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Poetry Corner: Sor Juana Inés de la Cruz – That My Heart Is Suffering / Este Amoroso Tormento

It shows Juana's struggles as she tries to find a safe haven in order to pursue her intellectual development as a woman with a damaging past. She faces harsh opposition from the leaders of the Catholic Church and the Spanish Inquisition who are horrified by Juana's intelligence and her desire for knowledge as a woman. The series was acquired by Netflix , was released on January 27, in France.

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Retrieved 1 May Retrieved 29 April Retrieved from " https: CS1 Spanish-language sources es. Views Read Edit View history. This page was last edited on 3 July , at By using this site, you agree to the Terms of Use and Privacy Policy. I will argue their parallelism and different approaches towards theology and feminist imagery found in their poetic works.

By looking at the life and works of 12th century Abbes, Hildegard von Bingen, it is unavoidable for me not to compare her with Mexican 17 th century nun and philosopher Sor Juana Ines de la Cruz. Hildegard and Sor Juan have remarkable similarities in their approach to monastic life and theology.

Nevertheless their differences are as great as their similarities; however, those differences are not an obstacle when looking at their unique feminist imagery found in their work and poetics along with their love and devotion towards high arts and wisdom. Both works also reflected how Hildegard and Sor Juana felt about their religious role along with a unique understanding of the mystic experience. The range of forms poetry, drama, scholarly disputation, music, autobiography which Sor Juana manipulates skillfully is unequalled with the ones mastered by Hildegard herself.

I will also explored and discuss the ways that mysticism is reflected and performed in context of Hildegard and Sor Juana. My discuss has been framed under the following authors and methodologies; Frances Beer in her book Women and Mystical Experience in the Middle Ages makes an effort to reclaim the voice of three mystic female voices among them, Hildegard von Bingen.

She discusses her work based on the idea that while looking at female mysticism, the use of restrictive default theological methods may result in fail while trying to read the feminine nuances found in these women.

Poemas y sonetos by Juana Inés de la Cruz

Therefore she urged the reader to take in account the personal life and experience of each of the women as part of their individual spiritual understanding along with their unique commitment to religious life1. Under this concept, the object of affection of both mystics is an impersonal ideal, genderless and ethereal, where the ideal love can be perform.

This corresponds to Christian love where the love of God is the primary worship. The experience of spiritual passion is bodiless and intangible and it becomes the center of a 1 Frances Beer,Women and Mystical Experience in the Middle Ages Woodbridge: Boydell Press, , 6. Two Medieval Mystics New York: Paulist Press, , 8.

The connection between mysticism and passion is the umbrella under both mystics work can be interpreted. It is important to establish a difference between western passion and the kind of passion describe by Dreyer. In the western traditional lyricism, passion is related to human love and sexuality. The kind of passion both Hildegard and Sor Juana relate to is the one that drives powerful emotion toward knowledge and wisdom4.

This passional experience in a mystical realm can bring a sense of liberation from the earthy and common life. Both mystics evocation of passion incarnates an inquiry for a high spiritual path where their religious embodiment is taking place. Hildegard of Bingen — Prophet, scientist, mystic, author, visionary, poet, dramatis and musician — was the quintessential Renaissance woman and is considered the first German mystic5. Her monastic environment, ruled by the Benedictine doctrine led the abbes to practice the kind of structure and discipline that allowed her a spiritual development and inner growth in her community.

Her poetry reflects an intense and personal relationship with God that open the way for an increased emphasis on individual meditations and eventually, visionary experience 6. Boydell Press, , She attended the court in Mexico City as a teenager at the request of Marquesa Leonor Carreto that will become one of her biggest patrons.

In she entered the convent of San Jose under the monastic lineage of the reformed Carmelites. She left after three months due health problems apparently cause by the rigid discipline of the order. In she became a professed nun of the Hieronimite order in the convent of St.

Paula to never again leave its confines. This order, in spite of the repressive atmosphere of the Spanish inquisition, encouraged 8 Anne L. Klinck and Ann Marie Rasmussen eds. University of Pennsylvania Press, , She received many gifts of scientific instruments and books and was attended by a slave and many servants. Sor Juana was a prolific writer, from forward, she became a sort of poet laureate contributing almost a hundred villancicos or carols to the Cathedrals of Mexico and over twenty plays and musicals and more than two hundred lyric poems.

In addition she wrote prose works and devotional literature. During her lifetime, two volumes of her own works went through several editions In early studies of her work and life she has been accused of having used the religious life as a disguise for her own intellectual pursuits.

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Her mysticism conveys a different narrative and happen within a context where her vibrant 9 Therese Boos Dykeman ed. Kluwer Academic Publishers, , The proceeds from what she sold went to the poor to whom she dedicated the rest of her life until her tragic death by plague in In 17th century Mexico society moral discourse systematically excluded the woman of any kind of public or educational involvement. Gender consciousness and feminine knowledge were condemned to survived throught disguise. Under this context the sorjuaniano discourse used various tricks as emancipation strategy from the subordination.

During colonial times the power exercised by the religious and political elites spread a remarkable misogyny that kept colonial women in complete abandonment. The poetics of incarnation: Female bodies in religious ecstasy Ave Generosa by Hildegard von Bingen is one of the four Symphonia compositions label as hymns and dedicated to the Virgin Mary.

Sor Juana y su Mundo: Una Mirada Actual Mexico, D. Fondo de Cultura Economica, , Ave generosa, gloriosa et intact puella; tu, papilla castitatis, tu, material sanctitatis, que Deo placuit!

Spanish majors publish new translation of Sor Juana Inés de la Cruz

Nam hec superna infusion in the fuit, quod supernum verbum in the carnem induit. Tu, candidum lilium, quod Deus ante omnem creaturam inspexit. O pulcherrima et dulcissima; quam valde dues in the delectabatur!