Feminism in Sor Juana In Estela Portillo Trambley’s play Sor Juana the main character Sor Juana Ines de la Cruz was considered to be one of the earliest feminists. Sor Juana’s eternal struggles to study and unshakable craving for knowledge and wisdom, from whatever source it may be, support this attribute. In my opinion however, there are also significant elements of the play that suggest that Sor Juana would not be considered a true feminist. Of these reasons, there are three major ones that
Influences of Sor Juana and Julia de Burgos Most every human being has encountered a time in their life when he or she has felt suppressed. However, not every person has stood up against the people and forces that have kept them oppressed. It takes a truly extraordinary person to stand up for their self and to take a stand for the greater good of others. According to Clare Booth Luce: “courage is the ladder on which all the other virtues mount.” The Mexican writer, Sor Juana Ines de la Cruz
construct; however, Sor Juana persistently challenges this notion through her renunciation of domestic life and open-minded philosophies. So, Sor Juana rejects the conventional path of life and – after being denied by the university – becomes a nun in hope of being able to fulfill her life’s purpose: setting a precedent for feminism in Latin America through her poetry, often which criticized societal values and advocated for reform. Consequently, from the start of her journey, Sor Juana is continuously
life differently than her mother and grandmother did. Castellanos was greatly influenced by exploring past generations, but she was also influenced by Sor Juana Ines de la Cruz. Sor Juana’s work shows how self-education convinces women to feel accepted and important regardless of what society says. Rosario Castellanos was greatly influenced by Sor Juana de la Cruz, and thus Castellanos’ works reflect her support for women in education, but in a more humorous sense. One of Castellanos’ short stories
Sor Juana’s letter Response to Sor Filotea, Aphra Behn’s short story Oronooko, and Rene Descartes’s methodology statement The Discourse on Method all touch on the consequences of knowledge. Consequences of knowledge are present in each author’s work, and their explanation fits with the certain time of their work was published. When Descartes’s The Discourse on Method was published he received criticism; stating that his methodology was close to atheism; since the things that could be doubted were
Renaissance, was an era where the feelings of distrust, disappointment, and pessimism was always present. A very important and recognized author of the Hispanic Baroque was Sor Juana Ines de la Cruz because of her defense of women’s intellectual rights against men (Puchner, 68). Sor Juana is mostly known for her Respuesta a Sor Filotea, which where she defends women to receive an education, and to be treated equally. During the Hispanic Baroque there were ethical, moral, and social aspects or issues
approaches to advocate for change. Sor Juana’s “Response of the Poet to Sor Filotea de la Cruz” and Redondilla 92 both advocate for change in societal norms and explore adjustments to support the growth. The “Response of the Poet to Sor Filotea de la Cruz” questions the women’s education and role in the Catholic Church. In Redondilla, 92, she challenges the double standard society puts on women. In looking at societal standards and norms in “Response of the Poet to Sor Filotea de la Cruz” and Redondilla
The author of this article aims to show how Sor Juana defended women’s right and links female suffering with the acquisition of knowledge. At the same time, the author also redefines female body, which is always excluded power structures. Apart from this, Krik discusses how Sor Juana uses references from Katherine of Alexandria and Lucretia in her works, since they are emblems of the female knowledge and defended their dignity as women in Antiquity. To begin with, the structure of Kirk’s article
Personal Response Paper on Sor Juana’s Loa to the Divine Narcissus. For literature to be considered in the “Great Works” category, it must challenge the readers’ traditional way of thinking, encourage rereading and multiple interpretations, and inspire other creations about the work itself. It should also be historically significant yet expand beyond its time, exploring enduring themes of cultures, societies, morality, politics, and human nature that are still relevant in any time period. Based on
