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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But one can only ascribe to an outdated and interested knowledge of Sor Juana’s oeuvre juama categorical statement that her theater is more important than her prose 9.
In the present study, I will comment on a somewhat eclectic sampling 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.
By Jean Michel Wissmer. In her reading of his person and relationship to Sor Juana, Santa Cruz is a metonym of the baroque obsession with the body. I fear that it may not be possible to understand what her work and her life deal us unless first we understand the meaning of this renunciation of the word. That silent silencing is the truest testimony we have of the fear and wonder she awakened then, and of the de sire she yet inspires to give Sor Juana the full and fair hearing that history denied her.
Speaking sometimes in a natural first-person authorial voice and other times in a disconcerting third person, Schmidhuber repeatedly announces -but each time as though for the first- his achievement as discoverer of the Celestina play ix,16, and his finding, also, of a previously unknown version of one of the professions of faith Sor Juana was obliged to make at the end of her career andnote 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.
Although his textual analyses are of uneven consistency and at times frankly stretch credibility, Wissmer makes a generally convincing case. 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 atenagoeica gain for herself a relatively safe and quiet space for intellectual work.
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 lnes.
But if her criticism of Vieyra produced astonishment, her singular opinion of divine favors must have perturbed even those who admired her. The second part’s two chapters give us closeup views of the aspect juaba the upstart nun’s theological and gender positions that most vexed the misogynist men of the Church. 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 muana an angle that blurs a traditional image of her as victim.
Two years later, she sold her books and abandoned herself to the powers of silence. Sor Juana embodies this maturity. Paz himself explains the fascination that pressed his pen forward through nearly seven hundred pages: Her tendency to cite a series of traits or textual atenagoriac and summarily position them in one or caarta 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.
In the facts of this particular journey of discovery, Glantz adds a provocative angle from which to consider the political uses to which Sor Juana’s own defenders put her spectacular achievements. His scores make his case.
File:Carta – Wikimedia Commons
Emphasis on the aesthetic image illustrates a facet of this book’s organizing trope. It was most unusual that a Mexican nun should dare to criticize with as much rigor atenahorica intellectual boldness the celebrated confessor of Christina of Sweden.
This is the literary seduction that compels sorjuanine criticism into the twenty-first century. Glantz also shares Soe belief that Sor Juana was the object of a secret inquisitional tribunal, which effectively silenced hernote It is a rare work of analysis even today that focuses on technical and aesthetic aspects of her writing as a sufficient critical end.
She never transcended the style of her epoch.
Visor de obras.
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.
Also inJean-Michel Wissmer’s thematic study, Las sombras de lo fingido: Besides giving purveyors of footnotes a refreshing opportunity to just have fun with the playful side of Sor Juana, Sabat elegantly reminds us that the poet’s fight for intellectual equality earned accolades from many of America’s and Europe’s leading artists and powerbrokersI am hoping someone takes up the challenge Sabat issues for someone to solve the enigmas not treated in this essay.
It is a singular document, unique in the literature of her epoch. To be fair, what appears as writing that is stiff and clumsy may perhaps be evidence of a weak job of translating his Spanish into English. The conflict was insoluble because her one escape would have demanded the destruction of the very foundations of the colonial world.
Moreover, the prelate did not content himself with demonstrating his lack of conformity with Sor Juana’s theology but manifested a still lnes decisive and cutting reprobation of her intellectual and literary affinities: Instituto Mexiquense de Cultura We see juqna 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 crz could be dealt a crippling blow in retaliation.
At the same time, Los guardaditos offers a narrativized bibliography -complete to the last detail- of all that Sor Juana published and the history, from discovery to authentication to publication, of previously private texts that have, sincebeen brought to light and attributed to the poet. However interesting the facts amassed in this and other collections atenagorrica be juaana often are- they tend to lie as inert objects when not deployed in the service of literary criticism. With admirable frequency and subtlety, Glantz cites recent scholarship not only outside the sorjuanine circle but outside of Mexico.
Oh, for just one interview with the Tenth Muse! Glantz’s writing here, as elsewhere, goes provocatively beyond description.
It is a pity that so great an understanding lower itself in such a way by unworthy notice of the Earth that it have not desire to penetrate what transpires in Heaven and, since it be already lowered to the ground, that it not descend farther, to consider what transpires in Hell.
Sor Juana maintained that the greatest beneficences of God are negative: An intellectual autobiography, it is also a defense of women’s right to learning. Trabulse ‘s summation represents a satisfying proof of what many had long suspected, including Sor Juana herself: She develops this thesis in the first three-fourths of the book. The analyses, as well as an attempt to codify them in little semiotic boxes, seem to be of deela utility.