User:Hroitberg/sandbox

I've copied and pasted parts of the original article, Juana Inés de la Cruz, in bold, for drafting purposes.

I am proposing the following changes:

- adding a section on religious context and women's roles in religion

- adding a section on historical and geographical context

- adding a section on feminist events and individuals predating Sor Juana, like Andal, and discussing how these events might have influenced her

- discussing in more detail influential people in her life, like Miguel Fernandez de la Cruz and Maria Luisa Manrique de Lara y Gonzaga

- discussing in more detail her works, especially First Dream

- discussing the impact of Sor Juana on other people, such as Octavio Paz, and Alfonzo Mendez Plancarte, who wrote about her.

- discussing Sor Juana's impact on later feminist movements (the Sorjuanista Movement, a lesbian women's movement, and ecofeminism) and changing attitudes about religion and women in religion

'''Juana Inés de la Cruz

Sor Juana Inés de la Cruz, O.S.H. (English: Sister Joan Agnes of the Cross; 12 November 1648 – 17 April 1695), was a self-taught scholar and student of scientific thought, philosopher, musician composer, and poet of the Baroque school, and Hieronymite nun of New Spain (Mexico). Her outspoken opinions granted her lifelong names such as, "The Tenth Muse", "The Phoenix of America", or the "Mexican Phoenix".[1]

Sor Juana lived during Mexico's colonial period, making her a contributor both to early Spanish literature as well as to the broader literature of the Spanish Golden Age. Beginning her studies at a young age, Sor Juana was fluent in Latin and also wrote in Nahuatl,[2] and became known for her philosophy in her teens. Sor Juana educated herself in her own library, which was mostly inherited from her grandfather.[1] After joining a nunnery in 1667,[3] Sor Juana began writing poetry and prose dealing with such topics as love, feminism, and religion.[4] She turned her nun’s quarters into a salon, visited by the city’s intellectual elite. Among them was Countess Maria Luisa de Paredes, vicereine of Mexico.[5] Her criticism of misogyny and the hypocrisy of men led to her condemnation by the Bishop of Puebla, and in 1694 she was forced to sell her collection of books and focus on charity towards the poor. She died the next year, having caught the plague while treating her fellow nuns.'''

''Proposed change: divide the life section into two sections: birth and early life; and childhood - Re-wording this section to include subsections on the significance of Juana's identity as an illegitimate child of privileged economic and social position''

Early life

She was born Juana Inés de Asbaje y Ramírez de Santillana in San Miguel Nepantla (now called Nepantla de Sor Juana Inés de la Cruz in her honor) near Mexico City. She was the illegitimate child of a Spanish Captain, Pedro Manuel de Asbaje, and a Criolla woman, Isabel Ramírez. Her father, according to all accounts, was absent from her life. She was baptized 2 December 1651 and described on the baptismal rolls as "a daughter of the Church". Her maternal grandfather owned an Hacienda in Amecameca. Juana spent her early years living with her mother on his estate, Panoaya.[6]

a. Race: the historical context of Tenochtitlan and the Aztec people, and Colonial Mexico - Juana was a croilla (a relatively privileged identity in colonial Mexico) (Powell)

2. Growing up: Juana's economic privilege and early academic inclinations

As a child, Juana often hid in the Hacienda chapel to read her grandfather's books from the adjoining library, something forbidden to girls. She learned how to read and write Latin at the age of three. By age five, she reportedly could do accounts. At age eight, she composed a poem on the Eucharist.[7]

By adolescence, Juana had mastered Greek logic, and at age thirteen she was teaching Latin to young children. She also learned the Aztec language of Nahuatl and wrote some short poems in that language.[6]

In 1664, at the age of 16, Juana was sent to live in Mexico City. She asked her mother's permission to disguise herself as a male student so that she could enter the university there. Not being allowed to do this, she continued her studies privately. She was a lady-in-waiting at the colonial viceroy's court,[1] where she came under the tutelage of the Vicereine Leonor Carreto (in Italian, Leonor del Carretto), wife of the Viceroy of New Spain Antonio Sebastián de Toledo. The viceroy, the Marquis de Mancera, wishing to test the learning and intelligence of the 17-year-old, invited several theologians, jurists, philosophers, and poets to a meeting, during which she had to answer many questions unprepared and explain several difficult points on various scientific and literary subjects. The manner in which she acquitted herself astonished all present and greatly increased her reputation. Her literary accomplishments garnered her fame throughout New Spain. She was much admired in the viceregal court, and she received several proposals of marriage, which she declined.[7] '''

As a nun

Proposed change: Divide into two sections: life as a Discalced Carmelite nun; and life as Hieronymite nun

''

1. Life as a Discalced Carmelite nun''

In 1667, she entered the Monastery of St. Joseph, a community of the Discalced Carmelite nuns, as a postulant, where she remained but a few months.

