Sobre el multiverso cultural de los títulos: titulología filosófica hispana

Juan Antonio González de Requena Farré

doi:10.22234/recu.202614.1400

Authors

Juan Antonio González de Requena Farré Austral University of Chile https://orcid.org/0000-0002-4296-2211

DOI:

https://doi.org/10.22234/recu.202614.1400

Keywords:

National Bibliography, Philosophy, Bibliology, Culture, Grammar

Abstract

The field of titology integrates grammatical and pragmatic studies of titles as a semiotic device, textual practice, and cultural discourse. Within this theoretical framework, this study aims to characterize the variations and functions of titles in Hispanic philosophical literatura, in order to understand the cultural significance of entitling practices. A descriptive study was conducted on a corpus of 151 translations of titles from the philosophical canon and 503 works of Hispanic philosophy. The results reveal preferred options in informational organization, semantic content, syntactical construction and pragmatic framing. In conclusion, characteristic variants can be recognized in the titles of Hispanic philosophical bibliography; but there are also emerging practices of titling in contemporary thought, with a greater emphasis on disciplinary framing and metaphorical or ironic expression.

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Author Biography

Juan Antonio González de Requena Farré, Austral University of Chile

Español. Doctor en Filosofía por la Universidad Complutense de Madrid, con especialidad en Metafísica: cuestiones de estructura, historia y crítica. Magíster en Ciencias Sociales, Universidad ARCIS (Chile) y Máster en Ciencia del Lenguaje y Lingüística Hispánica, UNED (España). Actualmente se desempeña como académico e investigador en el Instituto de Psicología, de la Universidad Austral de Chile. Líneas de investigación: análisis del discurso político, retórica, filosofía social. Últimas publicaciones: Oakeshott sobre las reglas legales y el Estado de derecho” (2024). y “Crítica retórica y retórica filosófica en la ‘nueva retórica’ de Kenneth Burke” (2024).

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