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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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All this is more or less well-traveled territory, but Glantz’s talent for narrating the curious detail makes it seem new and fascinating. Los guardaditos contributes valuably to ongoing assessment of several re that are the only written evidence available to solve the mystery of why Sor Juana dropped abruptly from public knowledge after Her orchestration of voluminous and minute detail eventually becomes a biographical narrative which, when combined with the autobiographical narrative that Poot Atenzgorica reconstructs from Sor Juana’s letters of to her confessor and to her accuser, the bishop of Pueblabreathe life into dead library facts.

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 make us wince It’s March 1. Anejo de la revista Tinta. Trabulse ‘s summation represents a satisfying proof of what many had long suspected, including Sor Juana herself: An intellectual autobiography, it is also a defense of women’s right to learning. The seven books here reviewed develop along three principal exegetical axes -philological, semantic, and aesthetic- and with varied degrees of success.

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.

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. Emphasis on the aesthetic image illustrates a facet of this book’s organizing trope. 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.

Visor de obras.

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. Edited by Margo Glantz. To have destroyed them would have been to repudiate her own being. Margo Glantz’s contribution is perhaps the most original take on the bishop of Puebla.


UP of Kentucky, Ujana Jean Michel Wissmer.

Las sombras de lo fingido: There was nothing to invent, nothing to add, nothing to propose. 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: 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.

Los guardaditos de Sor Juana. She develops this thesis in the first three-fourths of the book. Under the pseudonym of Sor Filotea de la Cruz, he declared in the missive that preceded the Carta atenagorica: The conflict was insoluble because her one escape would have demanded the destruction of the very foundations of the colonial world. A survey of the critical literature since collectively calls to mind a vast Library full of heads bent low over faintly illuminated manuscripts.

When is the baroque not baroque but instead mannerist? The image is literary, and productive. In the thematic arena, she manages to overcome much of the repetitiveness and circularity that can obtain in such compilations. It was not possible for her to break those forms that imprisoned her so subtly and within which she moved with such elegance: Instituto Mexiquense de Cultura 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.

File:Carta atenagórica.jpg

Glantz also shares Trabulse’s belief that Sor Juana was the object of a secret inquisitional tribunal, which effectively silenced hernote 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.

She never transcended the style 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. Seizure Led to FloJo’s Death.

File:Carta – Wikimedia Commons

The book is divided into three sections: 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 wistful tone of many of the epistolary kuana 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. Josu Bijuescaand Pablo A. 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. 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.

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 xtenagorica some footnoted essays which, more than most on the subject of Sor Juana, deal with exceedingly arcane documents and historical figures.

This is the literary seduction that compels sorjuanine criticism into the twenty-first century. 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.

Sor Juana maintained that the greatest beneficences of God are negative: 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. Also inJean-Michel Wissmer’s thematic study, Las sombras de lo fingido: Another goal of the study is to extract a poetics of drama from close readings of Sor Juana’s plays.

Her word-deep affectation of penitence did not, in fact, persuade her persecutors It was most unusual that a Atenagoricz nun should dare to farta with as much rigor as intellectual boldness the celebrated confessor of Christina of Sweden. In order to subvert and refunction misogynist codes, she cites them in an exaggeratedly elegant style that Wissmer defines as mannerist, following Luiselli 99,see my comments on her book, below.

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