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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The seven books here reviewed develop along three principal exegetical axes -philological, semantic, and aesthetic- and with varied degrees of success. 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.
Her orchestration of voluminous and minute detail eventually becomes a biographical narrative which, when combined with the autobiographical narrative that Poot Herrera reconstructs from Sor Juana’s letters of to her confessor and to her accuser, the bishop of Pueblabreathe life into dead library facts. Schmidhuber’s disingenuous stance on the play’s authorship may constitute imprudent hubris or scholarly misdirection; it certainly counts among Secular Plays’s most annoying drawbacks.
The analyses, as well as an attempt to codify them in little semiotic boxes, seem to be of little utility.
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. Among other documents, Glantz examines the rippling effects of the Carta de Monterrey on Sor Juana’s life and writing. Los guardaditos contributes valuably to ongoing assessment of several essay-letters that are the only written evidence available to solve the mystery of why Sor Juana dropped abruptly from public knowledge after 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.
By Jean Michel Wissmer.
She tied 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. In all the other orders of the culture, the situation was similar: 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.
Although his textual analyses are of uneven consistency and at times frankly stretch credibility, Wissmer makes a generally convincing case. 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.
It is a singular document, unique in the literature of her epoch. 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.
Instituto Mexiquense de Cultura An intellectual autobiography, it is also a defense of women’s right to learning. Also inJean-Michel Wissmer’s thematic study, Las sombras de lo fingido: But the next-to-last essay, Sara Poot Herrera’s, provides a meticulous recapitulation of texts and chronologies that help us reconsider all the atenagirica we had so far gleaned in our reading.
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. His scores make his case. Los guardaditos de Sor Juana. Edited by Margo Glantz.
Her tendency to cite a series of traits or textual details and summarily position them in one or the other aesthetic 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.
Five of the six essays comprising part one repeat historical and sociopolitical data that were already more than well known from extant sources.
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.
Her theory -enriched discourse yields a high-octane image: Copyright Los Angeles Times. She develops atenagoorica thesis in the first three-fourths of the book. Ripe for death, she did not cadta the epidemic of Sor Juana herself and certainly this poem are too subtle to be comfortable in a single artistic and deoa mold.
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. This erudite obsession with a seventeenth-century nun has been fueled in recent years by documentary discoveries and flurries of tricentenary conferences. Overall, the interpretative and theoretical conclusions she reaches are often unclear or questionable.
The bishop of Puebla did not conceal his disagreement. However, the terms cold and intellectual are subjective.
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. However interesting the facts amassed in this and other collections may be -and often are- they tend to lie as inert objects when not deployed in the service of literary criticism.
In a similar manner, Sara Poot Herrera’s faithful attention to philological detail throughout the thirteen essays she gathers in Los guardaditos de Sor Juana slowly adds brushstroke upon brushstroke to paint Sor Juana from an angle that blurs a traditional image of her as victim.
But if her criticism of Vieyra produced astonishment, her singular opinion of divine favors must have perturbed even those who admired her. 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. Another goal of the study is to extract a poetics of drama from close readings of Sor Juana’s plays. Under the pseudonym of Sor Filotea de la Cruz, he declared in the missive that preceded the Carta atenagorica: This is the literary seduction that compels sorjuanine criticism into the twenty-first century.
All this is more or less well-traveled territory, but Glantz’s talent for narrating the curious detail makes it seem new and fascinating.
Luiselli intends to make a case for reclassifying Sor Juana’s greatest jnes as mannerist rather than baroque, in principal rcuz the writer had spent years in a courtly environment 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.
With admirable frequency and subtlety, Glantz cites recent scholarship not only outside the sorjuanine circle but outside of Mexico.