CARTA ATENAGORICA DE SOR JUANA INES DELA CRUZ PDF

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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INTERROGACIÓN Y ARGUMENTACIÓN EN LA CARTA ATENAGÓRICA DE SOR JUANA INÉS DE LA CRUZ

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.

Speaking sometimes in a natural first-person authorial voice and other times in a disconcerting third person, Schmidhuber repeatedly announces -but each time as though for the first- his achievement as discoverer of the Celestina play ix,16, and his finding, also, of a previously unknown version of one of the professions of faith Sor Juana was obliged to make at the end of her career andnote This erudite obsession with a seventeenth-century nun has been fueled in recent years by documentary discoveries and flurries of tricentenary conferences.

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 Anejo de la revista Tinta. 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.

Five of the six essays comprising part one repeat historical and sociopolitical data that were already more than well known from extant sources. The image is literary, and productive.

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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. Catholicism arrived in Mexico as a centuries-old religion with a subtle and complex philosophy that left no door open to soor ardors of investigation or the doubts of speculation.

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

Among other documents, Glantz examines the rippling effects of the Carta de Monterrey on Sor Juana’s life and writing. In so doing, she earned a powerful and outspoken following, and that made her a threat to the social and political order. 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 sot facts.

Oh, for just one interview with the Tenth Muse! Approaches since then to Sor Juana’s oeuvre have been enhanced by documentary findings that carry the field a considerable distance beyond Paz.

File:Carta – Wikimedia Commons

The conflict was insoluble because her one escape would have demanded the destruction of the very foundations of the colonial world. Also inJean-Michel Wissmer’s thematic study, Las sombras de lo fingido: 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 curz 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.

All this is more or less well-traveled territory, but Glantz’s talent for narrating the curious detail makes it seem new and fascinating. When is the baroque not baroque but instead mannerist?

In the present study, I will comment on a somewhat eclectic sampling of sorjuanine readings which, in themselves, epitomize the multifaceted methodology that Paz ‘s Trampas had modeled for a critical consciousness newly aware of itself as postmodern. Although his textual analyses are of uneven consistency and at times frankly stretch credibility, Wissmer makes a generally convincing case.

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Sor Juana embodies this maturity. Las inez de lo fingido: 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.

However, the terms cold and intellectual spr subjective. 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 drla the entire Spanish-speaking world.

She had to be muzzled, and the deed had to dwla done secretly: In all the other orders of the culture, the situation was similar: She never transcended the style of her epoch. Ripe for death, she did not escape the epidemic of 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: Paz himself explains the fascination that pressed his pen forward through nearly seven hundred pages: 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.

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