14 abril, 2026

MASCULINIDADES Y FEMINIDADES: DEL SIGLO XIX A LA ACTUALIDAD. Por Eleonora Del Río y Elías Ron

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La Vuelta del Malón.  Ángel Della Valle 1892

El feminismo nos ha permitido situar a cada uno de nuestros cuerpos, darles un lugar sin distinción de sexo o de género, y es por esto que nos sirve como herramienta de lucha en todos los espacios y territorios, desde el afectivo y el doméstico, hasta el laboral y el urbano o campesino.

Por Eleonora Del Río y Elías Ron

INTRODUCCIÓN

Argentina como país alberga una infinita diversidad de culturas y sociedades, y nuestra historia está un poco ligada al colonialismo y otro poco a la eterna búsqueda del significado (y lo que implica) ser argentinx. Frente a esto podemos escribir desde el lugar que nos toca y reflejar desde la ciencia la singularidad que implican dos variables, dentro la infinidad existente: la feminidad y masculinidad. Porque si algo nos demostró el movimiento feminista es la  masividad y radicalidad del trabajo de “tejer” y “enhebrar” los acontecimientos de la vida cotidiana en teoría, en genelogía, en historia, y ante todo, en lucha (Gago, 2019).

Tomando como punto de partida el hecho de que tanto las ideas de feminidad como de masculinidad son conceptos profundamente complicados de definir, lo más prudente es, en primer lugar, intentar desglosar algunas características del concepto de género. Judith Butler (2001) explica que, mientras el sexo es un atributo biológico, dado, el género es la construcción cultural variable del sexo (ser varón o ser mujer), y por lo tanto no se nace con un género, sino que este es siempre adquirido. Entonces, “si el género es una interpretación cultural y variable, no hay un modo unívoco de entender la feminidad o la masculinidad. El “ser mujer” (y por extensión, “el ser varón”) no puede ser entendido como una identidad “natural” o “incondicionada”, sino más bien como roles sociales culturalmente asignados, que por su carácter contingente son susceptibles de ser resignificados” (Mattio, 2012; 89)

Por otro lado, es relevante añadir el concepto de performatividad de género elaborado por Butler. “Decir que el género es performativo significa decir que posee una determinada expresión y manifestación; ya que la “apariencia” del género a menudo se confunde con un signo de su verdad interna o inherente. El género está condicionado por normas obligatorias que lo hacen definirse en un sentido u otro (generalmente en un marco binario) y por tanto la reproducción del género es siempre una negociación de poder.” (Butler, 2009. 322)

Es decir, de lo anteriormente explicado se desprende que ni la feminidad ni la masculinidad como performatividad de género son hechos biológicos, ya que no dependen de la genitalidad con la que nacimos, ni son tampoco la manifestación de alguna entidad metafísica como el alma, como la esencia o como cualquier otra abstracción energética. Ambas son ideas de relación, son conceptos históricos que solamente existen en el contraste del uno contra el otro, es decir, de la masculinidad en comparación con la feminidad. Tampoco hablamos de un solo significado, sino de conjuntos de significados que se construyen, de forma cambiante, a través de las relaciones con otrxs, por eso el eje de este trabajo sostiene que la masculinidad y la feminidad no son estáticas ni tampoco atemporales, sino que muy por el contrario: son históricas y construidas.

La cultura argentina ha construido y disciplinado históricamente una enorme variedad de cuerpos, cimentados en la dualidad de dos únicos sexos (y géneros), desiguales y diferentes, y esto es fundamental para entender la realidad en la que vivimos. Resulta fundamental realizar un análisis de las maneras en que estos dos géneros fueron representados tanto en nuestra literatura como en nuestro imaginario popular, centrándonos fundamentalmente en los siglos pasados ¿Que implicó históricamente ser un hombre o una mujer argentina, y qué implica hoy? ¿Hay tantas cosas que han cambiado?

PATRIA – MATRIA 

Partiendo desde la especificidad, a la hora de hablar de Argentina hay que hablar de dos conceptos entre otros tantos: Nación y Patria. Rozitchner (2011) encuentra ahí el reflejo de la situación actual del mundo, y cuando hablamos de mundo, hablamos de un mundo neo-liberal que tiende a disolver diferencias para imponer un solo binarismo. 

