Juana Inés de la Cruz

Sor Juana (November 12, 1651 [or 1648, according to some biographers] – April 17, 1695), also known as Sor Juana Inés de la Cruz or, in full, Sor Juana Inés de la Cruz de Asbaje y Ramírez de Santillana, was a self-taught Novohispana scholar, nun, poet, and a writer of the baroque school.

Biography

She came from poor a Catholic family in the small village of San Miguel de Nepantla, near Amecameca (modern-day México State). Christened Juana Inés Ramírez, she was a huge lover of literature and learned Latin before she was ten. She was exceptional not only for her intelligence but also because she wrote literature centered on freedom. In the poem "Redondillas" she rebels by defending a woman's right to be respected as a human being. "Hombres necios" (Stubborn men) criticizes the sexism of the society of her time, and pokes fun at men who publicly condemn prostitutes but privately hire them. She also has a philosophical approach to the relative immorality of prostitution. This was exemplified when she posed the question, 'Who sins more, she who sins for pay or he who pays for sin?' In the romantic comedy entitled "Los empeños de una casa" about a brother and a sister entangled in a web of love, she writes using two of her most prominent themes, love and jealousy. Yet, these emotions are not presented in a moralizing way, but in the spirit of her lifetime interests, including the pursuit of liberty, knowledge, and rights for women.

Fortunately for Sor Juana, at first her outspoken stance incurred the pleasure of the Roman Catholic Church. Her outspokenness was especially dangerous for her when one considers the historical context – it was the time of the Counter Reformation and anyone who challenged society's values could easily get into trouble with the Church. Later, things came to a climax in 1690, when a letter was published that attacked Sor Juana's focus on the sciences, and suggested that she should devote her time to theology. In response, Sor Juana wrote a letter entitled "Respuesta a Sor Filotea" in which she defended women's right to any education they desired. But she soon found that the Catholic Church was not at all sympathetic to her views. The Archbishop of Mexico joined other high-ranking officials in condemning Sor Juana's "waywardness". Finally around 1693

Sor Juana appears to have decided to stop writing rather than risk any further Church censure. There is no evidence of her actually renouncing her devotion to letters, and the documents of self-humiliation to which she supposedly put her name in 1694 have the tone of mere rhetorical formulae (one of these is signed "Yo, la peor del mundo" [I, the worst woman in the world] ). However, she was forced to sell all her books, an extensive library of some 4,000 volumes, as well as her musical and scientific instruments. In April 1695, plague hit the convent, with great loss of life. Sor Juana contracted the disease and died at four in the morning on April 17.

or Juana Festival

In 1994, the [http://www.nationalmuseumofmexicanart.org National Museum of Mexican Art] initiated the Sor Juana Festival: A Tribute to Mexican Women. The multidisciplinary festival, which includes: literature, music, visual arts, dance, and theater, honors the legacy of Sor Juana Inés de La Cruz and pays tribute to the rich artistic accomplishments of Mexican women from Mexico and the United States. In 1998, the National Museum of Mexican Art initiated the Sor Juana Women of Achievement Awards, honoring women of Mexican descent with extraordinary artistic, cultural and academic achievements. The festival is currently celebrated in Chicago, Austin, Houston and San Antonio with plans of further expansion into other states, making it the largest Mexican performing arts festival in the country and the only festival of its kind dedicated to Mexican women.

Fictionialized biographical treatments

Sor Juana's life was portrayed in the 1990 film "Yo, la peor de todas" ("I, The Worst of All") directed by María Luisa Bemberg [imdb title|0100990|Yo, la peor de todas] . Sor Juana was played by Spanish actress Assumpta Serna. Her life was fictionalized in Alicia Gaspar de Alba's 1999 work "". A 2004 novel by Canadian author Paul Anderson, "Hunger's Brides," also deals with the life of Sor Juana. A play was also written based on her life and decision to convert; "Los pecados de Sor Juana" ("The Sins of Sor Juana") written by Karen Zacarías. In addition to a play, an opera entitled, "With Blood, With Ink" with music by Dan Crozier and a libretto by Peter Krask was completed in 1990 and performed at the Peabody Institute of Johns Hopkins University [ [http://www.peabodyopera.org/essays/wbwi00/ Ten Years On A Return to With Blood, With Ink by Peter M. Krask] ] . The opera takes place on the night of Juana's death and flashes back to various pivotal moments in her life.

"The Traps of Faith"

Arguably the most important book devoted to Sor Juana is by Octavio Paz (who won the 1990 Nobel Prize in Literature). Paz's book, titled "Sor Juana Or, the Traps of Faith", [ translated by Margaret Sayers Peden (Harvard University Press, 1989 ISBN 0-674-82105-X / paperback, 1990 ISBN 0-674-82106-8)] is a work devoted to a contemplation of her poetry, life, and times in the context of the "other" history of New Spain.

Octavio Paz describes how he had been drawn to her work most of his life. Paz had long been intrigued by the enigmas of Sor Juana's personality and career. Why did she become a nun? How could she renounce her lifelong passion for writing and learning? Paz knew that such questions could be answered only in the context of the world in which she lived, and so he begins his study with a portrayal of the life and culture of New Spain and the political and ideological forces at work in that autocratic, theocratic, male-dominated society, in which the subjugation of women was absolute.

Just as Paz illuminates Sor Juana's life by placing it in its historical setting, so he situates her work in relation to the traditions that nurtured it. Paz singled out the qualities that distinguish her work and mark her uniqueness as a poet. For Octavio Paz, Sor Juana's writings, like her life, epitomize the struggle of the individual, and in particular the individual woman, for creative fulfillment and self-expression.

References

External links

* [http://mrzine.monthlyreview.org/majfud250207.html The Imperfect Sex: Why Is Sor Juana Not a Saint?] by Jorge Majfud
* [http://www.dartmouth.edu/~sorjuana/ The Sor Juana Inés de la Cruz Project]
* [http://www.latin-american.cam.ac.uk/SorJuana/ Academic resource on the poetry of Sor Juana Inés de la Cruz]
* [http://www.ub.uni-bielefeld.de/diglib/delacruz/fama/ On-line facsimile edition of Sor Juana's "Fama y obras posthumas"]
* [http://sonnets.spanish.sbc.edu/SorJuana.html Six sonnets in Spanish with English translations]
* [http://digital.library.wisc.edu/1711.dl/IbrAmerTxt Ibero-American Electronic Text Series] by the University of Wisconsin Digital Collections Center includes the following online texts by this author: [http://digital.library.wisc.edu/1711.dl/IbrAmerTxt.Spa0001 Loa para el auto sacramental de "El Divino Narciso"]
* [http://www.hungersbrides.com Paul Anderson's Hunger's Brides]
* [http://www.tenthmuse.us/juana.php Juana Opera]
* [http://www.ucsj.edu.mx/ Universidad del Claustro de Sor Juana]