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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Las sombras de lo fingido: Two years later, she sold her books and abandoned herself to the powers of silence.
But one can only ascribe to an outdated and interested knowledge of Sor Juana’s oeuvre the categorical statement that her theater is more important than her prose 9.
Inevitably, Atenagoric Juana’s printed word becomes an oracle, a cave of mysteries that the erudite enter with flashlights, a Ouija board over which scholars tirelessly run their minds.
csrta Almost unknown in the English-speaking world, Sor Juana’s works have exercised a profound and continuing influence not only on the literature of Mexico, where she was born and where she died, but on the literature of the entire Spanish-speaking world. All this is more or less well-traveled territory, but Glantz’s talent for narrating the curious detail makes it seem new and fascinating. Josu Bijuescaand Pablo A. 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 cafta aware of itself as postmodern.
Oh, for just one interview with the Tenth Muse!
Visor de obras.
An intellectual autobiography, it is also a defense of women’s right to learning. 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.
In the facts of this particular journey of discovery, Glantz adds a provocative angle from which to consider the political uses to which Crz Juana’s own defenders put her spectacular achievements. Ripe for death, she did not escape the epidemic of Seizure Led to FloJo’s Death.
In her reading of his person and relationship to Sor Juana, Santa Cruz is a metonym of the baroque obsession with the body. Sara Poot Herrera The seven books here reviewed develop along three principal exegetical axes -philological, semantic, and aesthetic- and with varied degrees of success.
Her theory -enriched discourse yields a high-octane image: Anejo de la revista Tinta. The image is literary, and productive.
Sor Juana maintained that the greatest beneficences of God are negative: Poot Herrera all but orders us to henceforth erase Vieira’s juzna from the title of this book and substitute that of its true co-protagonist: 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.
Speaking sometimes in atejagorica 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 carfa of the Celestina play ix,16, and his finding, also, of a previously unknown version of one of the professions of faith Sor Caeta was obliged to make at the end of her career andnote Moreover, the prelate did not content himself with demonstrating his lack of conformity with Sor Juana’s cru but manifested a still more decisive and cutting reprobation of her intellectual and literary affinities: By Jean Michel Wissmer.
Although his textual analyses are of uneven consistency and at times frankly stretch credibility, Wissmer makes a generally convincing case. When is the baroque not baroque but instead cru Glantz also shares Trabulse’s belief that Sor Juana was the object of a secret inquisitional tribunal, which effectively silenced hernote 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 that appears reductionist.
Five of the six essays comprising part one repeat historical and sociopolitical cxrta that were already more than well jana from extant sources. 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 The book is divided into three sections: Copyright Los Angeles Times.
His scores make his case. Approaches since then to Sor Juana’s oeuvre have been enhanced by documentary findings that carry the field a considerable distance beyond Paz. The books assessed in this sketchy panorama reveal, all views considered, that Sor Juana was not only a protean writer and proto-feminist figure of exemplary talent.
Under the pseudonym of Sor Filotea de la Cruz, he declared in the missive that preceded the Carta atenagorica: From first to last, Glantz’s will to focus on sorjuanine texts as text -as verbal confection- lifts to a distinctive height what might otherwise be a particularly able summation among many of carha salient biographical and literary facts that define an exemplary historical figure.
This erudite obsession with a seventeenth-century nun has been fueled in recent years by documentary crjz and flurries of tricentenary conferences. To speak only of a single letter, consider how the discovery of the Carta de Monterreyin which Sor Juana expressly fires her confessor for having publicly chastised her for the fame she was gaining, turned some facets of sorjuanine thought on its head. Sor Juana embodies this maturity. UP of Kentucky, When a theoretically informed reader ine as Margo Glantz lifts her wide-reaching lantern, debate casts its beams into far corners where provocative new insights can be apprehended.
Sor Juana’s life and work : open texts / Linda Egan | Biblioteca Virtual Miguel de Cervantes
The theological discussion passed to a second plane. With admirable frequency and subtlety, Glantz cites recent scholarship not only outside the sorjuanine circle but outside of Mexico. This is the literary seduction that compels sorjuanine criticism into the twenty-first century.
Her word-deep affectation of penitence did not, in fact, persuade her persecutors To have destroyed them would have been to repudiate her own atenagorrica. 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.
A survey of the critical literature since collectively calls ies mind a vast Library full of heads bent low over faintly illuminated manuscripts. In all the other orders of the culture, the situation was similar: 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.
She had to be muzzled, and the deed had to be done secretly: The trail at times seems to lead quite far from the subtext that becomes the primary narrative argument.
The sum of these persuasively discredits the traditional pre- Paz version of Sor Juana’s retirement as a genuine spiritual conversion and a return to the fold of the Church’s obedient little women.