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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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 cartq typos that make us wince It’s March 1. In so doing, she earned a powerful and outspoken following, and that made her a threat to the social and political order.
The wistful tone of many of the epistolary romances she sent to her friends at court testifies to a dimension of the personal sacrifice she made in order to gain for herself a relatively safe and quiet space for intellectual work. The theological discussion passed to a second plane.
In this section and throughout the book, one grows impatient with the author’s apparent conviction that shouting a thought makes it a fact by virtue of its volume and persistence. 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 World culture are, as the publisher rightly remarks, “among the earliest writings celebrating the people and the customs of this hemisphere.
The book is divided into three sections: 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. Catholicism arrived in Mexico as a centuries-old religion with a subtle and complex philosophy that left no door open to the ardors of investigation or the doubts of speculation.
Luiselli intends to make a case for reclassifying Sor Juana’s greatest poem as mannerist rather than baroque, in principal because the writer had spent years in a courtly environment Glantz’s writing here, as elsewhere, goes provocatively beyond description. Los guardaditos de Sor Juana.
In all the other orders of the culture, the situation was similar: Edited by Margo Glantz. We see rise before us a configuration of Sor Juana who is here not a pawn of men but star of a transcendent psychopolitical drama, a careful and yet, in the end, reckless contender in a manly game whose rules she dared challenge, aware that she could be dealt a crippling blow in retaliation.
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. Scarcely born, New Spain was an opulent flower condemned to a premature and static maturity.
File:Carta – Wikimedia Commons
Ripe for death, she did not escape the epidemic of When is the baroque not baroque but instead mannerist? Sara Poot Herrera Inevitably, Sor Juana’s printed word becomes an oracle, a cave of mysteries that the erudite enter with cartx, a Ouija board over which scholars tirelessly run their minds.
In order to subvert and refunction misogynist codes, she cites them in an exaggeratedly elegant style that Wissmer defines as mannerist, following Luiselli 99,see my comments on her book, below.
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.
Her tendency to cite a series of traits or textual details and summarily position them in one or the other aesthetic camp is emphasized in the close reading she offers in the last fourth of the book as a proof of the study’s theoretical assertions. Also inJean-Michel Wissmer’s thematic study, Las sombras de lo fingido: In the present study, I will comment on a somewhat eclectic so of sorjuanine readings which, in themselves, epitomize the multifaceted methodology that Paz ‘s Trampas had modeled for a critical consciousness newly aware of itself as postmodern.
Sor Juana’s life and work : open texts / Linda Egan | Biblioteca Virtual Miguel de Cervantes
Oh, for just one interview with the Tenth Muse! Las sombras de lo fingido: By Jean Michel Wissmer. Copyright Los Angeles Times. In the sixteenth century, something was held to be true if the speaker pronounced it beautifully and with juanx, but rhetoric has not been the prime proof of truth for quite some time since.
She contrasts, for example, the triumph of the individual artist of mannerist cartx with what she asserts is the collectivist aspirations of renaissance and baroque art, an assumption that appears reductionist.
Visor de obras.
It is a rare work of analysis even today that focuses on technical and aesthetic aspects of her writing as a sufficient critical end. According to Trabulsethat was a view of events that Archbishop Aguiar atdnagorica 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.
The image is literary, and productive. The sum of these persuasively discredits the traditional pre- Paz version of Sor Juana’s retirement as a genuine spiritual conversion atensgorica a return to the fold of the Church’s obedient little women.
In general, Schmidhuber’s study of the nun’s secular theater is lacking in rigor and precision, although it does provide a useful topic index and glossary and efficient plot summaries. Another goal of the study is to extract a poetics of drama from close readings of Sor Juana’s plays.
She never transcended the style of her epoch. The analyses, as well as an attempt to codify them in little semiotic boxes, seem to be of little utility. Schmidhuber’s disingenuous stance on the play’s authorship may constitute imprudent hubris or scholarly misdirection; it certainly counts among Secular Plays’s most annoying drawbacks. Sor Juana embodies this maturity.
This discourse further leaves out the cduz 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. Among other documents, Glantz examines the rippling effects of the Carta de Monterrey on Sor Juana’s life and writing.
However interesting the facts amassed in this and other collections may be -and often are- they tend to lie as inert objects when not deployed in the service of literary criticism. All this is more or less well-traveled territory, but Glantz’s talent for narrating the curious detail makes it seem new and fascinating. 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.
It was not possible for her to break those forms that imprisoned her so subtly and within which she moved with such elegance: This erudite obsession with a seventeenth-century nun has been fueled in recent years by documentary discoveries and flurries of tricentenary conferences.
However, the terms cold and intellectual are subjective. She tied monarchs and church potentates in knots, and inspired teams of influential policymakers to defend or plot against her across an ocean and in the capitals of two worlds. 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.