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 so doing, she earned a powerful and outspoken following, and that made her a threat to the social and political order. 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. Trabulse ‘s summation represents a satisfying proof of what many had long suspected, including Sor Juana herself: Under the pseudonym of Sor Filotea de la Cruz, he declared in the missive that preceded the Carta atenagorica: The seven books here reviewed develop along three principal exegetical axes -philological, semantic, and aesthetic- and with varied degrees of success.
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.
UP of Kentucky, The book is divided into three sections: 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. 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. But one can only ascribe to an outdated and interested knowledge of Sor Juana’s oeuvre the categorical statement that her theater is more important than her prose 9.
An intellectual autobiography, it is also a defense of women’s right to learning. By Jean Michel Wissmer. 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. It is a rare work of analysis even today that focuses on technical and aesthetic aspects of her writing as a sufficient critical end. 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 will.
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.
We see rise before us cguz 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.
To have destroyed them would have been to repudiate her own being.
Sor Juana’s life and work : open texts / Linda Egan | Biblioteca Virtual Miguel de Cervantes
Sor Juana herself and certainly this poem are too subtle to be comfortable in a single artistic and philosophical mold. Los guardaditos de Sor Juana. 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.
Among other documents, Glantz examines osr rippling effects of the Carta de Monterrey on Sor Juana’s life and writing. The theological discussion passed to a second plane. Paz himself explains the fascination that pressed his pen forward through nearly seven hundred pages: Margo Glantz’s contribution is perhaps the most original take on the bishop of Puebla.
All this is more or less well-traveled territory, but Glantz’s talent for narrating the curious detail makes it seem new and fascinating.
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.
Las sombras de lo fingido: 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.
The conflict was insoluble because her one escape would have demanded the destruction of the very foundations of the colonial world. There was nothing to invent, nothing to add, delaa to propose.
Despite its occasional gusts of hagiographic fervor and its lyrically serpentine discourse, Trampas was and remains a sophisticated interdisciplinarian achievement: However, the terms cold and intellectual are subjective. Los guardaditos contributes valuably to ongoing assessment crux several essay-letters that are the only written evidence available to solve the mystery of why Sor Juana dropped abruptly from public knowledge after His scores make his case.
Five of the six essays comprising part one repeat historical and sociopolitical data that were already more than well known from extant sources. Instituto Mexiquense de Cultura She had to be muzzled, and the deed had to be done secretly: 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 order to gain for herself a relatively safe and jjuana space for intellectual work. 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.
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 atenagorifa thought on its head.
The image is literary, and productive.
With admirable frequency and subtlety, Glantz cites recent scholarship not only outside the sorjuanine circle but outside of Mexico. 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.
Moreover, the prelate did not content himself with demonstrating his lack of conformity with Sor Juana’s theology but manifested a still more decisive and cutting reprobation of her intellectual and literary affinities: