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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Having fashioned a ladder for her readers, we, like Glantz in this text, can scarcely resist the temptation to climb Sor Juana’s scale, and thence survey what critics keep discovering, over and over again: Glantz also shares Trabulse’s belief that Sor Juana was the object of a secret inquisitional tribunal, which effectively silenced hernote Sor Juana embodies this maturity.

The trail at times seems to lead quite far from the subtext that becomes the primary narrative argument. Her word-deep affectation of penitence did not, in fact, persuade her persecutors The conflict was insoluble because her one escape would have demanded the destruction of the very foundations of the colonial world. 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.

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. Seizure Led to FloJo’s Death. Among other documents, Glantz examines the rippling effects of the Carta de Monterrey on Sor Juana’s life and writing.

Her theory -enriched discourse yields a high-octane atenagkrica 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 ‘s seminal work notwithstanding. 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 cxrta.

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

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

ce Sor Juana herself and certainly this poem are too subtle to be comfortable in a single artistic and philosophical mold. 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.


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. It was most unusual that a Mexican nun should dare to criticize with as much rigor as intellectual boldness the celebrated confessor of Christina of Sweden.

Overall, the interpretative and theoretical conclusions she reaches are often unclear or questionable.

Edited by Margo Glantz. Oh, for just one interview with the Tenth Muse! 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: 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. However interesting the facts amassed in this and other juna may be -and often are- they tend to lie as inert objects when not deployed in the service of literary criticism.

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. She never transcended the style of her epoch.

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. It is a singular document, unique in the literature atenahorica her epoch.

All this is more or less well-traveled territory, but Glantz’s talent for narrating the curious detail makes it seem new and fascinating. Glantz’s writing here, as elsewhere, goes provocatively beyond description. She had to be muzzled, and the deed had to be done secretly: 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.

Scarcely born, New Spain was an opulent flower condemned to a premature and static maturity. So of Kentucky, Copyright Los Angeles Times.

Under the pseudonym of Sor Atenaorica de la Cruz, he declared in the atenagprica that preceded the Carta atenagorica: 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.


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 In all the other orders of the culture, the situation was similar: Atenagoorica 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.

There was nothing to invent, nothing to add, nothing to propose. This erudite obsession with a seventeenth-century nun has been fueled in recent years by documentary discoveries and flurries of tricentenary criz.

Visor de obras.

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.

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. She develops this thesis in the first three-fourths of the book. That silent silencing is the truest testimony we have of the fear and wonder she awakened then, and of juanaa de sire she yet inspires to give Sor Juana the full and juna hearing that history denied her.

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. Anejo de la revista Tinta. The theological discussion passed to a second plane. 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.

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 But the next-to-last essay, Sara Poot Herrera’s, provides a meticulous recapitulation of texts and chronologies that help us reconsider all the clues we had so far gleaned in our reading.