La primera relación que tienen los humanos es con el suelo materno, y en América Latina en especial, es con la Madre Tierra, con la Pachamama. El autor señala que he de ahí la primera relación fundamental con la tierra, y por lo tanto con la idea de maternidad, y por eso mismo allí surge una de las primeras dudas ¿por qué Patria y no Matria? En esta primera instancia aparece ya el dominio patriarcal, la visión masculinizada de la tierra. El suelo patrio implica la idea de pertenencia, implica que ahí inician las diferencias en ubicación de los miembros entre sí: los que se encuentran dentro y los que se encuentran por debajo, quedando algunos contenidos en el concepto de Patria, mientras que muchos otros eran susceptibles a quedarse excluidos de esa idea. 

Desde la conformación de Argentina, encontramos que la idea de Patria une a la idea de participación dentro del territorio y se encuentra sostenida sobre guerras de conquistas para expandirla. La tierra es como el cuerpo objetivo (Rozitchner, 2011) donde, en realidad, el cuerpo no existe como cuerpo individual; ya que continuamente está en intercambio con el mundo exterior, de lo contrario no existiría. Si no existiese un intercambio con la naturaleza y con los otros humanos, no sería posible la definición de un cuerpo.  En este intercambio, si abordamos estas variables como un ámbito igual de complejo que lo anterior, nos encontramos con lo femenino como un excedente del lenguaje que conduce de forma inmediata a cuestionar cómo es que se instituye, en la actualidad, un supuesto signo de igualdad en un ámbito claramente esgrimido por una discordancia en su plena fundación. 

Gago (2019) retrata cómo en este contrato civil en el que hablamos de Patria y de Argentina encontramos una ficción hecha a medida de los hombres, que se aleja de la idea de la Matria que posee el poder «dar a luz». El hombre crea la Patria a su medida, dándole la capacidad de generar nuevas formas de la vida política (y social). El patriarcado moderno, según la autora, singulariza bajo una forma de derecho político el poder que poseen los hombres para ejercer sobre mujeres, cuerpos feminizados y también otros hombres. El cuerpo masculino es dibujado como un cuerpo racional capaz de la creación de orden y discurso. 

Así mismo, estas explicaciones, nombradas por la autora como ficciones de «origen» se montan sobre expropiaciones materiales: conquistas y apropiaciones de tierras comunales e indígenas, conquistas y apropiaciones del cuerpo femenino y los cuerpos feminizados (esclavxs y migrantes). Sobre esos despojos, se recorta la figura del individuo. No hay posibilidad «natural» de esa subordinación de las mujeres sin antes arrancarles toda posibilidad de autonomía económica. No hay confinamiento y empobrecimiento de las mujeres, para volverlas dependientes y sumisas, sin un despojo previo de sus capacidades autogestivas y de sus economías propias.

El concepto de “matria” (Zapata 2016) es construido en base a la idea contemporánea, porque implica reconocer al propio cuerpo como primer y principal territorio político y asumir cómo se sitúa el conocimiento. Para construir y reconstruir es necesaria la idea de dotar de valor el cuerpo de antepasadas y antepasados, que se silencian en intentos de mantener relatos históricos dominantes. La feminidad es históricamente construida de manera incompleta, y sufre esa intencionalidad, dejando que hechos relevantes confundan la identidad que corresponde. 

SOMETIMIENTO DE LA MUJER COMO RECURSO HISTÓRICO

El cuerpo femenino, según (Gago, 2019 ) funcionó en su momento como reemplazo de los espacios comunes (la tierra) para ser privatizado, las mujeres fueron sometidas a una explotación que no solo es al trabajo, sino a su cuerpo sometido (y entendido) como servicio personal y recurso natural, recurso histórico a su vez, tanto como botín de guerra en el inicio de la conformación del estado argentino como en el capitalismo, tanto en la cautiva como en el refugio del matrimonio burgués, pasando por la actualidad de aquellas que bajo la intemperie se convirtieron en clase servil (de amas de casa a empleadas domésticas o prostitutas). El rapto de las mujeres es tanto acto de guerra cultural como “procreación necesaria para la paz”, y así mismo, siempre es revertida por esa dosis mítica de causalidad, como lo fue Helena de Troya.  El rapto de mujeres aparece como una condición ancestral entre grupos humanos, y su tráfico, como una realidad.

La vuelta de la cautiva. BLANES 1880

La visión que se tiene de la mujer es siempre la del cautiverio, la del secuestro, la de la rehén, prisionera y perseguida. La mujer raptada es, sin dudas, la mujer fundadora, portadora de una virginidad impuesta (González) del patriarca conquistador y el paso abismal que supone entre el patriarca conquistador y el patriarca conquistado. Lo femenino es anónimo, pues tanto “esclava del blanco como del indio” ocupa un lugar marginal en la historia de la Argentina, la mujer es una habitante de frontera eterna, pues vaga entre el “salvaje”, en la lejana zona de fuego entre un viajero y un prisionero. Es por este motivo que Rotker (1997) sostiene acerca de las cautivas: “Allí, en el margen de la civilización, ocupan el margen del margen: sirvientes del indio, con cuerpos torturados y llenos de cicatrices, despreciadas por las indias que no las quieren de rivales, abandonadas por lo suyos, madres de niños mestizos que debían abandonar si alguna vez lograban volver a la civilización. El margen del margen.”

