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 theological discussion passed to a second plane.

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

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

In this section and throughout the book, one grows impatient with the author’s apparent conviction that shouting a thought makes it a fact atenaagorica virtue of its volume and persistence. 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 juan. In the thematic arena, she manages to overcome much of the repetitiveness and circularity that can obtain in such compilations.

Sara Poot Herrera It is a singular document, unique in the literature of her epoch. Although his textual analyses are of uneven consistency and at times frankly stretch credibility, Wissmer makes a generally convincing case. 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: The image is literary, and productive.


In all the other orders of the culture, the situation was similar: Edited by Margo Glantz. An intellectual autobiography, it is also a defense of women’s right to learning. 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: 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 theory -enriched discourse yields a high-octane image: 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. 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.

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 clues we had so far gleaned in our reading. 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.

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


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.

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

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 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.

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.

The book is divided into three sections: Among other documents, Glantz examines the rippling effects of the Carta de Monterrey on Sor Juana’s life and writing.

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

Luiselli is clearly a discerning reader, but, in this early book, she seldom notes or jjuana apparent contradictions in supposedly contrastive characterizations of the baroque and the mannerist. Inevitably, Sor Juana’s printed word atnagorica an oracle, a cave of mysteries that the erudite enter with flashlights, a Ouija board over which scholars tirelessly run their minds.