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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There was nothing to invent, nothing to add, nothing to propose. Her orchestration of voluminous and minute detail eventually becomes a biographical narrative which, when combined with the autobiographical narrative that Poot Herrera reconstructs from Sor Juana’s letters of to her confessor and to her accuser, the bishop of Pueblabreathe life into dead library facts.

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. 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 cwrta comments on her book, below.

File:Carta – Wikimedia Commons

But one can only ascribe to an outdated and interested knowledge of Sor Juana’s oeuvre the categorical statement that her theater is more important than her prose 9. Moreover, the prelate did not content himself with demonstrating his lack of conformity so Sor Juana’s theology but manifested a still more decisive and cutting reprobation of her intellectual and literary affinities: 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, atenzgorica the end, reckless contender in a manly game whose rules she dared challenge, aware that she could be dealt a crippling blow in retaliation.

Trabulse ‘s summation represents a satisfying proof of what many had long suspected, including Sor Juana herself: 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. When a theoretically informed reader such as Margo Glantz lifts her wide-reaching lantern, debate casts its beams into far corners where provocative new insights can be apprehended.

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: But if her criticism of Vieyra produced astonishment, her singular opinion of divine favors must have perturbed even those who admired her.


Two years later, she sold her books and abandoned herself to the powers of silence. An illegitimate girl from an Indian village accepted the gift of twenty lessons in Latin from a priest who would rue the day he paid for them and then used them to acquire knowledges that she would turn against the makers of those knowledges.


Her theory -enriched discourse yields a high-octane image: 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 deal brushstroke to paint Sor Juana from an angle that blurs a traditional image of her as victim. Copyright Los Angeles Times.

Written at crz friend’s request juanw “with more repugnance than any other feeling, as much because it treats sacred things, for which I have reverent terror, as because it seems to wish to impugn, for which I have a natural aversion,” the Carta had immediate repercussions.

In so doing, she earned a powerful and outspoken following, and that made her a threat to the social and political order. Emphasis on the aesthetic image illustrates a facet of this book’s organizing trope. Glantz’s writing here, as elsewhere, goes provocatively beyond description. She contrasts, for example, the triumph of the individual artist of mannerist persuasion with what she asserts is the collectivist aspirations of renaissance and baroque art, an assumption juaha appears reductionist.

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Edited by Margo Glantz. An intellectual autobiography, it is also a defense of women’s right to learning.

The seven books here reviewed develop along three principal exegetical axes -philological, semantic, and aesthetic- and atfnagorica varied degrees of success. UP of Kentucky, Anejo de la revista Tinta. By Jean Michel Wissmer. 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.

Sor Juana maintained that the greatest beneficences of God are negative: 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.

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 jusna are, as the publisher rightly remarks, “among the earliest writings celebrating the people and the customs of this hemisphere.


Her word-deep affectation of penitence did not, in fact, persuade her persecutors She never transcended the style of her epoch.

The analyses, as well as an attempt to codify vela in little semiotic boxes, seem to be of little utility. 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.

It was most unusual that a Mexican nun should dare to criticize with as much rigor as intellectual boldness the celebrated confessor of Christina of Sweden. At the same time, Los guardaditos offers a narrativized bibliography -complete to the last detail- of all that Atnagorica 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.

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.

The books assessed in this sketchy panorama reveal, all fela considered, that Sor Juana was not only a protean writer and proto-feminist figure of exemplary talent. It is a rare work of analysis even today that focuses on technical and aesthetic aspects of her writing as a sufficient critical end. Margo Glantz’s contribution is perhaps the most original take on the bishop of Puebla.

Josu Bijuescaand Pablo A. Also inJean-Michel Wissmer’s thematic study, Las sombras de lo fingido: Ripe for death, she did not escape the epidemic of Among other documents, Glantz examines the rippling effects of the Carta de Monterrey on Sor Juana’s life and writing.

Approaches since then to Sor Juana’s oeuvre have been enhanced by documentary findings that carry the field a considerable distance beyond Paz. 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 atenaggorica to gain for herself a relatively safe and quiet space for intellectual work. In the sixteenth century, something was held to be true if the speaker pronounced it beautifully and with authority, but rhetoric has not been the prime proof of truth for quite some time since.