Para comprender la representación de las mujeres y de los hombres en la literatura clásica  de nuestro país, proponemos el análisis de algunas citas de la  obra: “Lucía Miranda”, versión de Rosa Guerra. La misma habla acerca de una mujer española y blanca llamada Lucía Miranda, que acompaña a su esposo Sebastián Hurtado, también español y blanco, a la colonia española denominada El Fuerte Espíritu Santo. A continuación, se citan algunas descripciones que hace la autora de ellxs dos:

  • “Era el verdadero tipo español, hermosa como la primera mujer que Dios diera por compañera al hombre, esbelta como el más bello árbol del paraíso, seductora como nuestra amorosa madre Eva.” (Guerra; 1860)
  • “Su pie diminuto como generalmente lo tienen las andaluzas, y su talle tan flexible y delicado, que bien podía hacer su cintura de una liga.” (Guerra; 1860)
  • “Era un verdadero conjunto de gracia, de hermosura y de belleza, era lo que se llama una mujer irresistible.” (Guerra; 1860)
  • “Su andar, su hablar, el menor de sus movimientos, sus miradas tiernas y expresivas a la vez, atraían todos los corazones, tanto españoles como indios. Tanta bondad y afabilidad había contribuido en gran manera a atraer a la colonia Espíritu Santo la buena fe y amistad de los Timbúes.” (Guerra; 1860)
  • “Era Hurtado uno de los más cumplidos caballeros españoles. (…)  la mayor parte de los pobladores del Río de la Plata, como lo aseguran los más verídicos historiadores, fueron hijos de principales familias, hombres de nobles casas, hidalgos, caballeros y comendadores (…)” (Guerra; 1860)
  • “Tenía un rostro verdaderamente varonil, nada de afeminado ni risueño” (Guerra; 1860)
  • “De los deberes de las mujeres europeas para con sus maridos, y del amor noble y caballerezco de estos para con sus esposas.” (Guerra; 1860)
  • “Era una pareja preciosa: El verdadero tipo de hermosura y belleza en la mujer, el garbo y gentileza en el hombre.” (Guerra; 1860)

Mientras la mujer es reconocida por su belleza, por atributos físicos que denotan cierta debilidad, por ser buena, tierna, amable, seductora e irresistible, por cumplir los deberes con su marido y por su devoción hacia el mismo; el hombre es apreciado por su caballerosidad, por su valentía, por su fortaleza, por ser fuerte y no tener rasgos “afeminados”, y por ser gentil sin perder hombría. 

Al avanzar la historia, Lucía Miranda es secuestrada por el cacique de los Timbúes, Mangora, que estaba enamorado de ella y no pudo soportar su rechazo. Esto ilustra perfectamente lo que dice Susana Rotker (1997: 117) acerca de las cautivas: “el poder se afirma en la posesión del cuerpo femenino.” Sin embargo, a pesar de su amenaza inminente, durante todo el relato se omite la idea de violación hacia Lucía Miranda, como protegiendo el honor de esta mujer blanca y europea al evitar el contacto directo con un índigena. Es en esa omisión en la que vuelve a borrarse parte de la historia y de la identidad de las mujeres de nuestro país. Entonces la gravedad del asunto no recae, para quienes escribieron la historia y evadieron una enorme parte de ella, en la violación de la mujer como hecho en sí mismo, sino en la idea de mestizaje con la barbarie, con los índigenas. “Es un pecado que revela el deseo y el odio entre grupos raciales, que contiene la violencia sexual y, lo peor, lo que esta acarrea como consecuencia: la contaminación étnica y cultural.” (Rotker, 1997; 120). Lucía Miranda prefiere morir a serle infiel a su marido y mezclarse con un “indio” como Mangora, y es allí donde recae su valor entero como mujer, en el hecho de ser una esposa abnegada. Por otro lado, incluso en estas situaciones de absoluta violencia y sufrimiento, se encuentran citas como “en su dolor, Lucía estaba celestial”, porque evidentemente, hay pocas cosas más destacables en una mujer del siglo XIX que su belleza física, más allá del contexto en el que se encuentre. 

