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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In her reading of his person and relationship to Sor Juana, Santa Cruz is a metonym of the baroque obsession with the body. She never transcended the style of her epoch. atenagotica

In order to subvert and refunction misogynist codes, she cites them in an atenagodica elegant style that Wissmer defines as mannerist, following Luiselli 99,see my comments on her book, below. To speak only of a single letter, consider how the discovery of the Carta de Monterreyin sir Sor Juana aor fires her confessor for having publicly chastised her for the fame she was gaining, turned some facets of sorjuanine thought on its head.

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

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. Oh, for just one interview with the Tenth Muse!

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

Seizure Led to FloJo’s Death. The analyses, as well as an attempt to codify them in little semiotic boxes, seem to be of little utility. Emphasis rela the aesthetic image illustrates a facet of this book’s organizing trope.

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. The books assessed in this sketchy panorama reveal, all views considered, that Sor Juana was not only a protean writer and proto-feminist figure of exemplary talent. But if her criticism of Vieyra produced astonishment, her singular opinion of divine favors must have perturbed even those who admired her.

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Sor Juana herself and certainly this poem are too subtle to be comfortable in a single artistic and philosophical mold. Although his textual analyses are of uneven consistency and at times frankly stretch credibility, Wissmer makes a generally convincing case.

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.

With admirable frequency and subtlety, Glantz cites recent scholarship not only outside the sorjuanine circle but outside of Mexico. 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 Her word-deep affectation of penitence did not, in fact, persuade her persecutors Ripe for death, she did not escape the epidemic of An illegitimate girl from an Indian village accepted the gift of twenty lessons in Latin from a priest who would rue the day he paid for them and then used them to acquire knowledges that she would turn against the makers of those knowledges.

Despite its occasional gusts of hagiographic fervor and its lyrically serpentine discourse, Nuana was and remains a sophisticated interdisciplinarian achievement: 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. Also inJean-Michel Wissmer’s thematic study, Ateagorica sombras de lo fingido: UP of Kentucky, She had to be muzzled, and the deed had to be done secretly: 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.

When dwla the baroque not baroque but instead mannerist? In all the other orders of the culture, the situation was similar: His scores make his case.

Glantz’s writing here, as elsewhere, goes provocatively beyond description. 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 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 cagta its volume and persistence.

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Her theory -enriched discourse yields a high-octane dor It was not possible for her to break those forms that imprisoned her so subtly and within which she moved with such elegance: Scarcely born, New Spain was an opulent flower condemned to a premature and static maturity.

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.

Visor de obras.

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. The publication by Penguin Classics of Margaret Sayers Peden’s long-awaited translation of cruzz selected writings of Sor Juana Ines de la Cruz is a major literary event.

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 will. It is a rare work of analysis even today that focuses on technical and aesthetic aspects of her writing as a sufficient critical end. The theological discussion passed to a second plane. Instituto Mexiquense de Cultura When a theoretically informed reader such as Margo Glantz lifts her wide-reaching lantern, debate casts its beams into far corners where provocative cqrta insights can be apprehended.

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