2. Later, in 1669, she entered the monastery of the Hieronymite nuns, which had more relaxed rules. She chose to become a nun so that she could study as she wished since she wanted "to have no fixed occupation which might curtail my freedom to study."[8]

In the convent and perhaps earlier, Sor Juana became intimate friends with fellow savant, Don Carlos de Sigüenza y Góngora, who visited her in the convent's locutorio.[9] She stayed cloistered in the Convent of Santa Paula of the Hieronymite in Mexico City from 1669 until her death, and there she studied, wrote, and collected a large library of books. The Viceroy and Vicereine of New Spain became her patrons; they supported her and had her writings published in Spain.[8] She addressed some of her poems to paintings of her friend and patron María Luisa Manrique de Lara y Gonzaga, daughter of Vespasiano Gonzaga, Duca di Guastala, Luzara e Rechiolo and Inés María Manrique, 9th Countess de Paredes, which she also addressed as Lísida.

Proposed change: new section here dedicated to disagreement about Sor Juana's writing.

In November of 1690, the bishop of Puebla, Manuel Fernández de Santa Cruz published, under the pseudonym of Sor Filotea, and without her permission, Sor Juana's critique of a 40-year-old sermon by Father António Vieira, a Portuguese Jesuit preacher.[10] The Bishop also published his own letter critiquing her comments and said she should focus on religious instead of secular studies.[8] He published his criticisms to use them to his advantage against the priest and while he agreed with her criticisms, he believed that as a woman, she should devote herself to prayer and give up her writings.[11]

In response to critics of her writing, Juana wrote a letter, Respuesta a Sor Filotea de la Cruz (Reply to Sister Philotea),[12] in which she defended women's right to education: "Oh, how much harm would be avoided in our country" if women were able to teach women in order to avoid the danger of male teachers in intimate setting with young female students. She said that such hazards "would be eliminated if there were older women of learning, as Saint Paul desires, and instructions were passed down from one group to another, as in the case with needlework and other traditional activities."[13]

She famously remarked by quoting an Aragonese poet and echoing St. Teresa of Ávila: "One can perfectly well philosophize while cooking supper."[14] In response, Francisco de Aguiar y Seijas, Archbishop of Mexico joined other high-ranking officials in condemning Sor Juana's "waywardness."

New section: later life

By 1693, she seemingly ceased to write, rather than risking official censure. However, there is no undisputed evidence of her renouncing devotion to letters[citation needed], but there are documents showing her agreeing to undergo penance.

Her name is affixed to such a document in 1694, but given her deep natural lyricism, the tone of the supposed handwritten penitentials is in rhetorical and autocratic Church formulae[citation needed]; one is signed "Yo, la Peor de Todas" ("I, the worst of all women"). She is said to have sold all her books,[7] then an extensive library of over 4,000 volumes, and her musical and scientific instruments as well. Other sources report that her defiance toward the church led to all of her books and instruments being confiscated although the bishop himself agreed with the contents of her letters.[15]

Only a few of her writings have survived, which are known as the Complete Works. According to Octavio Paz, her writings were saved by the vicereine.[16]

She died after ministering to other nuns stricken during a plague, on 17 April 1695. Sigüenza y Góngora delivered the eulogy at her funeral.[9]'''

Works First Dream

First Dream, a long philosophical and descriptive silva (a poetic form combining verses of 7 and 11 syllables), "deals with the shadow of night beneath which a person[17] falls asleep in the midst of quietness and silence, where night and day animals participate, either dozing or sleeping, all urged to silence and rest by Harpocrates. The person's body ceases its ordinary operations,[18] which are described in physiological and symbolical terms, ending with the activity of the imagination as an image-reflecting apparatus: the Pharos. From this moment, her soul, in a dream, sees itself free at the summit of her own intellect; in other words, at the apex of an own pyramid-like mount, which aims at God and is luminous.[19]

There, perched like an eagle, she contemplates the whole creation,[20] but fails to comprehend such a sight in a single concept. Dazzled, the soul's intellect faces its own shipwreck, caused mainly by trying to understand the overwhelming abundance of the universe, until reason undertakes that enterprise, beginning with each individual creation, and processing them one by one, helped by the Aristotelic method of ten categories.[21]

The soul cannot get beyond questioning herself about the traits and causes of a fountain and a flower, intimating perhaps that his method constitutes a useless effort, since it must take into account all the details, accidents, and mysteries of each being. By that time, the body has consumed all its nourishment, and it starts to move and wake up, soul and body are reunited. The poem ends with the Sun overcoming Night in a straightforward battle between luminous and dark armies, and with the poet's awakening."[21]

Dramas

In addition to the two comedies outlined here (Pawns of a House [Los empeños de una casa] and Love is More a Labyrinth [Amor es mas laberinto]), Sor Juana is attributed as the author of a possible ending to the comedy by Agustin de Salazar: The Second Celestina (La Segunda Celestina).[22] In the 1990s, Guillermo Schmidhuber found a release of the comedy that contained a different ending than the otherwise known ending. He proposed that those one thousand words were written by Sor Juana. Some literary critics, such as Octavio Paz,[23] Georgina Sabat-Rivers,[24] and Luis Leal[25]) have accepted Sor Juana as the co-author, but others, such as Antonio Alatorre[26] and Jose Pascual Buxo, have refuted it.

