La unión con lo sagrado en la mística femenina medieval

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La unión con lo sagrado en la mística femenina medieval:

ágapes, música y jardines

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Ciclo El Pensamiento Simbólico

Las manifestaciones simbólico-artísticas

más importantes de la Humanidad,

dirigido por César R. Espinel

Impartido por Mª Victoria Curto, filóloga, pianista, cantante lírica

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Descripción

Durante siglos las voces femeninas de la mística española bajo-medieval y renacentista se han visto obligadas a guardar silencio, roto únicamente por la excepcional figura de Teresa de Jesús.

En esta ocasión pondremos nuestra atención en las predecesoras de la Santa abulense, con el objetivo de reconstruir más fielmente una época histórica y espiritual en la que la mujer tuvo un papel protagonista.

De la mano de los escritos de religiosas como Juana de la Cruz (1481-1534) o María de Santo Domingo (1485-1524) nos sumergiremos en el imaginario de la mística femenina y ahondaremos en tres alegorías recurrentes: el alma humana como jardín y como instrumento musical cuidado y tañido por Jesús, y Cristo como manjar principal de los banquetes celestiales.

Estas tres imágenes revelan que para la mística femenina de este periodo la relación con la trascendencia era una experiencia fundamentalmente afectiva y corporal, aunque al mismo tiempo se trataba de una espiritualidad aún estrechamente ligada a la filosofía de la Antigüedad.

Por último, señalaremos la influencia que estas místicas ejercieron en Santa Teresa y reflexionaremos sobre su contexto histórico para entender por qué figuras tan válidas y valiosas como Juana o María terminaron en el olvido.

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LOGÍSTICA

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Centro Universitario Philippus Thuban

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María Victoria Curto

Profesora-investigadora en formación en la Universidad Complutense de Madrid desde el 2017. Su tesis doctoral, «Música, danza y teatralidad en la mística femenina bajomedieval», se desarrolla dentro del Proyecto I+D «La conformación de la autoridad espiritual femenina en Castilla» (visionarias.es). Su formación como pianista y cantante la ha llevado a participar en proyectos músico-teatrales como el ciclo «Los martes, milagro» del Teatro Fernán Gómez y a actuar en los festivales de teatro clásico de Almagro y de Alcalá. Como investigadora ha participado en congresos internacionales (Barcelona, Évora, Roma, Atenas), ha publicado varios artículos y ha editado textos antiguos, entre ellos el «Libro de la oración» de María de Santo Domingo. Como docente ha impartido clases y seminarios en centros culturales, asociaciones y en algunas universidades europeas (Oporto y Londres).

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