woman scholar named Sor Juana De La Cruz fought for her rights and freedom to study and pursue her writing career. “Born November 12, 1651, in San Miguel Nepantla, Tepetlixpa México, Juana Inés de La Cruz’s intelligence and scholarship became known throughout the country during her teen years.” With her options diminished to only two and with her continuing passion to learn, she decided to become a nun. “She began her life as a nun in 1667 so that
However, there are differences as to why the women had to turn to the churches. In “Sor Juana Ines De La Cruz” she entered a prestigious, wealthy convent for educational purposes. At the convent she was taught “secular and religious subjects, music, dance, and drama” (Juana, Ines De La Cruz). In Erauso’s book “Lieutenant Nun” the convent does not seem to be a prestigious one. It sounded like she had to go there at such a young
groups at the same time. The story of Sor Juana best shows why a single story can be an issue. Malinche was Cortes’ personal translator on many occasions, like her journey to Honduras from 1524 to 1526. She also helped Cortes defeat the Aztecs by providing him with information so he could become allies with the Aztecs enemies. At a young age, Malinche
the inclusion of the theatric hesitation of Sor Juana Inés de la Cruz and the Vicereine’s secret love, although I was disappointed by its culmination of separation. The final scenes of the movie left me unfulfilled as I wanted Sor Juana Inés de la Cruz to triumph over her ecclesiastical oppressors. Unfortunately, history often ends in dominant power structures retaining and exploiting their positions. I, the Worst of All dramatically portrays Sor Juana Inés de la Cruz's life and provides insight
Sor Juana Inés de la Cruz lived in New Spain during the 17th century. She became a nun so that she could pursue her intellectual interests and she ended up becoming New Spain’s premier Baroque poet. Her education ended at primary school, but she continued to educate herself through reading. Not only was she an intellectual, but she was a nonconformist. Sor Juana was continually challenging the male dominated society that she was living in. She largely advocated the intellectual rights of women. Sor
Sor Juana Ines de la Cruz, was a woman with an aching desire to learn. Born to an upper class family, Juana began educating herself at the age of three. It was in her grandfather library she learn to read and write, this continued into her adult years. Although she faced many challenges because of this desire, Sor Juana did not let that hinder her from studying. Sister Juana is celebrated as the “Tenth Muse” in Europe and the Americas, and was one of most famous writers of her time. She studied many
Sor Juana Ines de la Cruz was born on November 12, 1651 to an upper classfamily in colonial New Spain. As a child, she exhibited a lot of curiosity for the world around her and people noticed that she was a child prodigy. She moved to the capital in order explore these intellectual pursuits and eventually joined the Jeronymite religious order to avoid marriage. During the 17th century, the clergy viewed women as the daughters of Eve and associated them with evil and sin. Thus, women needed to remain
Kimberly Dallmann ENG 315 David Aitchison 01/29/2014 Biographical Essay Assignment 2 Final Draft Introduction Sor Juana Inés de la Cruz, or Sister Juana, is widely celebrated as the first woman to have had her feminist works published in the New World. Sor Juana was born a daughter of the church, and is well known for her eagerness to learn as much as she could in her lifetime. Her eagerness to learn was so extreme, in fact, that she took vows to become a nun in her late teenage years and renewed
this, I decided to bring in one of the poems of Sor Juana. My Lady presents another view on the topic of love from a different part of the world that also includes a slight religious influence.
feminism for existing long period of time, this woman is Sor Juana Ines de la Cruz. The word “Sor” is in her name because she is a sister, a nun. She is a poet and a writer. Her poetry, meanwhile, states in bold language the potency of the feminine in both love and religion. Yet, a bishop in
“Who is more to blame though either should do wrong? She who sins for pay or he who pays to sin?” Throughout “You Foolish Men” by Sor Juana Inés de la Cruz the central question lies around who is to really blame for the suppression of women. De la Cruz attempts throughout her poem to portray men as ludicrous for their a double standard of women. However, De la Cruz blames human nature more than men for the suppression of women. De la Cruz starts off her poem calling out men for laying misplaced blame