Comedies

In the scholarly article, “Humor in Spain’s American Colonies: The Case of Sor Juana Inés de la Cruz,” author Julie Greer Johnson describes how Sor Juana protested against the rigorously defined relationship between genders through her full-length comedies and humor. While literary dramas “became secularized and levity was added to otherwise austere moral themes,” women often emerged as comic characters, frequently exemplifying negative behavior. Although “such misconduct was regarded as serious, presenting the commission of folly within a humorous context was thought to make the lesson to women more palatable.” Humor “reinforced male authority and attempted to control female sexuality,” but Sor Juana was undaunted and ultimately turned this attitude to her advantage. By recognizing the power of laughter, she “endeavored to appropriate it on behalf of colonial women,” deducing that humor “has the capacity to defuse contention or even silence opposition,” and “the potential to provoke an imaginative framework in which reality may be restructured without provoking disapproval.” Through her use of humor, she “could call attention to the inequality of male-female images of femininity imposed upon them.”[27]

Pawns of a House

The work was first performed on October 4, 1683, during the celebration of the Viceroy Count of Paredes’ first son’s birth.[28] However, some critics maintain that it could have been set up for the Archbishop Francisco de Aguiar y Seijas’ entrance to the capital, even though this theory is not considered reliable.[28]

The story revolves around two couples who are in love but, by chance of fate, cannot yet be together. This comedy of errors is considered one of the most prominent works of late baroque Spanish-American literature. One of its most peculiar characteristics is that the driving force in the story is a woman with a strong, decided personality who expresses her desires to a nun.[29] The protagonist of the story, Dona Leonor, fits the archetype perfectly.[28]

It is often considered the peak of Sor Juana’s work and even the peak of all New-Hispanic literature. Pawns of a House is considered a rare work in colonial Spanish-American theater due to the management of intrigue, representation of the complicated system of marital relationships, and the changes in urban life.[28]

Love is More a Labyrinth

The work premiered on February 11, 1689, during the celebration of the inauguration of the viceroyalty Gaspar de la Cerda y Mendoza. However, in his Essay on Psychology, Ezequiel A. Chavez mentions Fernandez del Castillo as a coauthor of this comedy.[30]

The plot takes on the well-known theme in Greek mythology of Theseus: a hero from Crete Island. He fights against the Minotaur and awakens the love of Ariadne and Fedra.[31] Sor Juana conceived Theseus as the archetype of the baroque hero, a model also used by her fellow countryman Juan Ruis de Alarcon. Theseus’ triumph over the Minotaur does not make Theseus proud, but instead allows him to be humble.[30]

Sor Juana and Music

Besides poetry and philosophy, Sor Juana was interested in science, mathematics and music. The latter represents an important aspect because, not only because musicality was an intrinsic part of the poetry of the time but also for the fact that she devoted a significant portion of her studies to the theory of instrumental tuning that, especially in the Baroque period, had reached a point of critical importance. So involved was Sor Juana in the study of music, that she wrote a treatise called El Caracol (unfortunately lost) that sought to simplify musical notation and solve the problems that Pythagorean tuning suffered. In the writings of Juana Ines, it is possible to detect the importance of sound. We can observe this in two ways. First of all, the analysis of music and the study of musical temperament appears in several of her poems. For instance, in the following poem, Sor Juana delves into the natural notes and the accidents of musical notation.[32]

Propiedad es de natura que entre Dios y el hombre media, y del cielo el be cuadrado junto al be bemol de la tierra. (Villancico 220)

On the other, Sarah Finley[33] offers an interesting idea. She argues that the visual is related with patriarchal themes, while the sonorous offers an alternative to the feminine space in the work of Sor Juana. As an example of this, Finley points out that Narciso falls in love with a voice, and not with a reflection.

Proposed change in this section: Elaborate on Sor Juana's comedy These are the sources we plan to use in this section: Johnson, Julie Greer. "Humor in Spain's American Colonies: The Case of Sor Juana Inés De La Cruz." Studies in American Humor, New Series 3, no. 7 (2000): 35-47. http://www.jstor.org/stable/42573391.

Other notable works

Loa to Divine Narcissus, (Spanish "El divino Narciso") (see Jauregui 2003, 2009)

Academic literature on her

Translations

Sor Juana’s work has been translated into English by many notable scholars. In 1943, Elizabeth Prall Anderson published an early translation of Sor Juana’s work in Ten Sonnets from Sor Juana Inez de la Cruz[sic], 1651-1695: Mexico’s Tenth Muse. In 1997, Margaret Seyers Peden published a translated English copy of a work by Juana Inés de la Cruz in Poems, Protest, and a Dream. This work includes her response to authorities censuring her.

