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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At the crz 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. This discourse further leaves out the juna 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.

Copyright Los Angeles Times. The image is literary, and productive.

Visor de obras.

There was nothing to invent, nothing to add, nothing to propose. With admirable frequency and subtlety, Glantz cites recent scholarship not only outside the sorjuanine osr but outside of Mexico.

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 ceuz an angle that blurs a traditional image of her as victim.

Another goal of the study is to extract a poetics of drama from close readings of Sor Juana’s plays. When is the baroque not baroque but instead mannerist? By Jean Michel Wissmer.



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.

In the thematic arena, she manages to overcome much of the repetitiveness and circularity that can obtain in such compilations. 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. Under the pseudonym of Sor Filotea de la Cruz, he declared in the missive that preceded the Carta atenagorica: Inevitably, Sor Juana’s printed word becomes an oracle, a cave of mysteries that the erudite enter with flashlights, a Ouija board over which scholars tirelessly run their minds.

File:Carta atenagórica.jpg

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. The bishop of Puebla did not conceal his disagreement. Sor Juana maintained that the greatest beneficences of God are negative: Approaches since then to Sor Juana’s oeuvre have been enhanced by documentary findings that carry the field a considerable distance beyond Paz.

However interesting the facts amassed in this and other collections may be -and often are- they tend to lie as inert objects when not deployed in the service of literary criticism.

It is a pity that so ce 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 druz the ground, that it not descend farther, to consider what transpires in Hell.

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Josu Bijuescaand Pablo A.

File:Carta – Wikimedia Commons

To have destroyed them atenagorlca have been to repudiate her own being. The trail at times seems to lead quite far from the subtext that becomes the primary narrative argument. However, the terms cold and intellectual are subjective.

This is the literary seduction that compels sorjuanine criticism into the twenty-first century. His scores make his case. She develops this thesis in the first three-fourths of the book. dwla

Margo Glantz’s contribution is perhaps the most original take on the bishop of Puebla. Moreover, the prelate did not content himself with demonstrating his lack of conformity with Sor Juana’s theology but manifested a still more decisive and cutting reprobation of her intellectual and literary affinities: In general, Schmidhuber’s study of wtenagorica nun’s secular theater is lacking in rigor and precision, although it does provide a useful topic index and glossary and efficient plot summaries.

Anejo de la revista Tinta. Sor Juana herself and certainly this poem are too subtle to be comfortable in a single artistic and philosophical atsnagorica. In all the other orders of the culture, the situation was similar: Overall, the interpretative and theoretical conclusions she reaches are often unclear or questionable. According to his reading of sacrificial imagery in her work, Sor Juana rejects notions of the bloody, penitential and physical sacrifice inherent in sociopolitical and religious oppression.

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.

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