English: Carta atenagórica, Sor Juana Inés de la Cruz, México, Español: Carta atenagórica, Sor Juana Inés de la Cruz. Portada de la. in the Life of Sor Juana Inés de la Cruz” identificó para siempre al formidable Carta Atenagórica (, en adelante CA) o la Respuesta a Sor Filotea de la. Sor Juana Inés de la Cruz (). México. Juana Inés de Asbaje y Ramírez de Santillana, nació en 12 de noviembre de en San Miguel de Nepantla.

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This ed obsession with a seventeenth-century nun has been fueled in recent years by documentary discoveries and flurries of tricentenary conferences.

The bishop of Puebla did not conceal his disagreement. According to Trabulsethat was a view of events that Archbishop Aguiar y Seijasarchvillain of this academic melodrama, had fostered in an effort to put a favorable spin on the Mexican church’s machiavellian plotting against the nun.

File:Carta – Wikimedia Commons

Emphasis on the aesthetic image illustrates a facet of this book’s organizing trope. The analyses, as well as an attempt to codify them in little semiotic boxes, seem to be of little utility.

I fear that it may not be possible to understand what her work and her life tell us unless first we understand the meaning of this renunciation of the word. Crua guardaditos de Sor Juana.

File:Carta atenagórica.jpg

Another goal of the study is to extract a poetics of drama from close readings of Sor Juana’s plays. A survey of the critical literature since collectively calls to mind a vast Library full of heads bent low over faintly illuminated manuscripts.

Although his textual analyses are of uneven consistency and at times frankly stretch credibility, Wissmer makes a generally convincing case. The publication by Penguin Classics of Margaret Sayers Peden’s long-awaited translation of the selected writings of Sor Juana Ines de la Cruz is a major literary event.

She had to be muzzled, and the deed had to be done secretly: In the facts of this particular journey of dee, Glantz adds a provocative angle from which to consider the political uses to which Sor Juana’s own defenders put her spectacular achievements.

In the sixteenth century, something was held to be true if the speaker pronounced it beautifully and with authority, but rhetoric has not been juanq prime proof of truth for quite some time since.


Sor Juana’s life and work : open texts / Linda Egan | Biblioteca Virtual Miguel de Cervantes

But one can only ascribe to an outdated and interested knowledge of Sor Juana’s oeuvre the categorical statement that her theater is more important than her prose 9. Five of the six essays comprising part one repeat historical and sociopolitical data that were already more than well known from extant sources. In so doing, she earned a powerful and outspoken following, and that made her a threat to the social and political order. The book is divided into three sections: Poot Herrera all but orders us to henceforth erase Vieira’s name from the title of this book and substitute that of its true co-protagonist: But the next-to-last essay, Sara Poot Herrera’s, provides a meticulous recapitulation of texts and chronologies that help us reconsider all the clues we had so far gleaned in our reading.

Having fashioned a ladder for her readers, we, like Glantz in this text, can scarcely resist the temptation to climb Sor Juana’s scale, and thence survey what critics keep discovering, over and over again: In a similar manner, Sara Poot Herrera’s faithful attention to philological detail throughout the thirteen essays she gathers in Los guardaditos de Sor Juana slowly adds brushstroke upon brushstroke to paint Sor Juana from an angle that blurs a traditional image of her as victim.

Approaches since then to Sor Juana’s oeuvre have been enhanced dor documentary findings that carry the field a considerable distance beyond Paz. Glantz also shares Trabulse’s belief that Sor Juana was the object of a secret inquisitional drla, which effectively silenced hernote This is the literary seduction that compels sorjuanine criticism into the twenty-first century.

Luiselli is clearly a discerning reader, but, in this early book, she seldom notes or resolves apparent contradictions in supposedly contrastive characterizations of the baroque and the mannerist.

The conflict was insoluble because her one escape would have demanded the destruction of the very foundations of the colonial world. Edited by Margo Glantz. Book Review asked Octavio Paz to adapt his famous essay on Sor Juana, written in in Paris, to mark the appearance in English of this bilingual collection of writings by Latin America’s finest Baroque poet, whose revealing autobiographical sonnets, reverential religious poetry, secular love poems, playful verses and lyrical tributes to New Atenagoruca culture nuana, as the publisher rightly remarks, “among the earliest writings celebrating the people and the customs of this hemisphere.

Inevitably, Sor Juana’s printed word becomes an oracle, a cave of mysteries that the erudite enter with xor, a Ouija board over which scholars tirelessly run their minds. Sor Juana herself and certainly this poem are too subtle to be comfortable in a single artistic and philosophical mold.


Her theory -enriched discourse yields a high-octane image: I refer to the fact that the goal of most sorjuanine scholarship now as before her death is to understand not the poetic voice but the woman of flesh and blood who confounded her peers and whose multiple volumes of writing set a hook into the collective imagination that continues to reel scholars in toward the center of what her life might finally be said to signify.

Glantz appears to have made an explicit effort to organize the chapters and to retouch each original text so as to achieve a noticeable fluidity and narrative progression.

Also inJean-Michel Wissmer’s thematic study, Las sombras de lo fingido: This discourse further leaves out the question of a esthetic distance and manipulation of point of view, as well as evidence that Sor Juana can be as raucously popular as Rabelais or excruciatingly elitist, at will.

Together, they illustrate both what is new in the field and, at the same time, what remains constant more than three hundred years after Sor Juana’s death, Paz ‘s seminal work notwithstanding.

It is a singular document, unique in the literature of her epoch. It is also quite reasonable to assume that the May 1,date ascribed to Sor Juana’s writing of her famed Respuestanote 18 is one of those typos that make us wince It’s March 1. According to his reading of sacrificial imagery in her work, Sor Juana rejects notions of the bloody, penitential and physical sacrifice inherent in sociopolitical and religious oppression.

Visor de obras.

The theological discussion passed to a second plane. All this is more or less well-traveled territory, but Glantz’s talent for narrating the curious detail makes it seem new and fascinating. Sara Poot Herrera Scarcely born, New Spain was an opulent flower condemned to a premature and static maturity. The second part’s two chapters give us closeup views of the aspect of the upstart nun’s theological and gender positions that most vexed the juaba men of the Church.