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Virginia Aspe’s erudite Approaches to the Theory of Freedom offers a new interpretation of “Primero Sueño”–probably the highest Spanish-written poem–, written by the nun Sor Juana Inés de la Cruz . Aspe considers the philosophical and theological influences regarding Sor Juana’s development of her concept and ideal of freedom. With vast erudition, Aspe helps advance the field of Sor Juana studies beyond what Paz was able to accomplish. She emphasises the influence of the Jesuit theology of the University of Coimbra. New perspectives and references available to the Spanish speaking world, such as the recent translation of several previously unknown Latin texts from Sor Juana’s Mexican contemporaries, provide insights that help Aspe take our understanding of the poem further and cast new lights on her idea of freedom, as well as her background and references. Approaches to the Theory of Freedom help us to become familiar with the way this magnificent poem becomes a defense of freedom. That is why this book means a significant contribution to our understanding of Sor Juana’s thought and the poetry of Sor Juana’s period.
"In this introduction I use Bertrand Russell's (1945) The History of Western Philosophy (hereafter: History), to introduce the meta-philosophical themes that recur throughout the chapters of this book. In particular, I focus on the way the distinction or opposition between rustic thought, which is supposed to characterize barbarous societies, and the urbane thought that is purported to characterize civilized society can help explain some entrenched patterns of exclusion visible in contemporary philosophy. I embed these remarks in a larger, speculative historiography of the very idea of 'western philosophy.' Along the way, I provide an overview of the chapters of this volume"--
"This volume addresses the religious, sociocultural, and political context of colonial society. Sor Juana lived in a convent, a community of women whose lives were strictly regulated by the rules of their order (in her case, the Hieronymites). She was subject to the authority of the bishop and other clerics. She lived in the capital of an enormously wealthy colonized region whose vast territory and many inaccessible rural areas created governance nightmares. She participated in a highly stratified colonial society in which class, race, religion, and gender determined performative behaviors to a great extent. She was subject to a power struggle between the secular and religious arms of government, as well as internecine church conflicts. Her ability to throw off some of the weight of restrictions and limitations on a woman of her temperament, vocation, and family background remains truly remarkable"--Emilie L. Bergmann and Stacey Schlau, Preface, p. xii.
This is a close reading of selected poetic, dramatic, and prose works by Sor Juana Ines de la Cruz (1651-1695), with the intent of elucidating ways in which this important colonial Mexican intellectual and literary figure created a textual self through her writing. The book analyzes Sor Juana's complex, varied, and strategic process of literary self-fashioning, the self-promotional and self-protective functions that it served, and its consequences for readers of her and subsequent generations. The book situates its readings of Sor Juana's work against the background of the arc of her career - its ascent in the 1680s, to its descent and disintegration in the 1690s. The book does not try to reassemble the life of a literary figure, rather, it explores the traces of that figure's process of literary self-fashioning contextually and over time. Illustrated.
Sor Juana Inés de la Cruz (1651-1695) was the most significant literary figure of the colonial period in Spanish America.The autos sacramentales, or Eucharistic plays are some of her least studied, and most perplexing works. While one of them, El divino Narciso, has received substantial scholarly attention, the other two, El cetro de José and El mártir del Sacramento, San Hermenegildo, have been critically neglected in Sor Juana studies. This study presents a full-length analysis of all three plays, along with their loas, or the introductory pieces alongside which they were intended to be performed. Furthermore, the study seeks to place these works in their philosophical and cultural context by exploring their engagement both with orthodox Catholic sacramental theology, and the emergence of empiricism and the New Philosophy across the Hispanic world. The three sections of this book each present significant new readings of the three plays. The study of El divino Narciso employs a previously little-known source to illuminate its Christological readings, as well as Sor Juana's engagement with notions of wit and conceptism. The analysis of El cetro de José explores her presentation of different approaches to perception to emphasise the importance of both the material and the transcendent to a holistic understanding of the Sacraments. The final section, on San Hermenegildo, explores the influence on the play of the Christianised Stoicism of Justus Lipsius, and demonstrates how Sor Juana used the work to attempt her most ambitious reconciliation of an empirical approach to natural philosophy and the material world with a Neostoic approach to Christian morality and orthodox Catholic sacramental theology.
Sor Juana Inés de la Cruz, a seventeenth-century Mexican nun, is one of the most compelling figures of her age. A prolific writer, a learned scholar, and the first woman theologian of the Americas, she was also a defender of the dignity and rights of women in the midst of a fiercely patriarchal culture. In this study, Michelle Gonzalez examines Sor Juana’s contributions as a foremother of many currents of contemporary theology. In particular, in joining aesthetics with the quest for truth and justice, her work and witness suggest new avenues for Hispanic, feminist, and other liberation theologies.