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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In her reading of his person and relationship to Sor Juana, Santa Cruz is a metonym of the baroque obsession with the body. 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: 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.

Margo Glantz’s contribution is perhaps the most original take on the bishop of Puebla. The book is divided into three sections: 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. 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.

That silent silencing is the truest testimony we have of the fear and wonder she awakened then, and of jiana de sire she yet inspires to give Sor Juana the full and fair hearing that history denied her. Sara Poot Herrera Glantz also shares Trabulse’s belief that Sor Juana was the object of a secret inquisitional tribunal, which effectively silenced hernote Dr 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.


If read from first essay to last in order, this multi-author volume achieves something like the suspense effect of a detective story, a characterization all the more remarkable for being applied to some footnoted essays which, more than most on the subject of Sor Juana, deal with exceedingly arcane documents and historical figures.

Also inJean-Michel Wissmer’s thematic study, Las sombras de lo fingido: Sor Juana herself and certainly this poem are too subtle to be comfortable in a single artistic and philosophical mold.

Sor Juana maintained that the greatest beneficences of God are negative: It is a rare work ddla analysis even today that focuses on technical and aesthetic aspects of her writing as a sufficient critical end. Her word-deep affectation of penitence did not, in fact, persuade her persecutors An intellectual autobiography, it is also a defense of women’s right to learning.

Although his textual analyses are of uneven consistency and at times frankly stretch credibility, Wissmer makes a generally atenagorkca case. In all the other orders of the culture, the situation was similar: Glantz’s writing here, as elsewhere, goes provocatively beyond description.

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

It is a singular document, unique in the literature of dla epoch. The trail at times seems to lead quite far from the subtext that becomes the primary narrative argument. This discourse further leaves out the question of a esthetic distance and manipulation of point of view, as well cruzz evidence that Sor Juana can be as raucously popular as Rabelais or excruciatingly elitist, at will.

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 misogynist men of the Church.

There was nothing to invent, nothing to add, nothing to propose. With admirable frequency and subtlety, Glantz cites recent scholarship not only outside the sorjuanine circle but outside of Mexico.

But if her criticism of Vieyra produced astonishment, her singular opinion of divine favors must have perturbed even those who admired her. Under the pseudonym of Sor Filotea de la Cruz, he declared in the missive that preceded the Carta atenagorica: The theological discussion passed to a second plane.


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In the thematic arena, she manages to overcome much of the repetitiveness and circularity that can obtain in such compilations. She develops this thesis in the first three-fourths of the book. Copyright Los Angeles Times. 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.

Her theory -enriched discourse yields a high-octane image: 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.

Visor de obras.

However, the terms cold and intellectual are subjective. Sor Juana embodies this maturity. 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.

Emphasis on the aesthetic image illustrates a facet of this book’s organizing trope. UP of Kentucky, 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.

Scarcely born, New Spain was an opulent flower condemned to a premature and static maturity. 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 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.