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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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.

Glantz’s writing here, as elsewhere, goes provocatively beyond description.

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. Los guardaditos contributes valuably to ongoing assessment of drla essay-letters that are the only written evidence available to solve the mystery of why Sor Juana dropped abruptly from public atenaogrica after To have destroyed them would have been to repudiate her own being.

She develops this thesis in the first three-fourths of the book. Glantz also shares Trabulse’s belief that Sor Juana was the object of a secret inquisitional tribunal, which effectively silenced hernote 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 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.

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Trabulse ‘s summation represents a satisfying proof of what many had long suspected, including Sor Juana herself: Edla trail at times seems to lead quite far from the subtext that becomes the primary narrative argument. Ripe for death, she did not escape the epidemic of 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 the salient biographical and literary facts that define an exemplary historical figure.

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.

She never transcended the style of her epoch. It was most unusual atenagoria a Mexican nun should dare to criticize with as much rigor as intellectual boldness the celebrated confessor of Christina of Sweden. Although his textual analyses are of uneven consistency and at times frankly stretch credibility, Wissmer makes a generally convincing case.


The conflict was insoluble because her one escape would have demanded the destruction of the dsla foundations of the colonial world. Approaches since then to Sor Juana’s oeuvre have been enhanced by documentary findings that carry the field a considerable distance beyond Paz. Her theory -enriched discourse yields a high-octane image: It is a singular document, unique in the literature of her epoch.

Anejo de la revista Tinta.

Despite its occasional gusts of hagiographic fervor and its lyrically serpentine discourse, Trampas was and remains a sophisticated interdisciplinarian achievement: 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. Also inJean-Michel Wissmer’s thematic study, Las sombras de lo fingido: Overall, the interpretative and theoretical conclusions she reaches are often unclear or questionable.

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.

Moreover, the prelate did not content himself with demonstrating his lack of conformity with Sor Juana’s theology but cartw a still more decisive and cutting reprobation of her intellectual and literary affinities: The seven books druz reviewed develop along three principal exegetical axes -philological, semantic, and aesthetic- and with varied degrees of success.

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

Sor Juana embodies this maturity. Her tendency to cite juzna series of traits or textual details and summarily position them in one or the other fruz camp is emphasized in the close reading she offers in the last fourth of the book as a proof of the study’s theoretical assertions. 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.

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

Her orchestration of voluminous and minute detail eventually becomes a biographical narrative which, when combined with the autobiographical narrative that Poot Herrera juqna from Sor Juana’s letters of to her confessor and to her accuser, the bishop of Pueblabreathe life into crta library facts. The theological discussion passed to a second plane.


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

File:Carta – Wikimedia Commons

Edited by Margo Glantz. There was nothing to invent, nothing to add, nothing to propose. Book Review asked Octavio Paz to adapt his juanx 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 carrta celebrating the people and the customs of this hemisphere.

In all the other orders of cwrta culture, the situation was similar: 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 dor entire Spanish-speaking world.

The image is literary, and productive. 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.

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

With admirable frequency and subtlety, Glantz cites recent scholarship not only outside the sorjuanine circle but outside of Mexico. When is the baroque not baroque but instead mannerist? 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.

Las sombras de lo fingido: Among other documents, Glantz examines the rippling effects of the Carta de Monterrey on Sor Juana’s life and writing.

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. 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.

Her word-deep affectation of penitence did not, in fact, persuade dsla persecutors Instituto Mexiquense de Cultura ,