El regreso de la cautiva. Blanes 1880

La autora Zapata (2016) nos ilustra la importancia que posee este preciosismo tramposo a la hora de describir tanto a la masculinidad como la feminidad, ya que existe en el lenguaje (en las palabras, en los diálogos…) un terreno en el que siempre se libran batallas. En el lenguaje suceden las disputas, las luchas por nombrar al mundo y a los humanos que lo habitan. Para entender qué significa ser hombre y ser mujer en Argentina, con sus propias significaciones y resignificaciones, se debe abordar primero desde el lenguaje, y luego desde el entendimiento de que los saberes situados son parte de una idea del cuerpo como territorio.

MASCULINIDADES Y FEMINIDADES EN LA ACTUALIDAD

Para comprender qué sucede en la actualidad, Gago (2019) habla de una masculinidad sostenida en la dignidad del “patriarcado del salario”. En estrecho modelo del patriarcado, los sujetos son necesariamente masculinos, blancos y asalariados, pero que han sufrido una expansión de la capacidad política de las mujeres y las disidencias. Entonces, ¿de qué cuerpos, territorios, masculinidades y feminidades podemos hablar en nuestro presente? El salario ha sido históricamente la medida objetiva de posición dominante en el mercado laboral argentino (y mundial) que también ha dado resultados tanto políticos como sociales, porque aseguraba el control del trabajo obligatorio, y aquel trabajo no pago del hogar a cargo de las mujeres al tiempo que eran salvaguardadas, como peones de un jefe o patrón dentro del propio hogar. Actualmente, no es que esta realidad no sea tangible, ni que tampoco se cuestione la idea de jerarquía, de monopolio de dinero, pero se ha producido una crisis evidente en la idea de salario como manera objetiva de medir y sostener la autoridad masculina, y es por esto que la violencia desmedida dentro de los hogares ha surgido como la forma de afirmar su autoridad en este nuevo contexto. La masculinidad no es pasiva, sino activa, y está motivada por la autosuficiencia y la dependencia. 

En la construcción política, ideológica, y material del patriarcado, existe constantemente siempre una puja entre lo masculino y lo femenino. La razón contra la emoción, fortaleza contra debilidad, valentía y cobardía. La mujer encarna lo femenino como secundario e inferior. El hombre debe siempre construir su identidad en oposición a la idea de feminidad, un varón combate su propia feminidad para demostrar que es hombre y no mujer. La virilidad del hombre argentino es tanto sexualidad activa como construcción y reconocimiento del propio cuerpo como verdadero. Es un proceso que se legitima así mismo con sus riesgos: el fracaso en relación a la impotencia y la idea de exilio del propio cuerpo (el exilio es dejar de ser considerado masculino). El “hacer varón” se lleva como una validación en sí misma que encarna la complicidad machista en la esencia. 

La noción del cuerpo como un territorio se sostiene en esta idea de la normativización de la propiedad individual-colectiva. Es una postulación que surge del antagonismo entre lo abstracto de la modernidad neoliberal con el individuo propietario de su propia espacialidad. La masculinidad no puede abstraerse del cuerpo marcado como masculino.

Por otro lado, tanto en Sarmiento como en Arlt se conforma y se comenta a la mujer que pasa su vida entera bajo el control masculino como hija, esposa y madre, y por consecuencia, no es otra cosa que una esclava en el sistema patriarcal. La literatura argentina (Martínez, 1999) enfatiza esa contracara de lo femenino, la mujer burguesa, desde la hipocresía, la obsesión por el matrimonio, las apariencias y el dinero. La mentira, la educación falsa que en las obras de Arlt, por ejemplo, se muestra a la mujer burguesa que se educa nada más por motivos de aburrimiento, pues es en el fondo un ente que se dedica a torturar al hombre. Sin embargo, el escritor encuentra a las “mujeres sinceras” que viven de la inteligencia de la picaresca, en su mayoría de la clase baja y están, como sus contrapartes masculinos, atrapadas en un sistema que humilla y desprecia al inmigrante, al pobre, y al que no puede cruzar la barreras sociales en Argentina. 

