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<p>I draw together history and dramaturgy through the figure of Branca Dias Coronel (Koren) (c. 1505–1589). This article offers a phenomenological reading of <i>O Santo Inquérito</i>, 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 <i>Symbol, Reality and Society</i> (<i>Collected Papers I: The Problem of Social Reality</i>, 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.</p>

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Schutzian Frames of Apperception and the Inquisitorial Grammar in Branca Dias

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  • 发表日期：

    2025年12月9日

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  • Kochav Koren

摘要

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.