Analyses

Octavio Paz and Tarsicio Herrera Zapién are two scholars who have published work on Juana Inez de la Cruz.

Paz analyses Sor Juana's most ambitious and extensive poem, "First Dream" ("Primero Sueño") as largely a representation of the desire of knowledge through a number of hermetic symbols, albeit transformed in her own language and skilled image-making abilities. Paz traces some of her influences to the Spanish writers of the Golden Age and the Hermetic tradition, mainly derived from the works of a noted Jesuit scholar of her era, Athanasius Kircher. In conclusion, Paz makes the case that Sor Juana's works were the most important body of poetic work produced in the Americas until the arrival of 19th-century figures such as Emily Dickinson and Walt Whitman.[citation needed]

Tarsicio Herrera Zapién, a classical scholar, has devoted much of his career to the study of Sor Juana's works. Some of his publications (in Spanish) include Buena fe y humanismo en Sor Juana: diálogos y ensayos: las obras latinas: los sorjuanistas recientes (1984); López Velarde y sor Juana, feministas opuestos: y cuatro ensayos sobre Horacio y Virgilio en México (1984); Poemas mexicanos universales: de Sor Juana a López Velarde (1989) and Tres siglos y cien vidas de Sor Juana (1995).

Feminist Analyses and Translations

Octavio Paz

Octavio Paz is a Nobel Prize Laureate and scholar. In the book Sor Juana: Or, the Traps of Faith, Paz examines and contemplates Sor Juana’s poetry and life in the context of the history of New Spain, particularly focusing on the difficulties women then faced while trying to thrive in academic and artistic fields. Primarily, Paz ims to explain why Sor Juana chose to become a nun.[34] In Juana Ramirez, Octavio Paz and Diane Marting find that Sor Juana’s decision to become a nun stemmed from her refusal to marry[43]; joining the convent, according to Paz and Marting, was a way for Juana to obtain authority and freedom without marrying.[43]

Margaret Seyers Peden

''Margaret Sayers Peden translated Sor Juana: Or, the Traps of Faith in 1989. Unlike other translations, Peden translated the title of Sor Juana’s best known work, First Dream, as First I dream instead.[36] Peden’s use of first person instills authority in Sor Juana as an author, as a person with knowledge, in a male-dominated society. [36]''

Electa Arenal

Electa Arenal, a Sor Juana scholar who is recognized among feminists who changed America (citation needed), analyzed and interpreted Sor Juana’s life and work in The Answer/La Respuesta by Sor Juana Inés de la Cruz along with Amanda Powell, a poet and translator .[35] Powell’s feminist approach to translating this work in the original publication, released in 1994 by The Feminist Press, is the first of its kind. [36] The Answer applies a valuable gender lens to Sor Juana’s writings and life. [36] In their feminist analysis, Powell and Arenal translate the viewpoint of Sor Juana’s writing as gender-ambiguous [36] Released in an updated second edition in 2009, also by The Feminist Press, the bilingual publication includes poems, an annotated publication of Sor Juana’s response to church officials and her impassioned plea for education of women, analysis and a bibliography.[36]

Dr. Theresa Yugar

Furthermore, Dr. Theresa Yugar who has written her Master's and Doctoral theses on Sor Juana, wrote Sor Juana Inés de la Cruz: Feminist Reconstruction of Biography and Text, a book in which she discusses the life of Sor Juana through a feminist lense and analyzes Sor Juana's La Respuesta and El Sueño. Dr. Yugar argues Sor Juana is the first feminist of the Americas and even one of the first ecofeminists. She claims that Sor Juana was ahead of her time and was able to intelligently critique the oppressive, patriarchal structures of the church. [37]

Historical memory and influence

Influence on Feminist Movements

Protofeminism

According to Yugar, Sor Juana is a the "first feminist of the Americas". https://www.the-exponent.com/latina-feminist-theology-with-theresa-a-yugar/

Ecofeminism

- space to critique patriarchy within catholic christian tradition

- non-hierarchical spirituality that affirms ecological world

- meaning-seekers

https://www.the-exponent.com/latina-feminist-theology-with-theresa-a-yugar/

Religious feminism and feminist theology

- Roman catholic women priest movement - where women can be ordained

- important because it is a radically inclusive space

- calling the catholic church accountable to the missions of Jesus to accept all people

- Criticism of cannon law 10-24 that denies women access to be priests within the church