Ser mujer hoy no está tan lejos de lo que revisamos anteriormente. Las mujeres deben ser tiernas y sensibles, deben preocuparse por su belleza, por ser flacas y dóciles (no tan flacas tampoco), pero sin ser huecas y superficiales. La mujer debe querer formar una familia y maternar porque ese es su rol natural, y debe ser servicial con su marido sin pedir mucho a cambio. En cuanto al terreno laboral y profesional, está permitida cierta ambición, pero sin descuidar a la familia. En caso de ocupar puestos de mando, es necesario ser firme pero sin ser “mandona” o autoritaria. Y, siguiendo con la línea marcada previamente en cuanto a la idea de cuerpo-territorio, es relevante traer el debate argentino sobre el aborto legal, seguro y gratuito. Es que la ilegalidad de este era una forma clarísima de violencia sobre los cuerpos feminizados, una manera de expropiarles a las mujeres su propio cuerpo, prohibiéndoles la posibilidad de tomar decisiones propias y autónomas respecto del mismo, y todo esto garantizado por el Estado y sus leyes. Sin embargo, “la constatación de que no hay forma de gobierno que no presuponga de manera intrínseca la subordinación de las mujeres es el a priori que se puso en crisis con la lucha por el aborto al pasar los límites del cuerpo individual y del territorio de la ley” (Gago, 2019; 112). 

El feminismo nos ha permitido situar a cada uno de nuestros cuerpos, darles un lugar sin distinción de sexo o de género, y es por esto que nos sirve como herramienta de lucha en todos los espacios y territorios, desde el afectivo y el doméstico, hasta el laboral y el urbano o campesino.

EMANCIPACIONES Y CONCLUSIONES
En este trabajo se buscó principalmente pensar y re-pensar las ideas de masculinidad y feminidad, desde su construcción histórica hasta su significado actual, buscando entender un poco su repercusión en nuestro imaginario colectivo y popular, siempre desde una forma humana, mas no por eso menos científica ni con menos deseos de emancipación. Es que el objetivo de un trabajo de esta índole, teniendo en cuenta el concepto de performatividad de género  que se explicó en un principio, es ir desandando los mandatos de género que nos han impuesto a lo largo de la construcción de nuestra nación, desde los mitos fundacionales hasta la actualidad.

 Rescatable es, siempre, la relación de lo masculino y femenino con la noción de territorio-cuerpo, la forma en la cual se aplica como estudio de la lucha contra la dominación patriarcal (Zapata, 2006) y la deconstrucción de nuestra esencia para buscar construir nuevas realidades. Entendemos que resulta clave, tanto para el feminismo contemporáneo como para cualquier otra lucha transversal, reconocer al propio cuerpo como esencia, como primer territorio de la política, asumiendo que todo conocimiento histórico, social y económico está situado. No es suficiente con leer el Facundo, con entender la Cautiva. Hace falta poner un auténtico valor a lo que son (fueron) nuestrxs antepasadas y antepasados, luchando constantemente contra el olvido, el silencio y la construcción de relatos dominantes que buscan borrar la participación social o la creación de nuevas identidades.

BIBLIOGRAFIA

  • Dorronsoro, B. El territorio cuerpo-tierra como espacio-tempo de resistencias y luchas en las mujeres indígenas y originarias.
  • Butler, Judith (2001) El género en disputa. El feminismo y la subversión de la identidad. D.F., Paidós.
  • Mattio, Eduardo, “¿De qué hablamos cuando hablamos de género? Una introducción conceptual” en Morán Faúndes, José Manuel; Sgró Ruata, María Candelaria y Vaggione, Juan Marco (eds.), Sexualidades, desigualdades y derechos. Reflexiones en torno a los derechos sexuales y reproductivos. Córdoba: Ciencia, Derecho y sociedad. 
  • Butler, Judith “Performatividad, precariedad y políticas sexuales” en AIBR, Madrid, Volumen 4, N 3, 2009.
  • Rozitchner, León (2011) “La Patria: el suelo materno y el gran mundo social”.
  • Verónica Gago, La potencia feminista o el deseo de cambiarlo todo [Cuerpo-territorio: el cuerpo como campo de batalla], 2019.
  • Zapata, R. “La Matria, el cuerpo como territorio”. publicado el 18 de diciembre de 2016. Disponible en línea en: https://www.unidiversidad.com.ar/encontrandonos-en-la-matria (Fecha de consulta: 18/07/2022).
  • González, Horacio. La Argentina manuscrita. La cautiva en la conciencia nacional, 2016.
  • Rotker, Susana (1997). “Lucia Miranda: Negación y violencia de origen”.  Rutgers University Revista Iberoamericana. Vol. LXIII, Ntums. 
  • Guerra, Rosa (1860), Lucía Miranda. Buenos Aires, Imprenta Americana.
  • Martínez, Victoria. Roberto Arlt y las mujeres en las Aguafuertes porteñas. (1999). https://www.lehman.cuny.edu/ciberletras/v03/Martinez.html 

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