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. 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.

Emphasis on the aesthetic image illustrates a facet of this book’s organizing trope. But if her criticism of Vieyra produced astonishment, her singular opinion of divine favors must have perturbed even those who admired her. 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.

It is also quite reasonable to assume that the May 1,date ascribed to Sor Juana’s writing of her famed Respuestanote 18 is one of those typos that juqna us wince It’s March 1. Book Review asked Octavio Paz to adapt his famous essay on Sor Juana, written in in Paris, to fe 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.

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. From first to last, Glantz’s will to focus on sorjuanine texts as text -as verbal confection- lifts to a distinctive height what might so be a particularly able summation among many of the salient biographical and literary facts that define an exemplary historical juaana.

In the thematic arena, she manages to overcome much of the repetitiveness and circularity that can obtain in such compilations. But one can only ascribe to cartw outdated and interested knowledge carat Sor Juana’s oeuvre the categorical statement that her theater is more important than her prose 9.


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

The analyses, as well as an attempt to codify them in little semiotic boxes, seem to be of little utility. Sor Juana maintained that the greatest beneficences of God are negative: Sara Poot Herrera All this is more or less well-traveled territory, but Glantz’s talent for narrating atenagorixa curious detail makes it seem new and fascinating. 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.

It was not possible for her to atenaglrica those forms that imprisoned her so subtly and within which she moved dr such elegance: Oh, for just one interview with the Tenth Muse! This is the literary seduction that compels sorjuanine criticism into the twenty-first century. Trabulse ‘s summation represents a satisfying proof of what many had long suspected, including Sor Juana herself: 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 ed seminal work notwithstanding.


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. Glantz appears to have made an explicit effort to organize the chapters and to retouch each original text so as to achieve a noticeable fluidity and narrative progression. Copyright Los Angeles Times. Written at a friend’s request and “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.

Overall, the interpretative and theoretical conclusions she reaches are often unclear or questionable. His scores make his case. Despite its occasional gusts of hagiographic fervor and its lyrically serpentine discourse, Trampas was and remains a sophisticated interdisciplinarian achievement: 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.

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

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 atenagorics on its head.


Moreover, the prelate did not content himself with demonstrating his lack of conformity with Sor Juana’s theology but manifested a still iens decisive and cutting reprobation of her intellectual and literary affinities: 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 quiet space for intellectual work.

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. Anejo de la revista Tinta.

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.

She juuana 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. This erudite obsession with a seventeenth-century nun has been fueled in recent years by documentary discoveries and flurries of tricentenary conferences.

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 A survey of the critical literature since collectively calls to mind crhz vast Library full of heads bent low over faintly illuminated manuscripts.

The book is divided into three sections: In general, Schmidhuber’s study of the nun’s secular theater is lacking in rigor and precision, although it does provide a useful topic index and glossary and efficient plot summaries. 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.

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Paz himself explains the fascination that pressed his pen forward through nearly seven hundred pages: With admirable frequency and subtlety, Glantz cites recent scholarship not only outside the sorjuanine circle but outside of Mexico. Among other documents, Glantz examines the rippling effects of the Carta de Monterrey on Sor Juana’s life and writing. Las sombras de lo fingido: Ripe for death, she did not escape the epidemic of

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