- early 70s - more women want to be ordained

- women's ordination conference

- women's alliance for theology, ethics and ritual

- Academic feminist theologian

https://www.the-exponent.com/latina-feminist-theology-with-theresa-a-yugar/

https://journals.uvic.ca/index.php/plvsvltra/article/view/18159

Political Controversy

Sor Juana was a famous and controversial figure in the seventeenth century. In the modern era, she has been honored in Mexico as well as being the part of a political controversy in the late twentieth century. During renovations at the cloister in the 1970s, bones were found that are believed to be those of Sor Juana. Also found at the same time was a medallion similar to the one depicted in portraits of Sor Juana. The medallion was kept by Margarita López Portillo, the sister of President José López Portillo (1976-1982). During the tercentennial of Sor Juana's death in 1995, a member of the Mexican congress called on Margarita López Portillo to return the medallion, which she said she had taken for "safekeeping". She returned it to Congress on November 14, 1995, with the event and description of the controversy reported in The New York Times a month later. Whether or not the medallion is Sor Juana's, the incident sparked discussions about Sor Juana and abuse of official power in Mexico.[38]

Impact on Mexican Identity

Scholars like Rachel O’Donnell argue that Sor Juana occupied a special place in between socially acceptable and socially unacceptable roles in seventeenth century Mexico (O’Donnell). By examining Sor Juana intersectionally, they prioritize the context of New Spain, specifically the influence of religion and social norms, in understanding Sor Juana (O’Donnell) as a female theologian and poet.

In colonial Mexico, education was an undertaking reserved for men.[47] Scholars like O’Donnell emphasize that writing and reading were strictly for men.[47] Consequently, scholars like Octavio Paz argue, religion became a way for women to avoid marriage.[43] Since Sor Juana was opposed to marriage, Paz argues, entering the convent was a socially acceptable way to be a single woman in seventeenth century Mexico.[43] Entering the convent also meant that Sor Juana could read and write about religion despite the barriers to formal education for women.[47] O’Donnell argues that Sor Juana was called a rare bird because although theology was only an acceptable pursuit for men in the Catholic Church, she actively studied religion.[47] Sor Juana likely perceived wisdom and religion as inseparable, so she probably also believed that to follow God was to pursue wisdom [44] Also, to Sor Juana, entering the convent likely represented forgoing marriage to a human man and instead entering into a marriage with God.[4] Additionally, Sor Juana likely perceived wisdom and religion as inseparable, so she probably also believed that to follow God was to pursue wisdom [44]

Official recognition by the Mexican government

In present times, Sor Juana is still an important figure in Mexico.


 * In Mexico, Sor Juana is connected to the religious symbol of the Virgin of Guadalupe [47]


 * Sor Juana's name was inscribed in gold on the wall of honor in the Mexican congress in April 1995.[38]
 * Sor Juana is pictured on the obverse of the 200 pesos bill issued by the Banco de Mexico.[39]
 * Sor Juana appears on the 1000 pesos coin minted by Mexico between 1988 and 1992
 * The convent in Mexico City in which she lived the last 27 years of her life and where she wrote most of her work is today the University of the Cloister of Sor Juana in the historic center of Mexico City.
 * Sor Juana's hometown of San Miguel Nepantla in the municipality of Tepetlixpa, State of Mexico, was renamed in her honor as Nepantla de Sor Juana Inés de la Cruz.

Inspiration and Influence

Sor Juana has been the inspiration for film makers and authors of poetry, plays, opera, and literary fiction.


 * American composer John Adams and director Peter Sellars used two of Sor Juana's poems, Pues mi Dios ha nacido a penar and Pues está tiritando in their libretto for the Nativity oratorio-opera El Niño (2000).


 * The Spanish-language mini-series Juana Inés (2016) by Canal Once TV, starring Arantza Ruiz and Arcelia Ramírez as Sor Juana, dramatizes her life.
 * María Luisa Bemberg wrote and directed the 1990 film, Yo, la peor de todas (I, the Worst of All), based on Octavo Paz's Sor Juana: Or, the Traps of Faith based on Sor Juana's life.
 * A telenovela about her life, Sor Juana Inés de la Cruz was created in 1962.
 * Diane Ackerman wrote a dramatic verse play, Reverse Thunder, about Sor Juana (1992).
 * Alicia Gaspar de Alba wrote a historical novel, Sor Juana's Second Dream (1999), which won the Latino Literary Hall of Fame Award for Best Historical Novel in 2000. The novel was translated into Spanish and published as El Segundo Sueño by Grijalbo Mondadori in 2001. The novel has been adapted to a stage play, The Nun and the Countess by Odalys Nanin. It has also been adapted to a film, Juana de Asbaje, directed by Mexican filmmaker Rene Bueno, the screenplay co-written by Bueno and Gaspar de Alba, with Mexican actress Ana de la Reguera cast in the title role. Juana, an opera based on the novel will be performed by Opera UCLA in November 2019, the music composed by Carla Lucero and the libretto co-written by Lucero and Gaspar de Alba.
 * Jesusa Rodríguez has produced a number of works concerning Sor Juana, including Sor Juana en Almoloya and Striptease de Sor Juana, based on Juana's poem, "Primero Sueño".
 * Canadian novelist Paul Anderson devoted 12 years writing a 1300 page novel entitled Hunger's Brides (pub. 2004) on Sor Juana. His novel won the 2005 Alberta Book Award.
 * Helen Edmundson's play The Heresy of Love, based on the life of Sor Juana, was premiered by the Royal Shakespeare Company in early 2012 and revived by Shakespeare's Globe in 2015.[40]
 * Composer Daniel Crozier and librettist Peter M. Krask wrote With Blood, With Ink, an opera based around her life, while both were students at Baltimore's Peabody Institute in 1993. The work was premiered at Peabody and won first prize in the National Operatic and Dramatic Association's Chamber Opera Competition. In May 2000, excerpts from the opera were included in the New York City Opera's Showcasing American Composers Series. The work in its entirety was premiered by the Fort Worth Opera on April 20, 2014 and recorded by Albany Records.
 * Puerto Rican singer ILE (singer) recites part of one of Sor Juana's sonnets in her song "Rescatarme".
 * Playwright, director, dramaturg, teacher, and producer Kenneth Prestininzi wrote Impure Thoughts (Without Apology) which follows Sor Juana's experience with Bishop Francisco Aguilar y Seijas. "[2]".
 * Canadian poet and novelist Margaret Atwood's 2007 book of poems 'The Door' includes a poem entitled 'Sor Juana Works in the Garden'.[41]
 * On 12 November 2017, Google Doodle commemorated her 366th birthday.[42]

