To whom does the produced belong? Baroque, empire and poetry according to Sor Juana
With Francesco Petrarca's Canzoniere (or Rerum vulgarium fragmenta) the relationship between poet, poetry and readers changes remarkably, not only (or not so much) in terms -thematic and polemical- of the “theory of lyric” in process but in terms of how this theory is incorporated to the “pract...
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Centro de Investigaciones de la Facultad de Filosofía y Humanidades
2018
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/recial/article/view/22693 |
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I10-R10-article-226932018-12-20T12:58:28Z To whom does the produced belong? Baroque, empire and poetry according to Sor Juana ¿A quién pertenece lo producido? Barroco, imperio y poesía según Sor Juana Ruiz, Facundo Baroque Latin-American literature poetry public figure Juana Inés de la Cruz Barroco figura pública literatura latinoamericana poesía Juana Inés de la Cruz With Francesco Petrarca's Canzoniere (or Rerum vulgarium fragmenta) the relationship between poet, poetry and readers changes remarkably, not only (or not so much) in terms -thematic and polemical- of the “theory of lyric” in process but in terms of how this theory is incorporated to the “practice of lyric”: how the poet makes poetry with his theoretical conditions, thus affecting the criteria and reading settings available. This, among other things, and thanks to the “Petrarquism” , reaches in America and in the poetry of sor Juana Inés de la Cruz (1648/51-1695) a form and development very precise and distinctive (given, also, the colonial conditions that determined the relation itself) that will found one of the characteristics not only typical of the Baroque (its reflexive referentiality) but of the mexican poet’s (her public figure). In this sense, this essay proposes to analyze said shift (historic-theoretical) in sor Juana Inés de la Cruz’s poetry considering, in particular, two opening poems of his printed work; and, through it, speculate about the uneven consequences that said shift meant for the critics and literature in Latinamerica. La relación entre el poeta, la poesía y sus lectores cambia con el Canzoniere (o Rerum vulgarium fragmenta) de Francesco Petrarca notablemente, no sólo (o no tanto) en términos –temáticos y polémicos– de la “teoría de la lírica” en curso sino por cómo ésta es incorporada a la “práctica lírica”: cómo el poeta hace poesía con sus condiciones teóricas afectando así los criterios y marcos de lectura disponibles. Esto, entre otras cosas y gracias al “petrarquismo”, alcanza en América y en la poesía de sor Juana Inés de la Cruz (1648/51-1695) una formulación y elaboración muy precisas y distintivas (dadas, también, las condiciones coloniales que determinaban la relación misma) que fundarán una de las características no sólo propias del barroco (su referencialidad reflexiva) sino de la propia obra de la mexicana (su figura pública). En este sentido, este ensayo se propone analizar dicho desplazamiento (histórico-teórico) en la poesía de sor Juana Inés de la Cruz considerando, particularmente, dos poemas inaugurales de su obra impresa; y por esta vía, especular acerca de la situación desigual que dicho cambio supuso para la crítica y la literatura en América Latina. Centro de Investigaciones de la Facultad de Filosofía y Humanidades 2018-12-15 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/recial/article/view/22693 Recial; Vol. 9 Núm. 14 (2018): Dossier: Del Barroco y el Neobarroco 2718-658X 1853-4112 10.53971/2718.658x.v9.n14 spa https://revistas.unc.edu.ar/index.php/recial/article/view/22693/22305 https://revistas.unc.edu.ar/index.php/recial/article/view/22693/html Derechos de autor 2018 Recial |
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Universidad Nacional de Córdoba |
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I-10 |
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R-10 |
| container_title_str |
Revistas de la UNC |
| language |
Español |
| format |
Artículo revista |
| topic |
Baroque Latin-American literature poetry public figure Juana Inés de la Cruz Barroco figura pública literatura latinoamericana poesía Juana Inés de la Cruz |
| spellingShingle |
Baroque Latin-American literature poetry public figure Juana Inés de la Cruz Barroco figura pública literatura latinoamericana poesía Juana Inés de la Cruz Ruiz, Facundo To whom does the produced belong? Baroque, empire and poetry according to Sor Juana |
| topic_facet |
Baroque Latin-American literature poetry public figure Juana Inés de la Cruz Barroco figura pública literatura latinoamericana poesía Juana Inés de la Cruz |
| author |
Ruiz, Facundo |
| author_facet |
Ruiz, Facundo |
| author_sort |
Ruiz, Facundo |
| title |
To whom does the produced belong? Baroque, empire and poetry according to Sor Juana |
| title_short |
To whom does the produced belong? Baroque, empire and poetry according to Sor Juana |
| title_full |
To whom does the produced belong? Baroque, empire and poetry according to Sor Juana |
| title_fullStr |
To whom does the produced belong? Baroque, empire and poetry according to Sor Juana |
| title_full_unstemmed |
To whom does the produced belong? Baroque, empire and poetry according to Sor Juana |
| title_sort |
to whom does the produced belong? baroque, empire and poetry according to sor juana |
| description |
With Francesco Petrarca's Canzoniere (or Rerum vulgarium fragmenta) the relationship between poet, poetry and readers changes remarkably, not only (or not so much) in terms -thematic and polemical- of the “theory of lyric” in process but in terms of how this theory is incorporated to the “practice of lyric”: how the poet makes poetry with his theoretical conditions, thus affecting the criteria and reading settings available. This, among other things, and thanks to the “Petrarquism” , reaches in America and in the poetry of sor Juana Inés de la Cruz (1648/51-1695) a form and development very precise and distinctive (given, also, the colonial conditions that determined the relation itself) that will found one of the characteristics not only typical of the Baroque (its reflexive referentiality) but of the mexican poet’s (her public figure). In this sense, this essay proposes to analyze said shift (historic-theoretical) in sor Juana Inés de la Cruz’s poetry considering, in particular, two opening poems of his printed work; and, through it, speculate about the uneven consequences that said shift meant for the critics and literature in Latinamerica. |
| publisher |
Centro de Investigaciones de la Facultad de Filosofía y Humanidades |
| publishDate |
2018 |
| url |
https://revistas.unc.edu.ar/index.php/recial/article/view/22693 |
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2022-08-20T01:13:19Z |
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