Hospitalidad y reciprocidad en ritmo de arrullo. Representaciones trinitarias del amor maternofilial en la canción de cuna de autor conocido

Abstract

Lullabies written by a known author are distinguished by returning to enunciative and semantic aspects of the folk genre and modify them, so even an author sitting in front of a white paper, no children in sight, will still keep in mind an utterance situation which belongs to functional poetry, and, therefore, has a very concrete object: to lull the child. Therefore, when addressing the representations of mother-child love implicit in works of this genre, it is productive to consider two theological correlates of this love, both described by John Paul II at Mulieris Dignitatem: one, the decisive relationship between Christ, the second person of the Trinity, and the Virgin Mary; the other, the mystery of the eternal «generating», intimate to God, and his biblical description by the means of the image of maternal love.Considering these main themes, the present article aims to analyze «Summertime», by George Gershwin (in his opera Porgy and Bess, which script was written by Ira Gershwin y DuBose Heyward, 1935) and «Regalitos», a song by Juan Quintero (in Después de usted, Buenos Aires, 2013), to understand how Trinitarian hospitality and reciprocity leave their mark on the lullaby genre, resignifying the songs in contexts of pain.

Keywords

• lullaby
• mother-child love
• trinitarian ontology
• reciprocity
• hospitality