'''References


 * 1) Murray, Stuart (2009). The Library: An Illustrated History. Chicago: Skyhorse Publishing. ISBN 978-0-8389-0991-1.
 * 2) TOWNSEND, C. (2015). SOR JUANA'S NAHUATL. Le Verger – bouquet VIII, September 2015 [1].
 * 3) "Sor Juana Ines de la Cruz Biography". Biography.com. A&E Television Networks. Retrieved 11 March 2017.
 * 4) "Sor Juana Ines de La Cruz, famous women of Mexico". Mexonline.com. Retrieved 11 March 2017.
 * 5) Stephanie, Merrim. "Sor Juana Ines de la Cruz". Encyclopædia Britannica. Retrieved 11 March 2017.
 * 6) "Sor Juana Inés de la Cruz", Academy of American Poets
 * 7) Wikisource-logo.svg Wilson, J. G.; Fiske, J., eds. (1900). "Cruz, Juana Inés de la" . Appletons' Cyclopædia of American Biography. New York: D. Appleton.
 * 8) "Sor Juana Inés de la Cruz Biography". Biography.com. A&E Television Networks. Retrieved 2016-04-15.
 * 9) Leonard, Irving A. (1960). Baroque Times in Old Mexico: Seventeenth-Century Persons, Places, and Practices (12th ed.). University of Michigan Press. pp. 191–192. ISBN 9780472061105.
 * 10) "Manuel Fernandez de Santa Cruz, bishop of Puebla". Encyclopædia Britannica. Retrieved 2016-04-15.
 * 11) Murray, Stuart (2012). Library : an illustrated history. New York: W W Norton. p. 139. ISBN 1-61608-453-7.
 * 12) "Sor Juana Inés de la Cruz". www.ensayistas.org.
 * 13) Murray, Stuart A.P. (2009). The library : an illustrated history. New York, NY: Skyhorse Pub. ISBN 9781602397064.
 * 14) "Sor Juana Ines de la Cruz, Mexican poet and scholar". Encyclopædia Britannica.
 * 15) Murray, Stuart (2009). The Library: An Illustrated History. Chicago: Skyhorse Publishing. ISBN 978-0-8389-0991-1.
 * 16) Paz, Octavio (1988). Sor Juana, Or, The Traps of Faith. Harvard University Press. ISBN 9780674821064.
 * 17) In the final verse we come to know it is Sor Juana herself because she uses the first person, feminine.
 * 18) Sor Juana is inspired by Fray Luis de Granada's Introducción al Símbolo de la Fe, where an extended verbal description of physiological functions is the closest match to what is found in the poem.
 * 19) It must be understood that this light of intellect is Grace given by God. poemas cortos
 * 20) This pinnacle of contemplation is clearly preceded by Saint Augustine (Confessions, X, VIII, 12), who also inspired Petrarch's letter about the contemplation of the world created by God from the summit of a mountain (in his letter Familiares, IV, 1)
 * 21) Olivares Zorrilla, Rocío. "The Eye of Imagination. Emblems in the Baroque Poem The Dream, by Sor Juana Inés de la Cruz", Emblematica. An Interdisciplinary Journal for Emblem Studies, volume 18 (2010): 111-61: 115-17.
 * 22) Kirk Rappaport, Pamela (1998). Sor Juana Inés de la Cruz. Continuum International Publishing Group. ISBN 978-0826410436.
 * 23) Paz, Octavio. «¿Azar o justicia», La segunda Celestina, ed. Guillermo Schmidhuber. México: Vuelta, 1990, págs. 7-10.
 * 24) Georgina Sabat-Rivers, “Los problemas de La segunda Celestina” (Nueva Revista de Filología Hispánica 40 (1992), pp. 493-512.
 * 25) Buenos Aires: Biblioteca de textos universitarios, 1995, págs. 76-105
