexes of quoted words of an external voice and proceed to their disquotation with the poet’s voice by a sign of subscription. The development of the «burlesque higa», concept of an authentic gongorine «poetic chorus» based on actio elocutiva, is also shown.
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