 * 26) Alatorre, Antonio. «La Segunda Celestina de Agustín de Salazar y Torres: ejercicio de crítica». Vuelta, 46 (diciembre de 1990), págs. 46-52.
 * 27) Johnson, Julie Greer (2000). "Humor in Spain's American Colonies: The Case of Sor Juana Inés de la Cruz". Studies in American Humor. Studies in American Humor, 2000. 7: 35–47.
 * 28) García Valdés, pág. 45-50.
 * 29) de la Cruz, Sor Juana Inés (1921). Los empeños de una casa. Madrid, España: Imprénta Clásica. ISBN 9781931010177.
 * 30) Chávez, pág. 140-142.
 * 31) Palacios Sanchez, Refugio Amada (1997). Hacia una lectura contemporanea de Amor es mas laberinto. Universidad Veracruzana. ISBN 978-9688344460.
 * 32) Long, Pamela (December 2006). "De la música un cuaderno pedís': Musical Notation in Sor Juana's Works". Bulletin of Hispanic Studies. 83 (6): 497–507.
 * 33) Finley, Sarah (2016). "Embodied Sound and Female Voice in Sor Juana Inés de la Cruz's Canon: romance 8 and El divino Narciso". Revista de Estudios Hispánicos. 50 (1): 191–216. doi:10.1353/rvs.2016.0007.
 * 34) Paz p. 2
 * 35) Arenal, Electa; Powell, Amanda (June 1, 2009). The Answer/LaRespuesta by Sor Juana Inés de la Cruz (2nd ed.). New York: The Feminist Press. ISBN 9781558615984.
 * 36) Bergmann, Emilie L.; Schlau, Stacey (2017). The Routledge Research Companion to the Works of Sor Juana Inéz de la Cruz. Routledge. ISBN 9781317041641.
 * 37) Yugar, Theresa A. (2014). Sor Juana Ines De La Cruz: Feminist Reconstruction of Biography and Text. Eugene, OR: Wipf and Stock. ISBN 978-1-62564-440-4.
 * 38) Depalma, Anthony (1995-12-15). "Mexico City Journal;The Poet's Medallion: A Case of Finders Keepers?". The New York Times. ISSN 0362-4331. Retrieved 2016-04-15.
 * 39) "Billete de 200 pesos". Bank of Mexico. Archived from the original on 2011-09-07. Retrieved 2011-07-26.
 * 40) Spencer, Charles (2012-02-10). "The Heresy of Love, RSC, Stratford-upon-Avon, review". The Telegraph. Retrieved 2016-04-15.
 * 41) 2007, O.W. Toad Ltd.
 * 42) "Sor Juana Inés de la Cruz's 366th Birthday". Google.com. 12 November 2017.
 * 43) Paz, Octavio, and Diane Marting (1979). "Juana Ramírez." Signs. 5 (1) : 80-97. http://www.jstor.org/.
 * 44) Cortest, Luis. (1985).  "Some thoughts on the philosophy of Sor Juana Ines de la Cruz." INTI, no. 21 (1985): 83-88. http://www.jstor.org/.
 * 45) Powell, Lisa D (2011). "2011 Elisabeth Schüüssler Fiorenza New Scholar Award First-Place Winner: Sor Juana's Critique of Theological Arrogance." Journal of Feminist Studies in Religion 27, no. 2 : 11-30. doi:10.2979/jfemistudreli.27.2.11.
 * 46) Arenal, Electa; Powell, Amanda (1993). "A Life Without and Within: Juana Ramírez / Sor Juana Inés de la Cruz (1648/51-1695)". Women's Studies Quarterly. 21 (1/2): 67–80. ISSN 0732-1562.
 * 47) O’Donnell, Rachel (2015-11-17). "Gender, Culture, and Knowledge in New Spain: Sor Juana's "To the Gentleman in Peru"". Women's Studies. 44 (8): 1114–1129. doi:10.1080/00497878.2015.1078213. ISSN 0049-7878.

Sources


 * The Juana Inés de la Cruz Project Dartmouth College. Retrieved: 2010-05-09.
 * Sor Juana Ines de la Cruz (1648-1695) Oregon State University. Retrieved: 2010-05-09.
 * Universidad del Claustro de Sor Juana. Retrieved: 2010-08-03.

'''Further reading

, La figura del mundo en "El sueño", de Sor Juana Inés de la Cruz. Ojo y "spiritus phantasticus" en un sueño barroco, Madrid, Editorial Académica Española, 2012. ISBN 978-3-8484-5766-3
 * ALATORRE, Antonio, Sor Juana a través de los siglos. México: El Colegio de México, 2007.
 * BENASSY-BERLING, Marié-Cécile, Humanisme et Religion chez Sor Juana Inés de la Cruz: la femme et la cultura au 17e siècle. Paris: Editions Hispaniques, 1982. ISBN 2-85355-000-1
 * BEAUCHOT, Mauricio, Sor Juana, una filosofía barroca, Toluca: UAM, 2001.
 * BUXÓ, José Pascual, Sor Juana Inés de la Cruz: Lectura barroca de la poesía, México, Renacimiento, 2006.
 * CORTES, Adriana, Cósmica y cosmética, pliegues de la alegoría en sor Juana Inés de la Cruz y Pedro Calderón de la Barca. Madrid: Vervuert, 2013. ISBN 978-84-8489-698-2
 * GAOS, José. "El sueño de un sueño". Historia Mexicana, 10, 1960.
 * JAUREGUI, Carlos A. "Cannibalism, the Eucharist, and Criollo Subjects." In Creole Subjects in the Colonial Americas: Empires, Texts, Identities. Ralph Bauer & Jose A. Mazzotti (eds.). Chapel Hill: Omohundro Institute of Early American History & Culture, Williamsburg, VA, U. of North Carolina Press, 2009. 61-100.
 * JAUREGUI, Carlos A. "El plato más sabroso’: eucaristía, plagio diabólico, y la traducción criolla del caníbal." Colonial Latin American Review 12:2 (2003): 199-231.
 * MERKL, Heinrich, Sor Juana Inés de la Cruz. Ein Bericht zur Forschung 1951-1981. Heidelberg: Winter, 1986. ISBN 3-533-03789-4
 * MURATTA BUNSEN, Eduardo, "La estancia escéptica de Sor Juana". Sor Juana Polímata. Ed. Pamela H. Long. México: Destiempos, 2013. ISBN 978-607-9130-27-5
 * NEUMEISTER, Sebastian, "Disimulación y rebelión: El Político silencio de Sor Juana Inés de la Cruz". La cultura del barroco español e iberoamericano y su contexto europeo. Ed. Kazimierz Sabik and Karolina Kumor, Varsovia: Insituto de Estudios Ibéricos e Iberoamericanos de la Universidad de Varsovia, 2010. ISBN 978-83-60875-84-1
 * OLIVARES ZORRILLA, Rocío, "The Eye of Imagination: Emblems in the Baroque Poem 'The Dream,' by Sor Juana Inés de la Cruz", in Emblematica. An Interdisciplinary Journal for Emblem Studies, AMC Press, Inc., New York, vol. 18, 2010: 111-161.


 * PERELMUTER, Rosa, Los límites de la femineidad en sor Juana Inés de la Cruz, Madrid, Iberoamericana, 2004. PAZ, Octavio. Sor Juana Inés de la Cruz o las trampas de la fe. México: Fondo de Cultura Económica, 1982.
 * PFLAND, Ludwig, Die zehnte Muse von Mexiko Juana Inés de la Cruz. Ihr Leben, ihre Dichtung, ihre Psyche. München: Rinn, 1946.
 * RODRÍGUEZ GARRIDO, José Antonio, La Carta Atenagórica de Sor Juana: Textos inéditos de una polémica, México: UNAM, 2004. ISBN 9703214150
 * ROSAS LOPATEGUI, Patricia, Oyeme con los ojos : de Sor Juana al siglo XXI; 21 escritoras mexicanas revolucionarias. México: Universidad Autónoma Nuevo León, 2010. ISBN 978-607-433-474-6
 * SABAT DE RIVERS, Georgina, El «Sueño» de Sor Juana Inés de la Cruz: tradiciones literarias y originalidad, Londres: Támesis, 1977.
 * SORIANO, Alejandro, La hora más bella de Sor Juana Inés de la Cruz, México, CONACULTA, Instituto Queretano de la Cultura y las Artes, 2010.
 * WEBER, Hermann, Yo, la peor de todas – Ich, die Schlechteste von allen. Karlsruhe: Info Verlag, 2009. ISBN 978-3-88190-542-8

External links


 * Works by Juana Inés de la Cruz at LibriVox (public domain audiobooks)
 * Sor Juana festival. National Museum of Mexican Art, Chicago
 * Sor Juana Ines the Tenth Muse from Inside Mexico
 * Sor Juana, the Poet: The Sonnets from National Endowment for the Humanities
 * Sor Juana, la poetisa: Los sonetos from National Endowment for the Humanities
 * The Imperfect Sex: Why Is Sor Juana Not a Saint? by Jorge Majfud
 * The Sor Juana Inés de la Cruz Project Academic resource on the poetry of Sor Juana Inés de la Cruz
 * On-line facsimile edition of Sor Juana's Fama y obras posthumas
 * Six sonnets in Spanish with English translations
 * Free scores by Juana Inés de la Cruz in the Choral Public Domain Library (ChoralWiki)
 * Free scores by Juana Inés de la Cruz in the International Music Score Library Project
 * Libro de professiones y elecciones de prioras y vicarias del Convento de San Gerónimo (University of Texas Libraries) Includes the handwritten professions of famous poet Sor Juana Inés de la Cruz