Sor Juana Ines de la Cruz (1648-1695) wrote poetry, prose, and plays and is considered the greatest of Mexican women writers. She was an intellectual prodigy, reportedly mastering Latin in twenty lessons, and at sixteen she entered a convent so that she might continue her learning. One of the most influential early feminists in the New World, she answered a bishop's criticism in a letter that has become a classic defense of the education of women. She collected a private library of 4,000 volumes, but when she was told that her studies were delaying the progress of her spiritual education, she gave away her books and devoted herself to religious studies. Traditionally, scholars have attributed only one complete play to Sor Juana, but in 1989 Guillermo Schmidhuber discovered a lost play, "The Second Celestina," which he proved conclusively to be Sor Juana's earliest comedia, co-authored with Agustin Salazar y Torres. Schmidhuber's critical study is the first dedicated exclusively to the secular plays and the first to confirm Sor Juana's authorship of three dramatic pieces. Combining literary history and criticism, Schmidhuber explores the life and originality of Sor Juana's dramas and helps elucidate her enigmatic genius.Though Sor Juana's work as a poet and intellectual has received increasing attention in the last decade, writing about her has rarely taken into account her role as dramatist. Schmidhuber helps correct this critical imbalance by examining Sor Juana's plays in light of dramatic theory. He finds elements of both mannerist and baroque theater in her work, sometimes both within the same play."

The Three Secular Plays of Sor Juana Inés de la Cruz: A Critical Study

Note: Although we do not indicate with an asterisk items that were not seen firsthand, many entries, in fact, are known to us only through secondary sources (e.g., publishers' catalogs of actual and forthcoming publications, book dealers' catalogs, other bibliographies, reviews in journals, photocopied tables of contents, personal correspondence, etc.). In order to produce as complete and accurate a bibliography as possible, we urge you to send notices of your recent publications to the bibliographer.* Offprints (separatas) of articles, copies of reviews with journal where appeared, and photocopies of titles pages (recto and verso) of books are the best method of communicating this information.

Bibliography of Publications on the Comedia (1993-1994)

late-seventeenth-century Mexico, pain and suffering and, by extension, death, occupied a privileged place in die cultural imagination and were closely associated with the attainment of truth and knowledge.1 However, both suffering and knowledge were deeply embedded in power structures that excluded women. In this study, I will show how Sor Juana responds to such exclusion by promoting physical torment as women's way to cross the enemy lines of the patriarchy and gain access to knowledge.2 Through poetic depictions of Katharine of Alexandria and Lucre tia, Sor Juana forges a bond between female suffering and the attainment of knowledge and, in so doing, rewrites the meaning inscribed on a female body so often cast as a site of weakness and lust. Stephanie Merrim has identified the existence of a metaphorical space, what she has called "the city of knowledge," whose doors seemed forever closed to women of the early modern period (194). Throughout history, society has attempted to gender knowledge as male, conferring what Sneja Gunew terms "le-

Pain, Knowledge, and the Female Body in Sor Juana Inés de

(2000). Actualidad del sorjuanismo (1994-1999) Colonial Latin American Review: Vol. 9, No. 2, pp. 277-292.

Actualidad del sorjuanismo (1994-1999)

This study analyzes the work of Sor Juana Ines de la Cruz and the testimonial novel of Elena Poniatowska, Hasta no verte Jesus mio (1969), in order to discover the androgynous subjectivity of both the novohispanic poet and the protagonist of Hasta no verte, Jesusa Palancares. The object is not simply an exercise in identifying the androgynous characteristics of one or the other woman but to demonstrate how, in the context of the predatory patriarchies that victimize both of them, each develops the masculine aspects of her being as a strategy to cope with stress and the concrete problems caused by her situation, that of Sor Juana being that she is a disobedient nun and that of Jesusa being that she is abused, Indian, extremely poor and pugnacious. The other strategy that each woman pursues consciously is spiritual in nature: neither Sor Juana, a Catholic nun, nor Jesusa, daughter of a Catholic family, follows the dictates of her traditional religion. That the nun publishes her explorations of hermetic–gnostic beliefs is more scandalous and even dangerous, but in the case of the illiterate Jesusa, it is equally notable that she should seek intellectual studies that will bring her to understand gnostic concepts. Both are finally repudiated by their religious communities, but they accept their punishment without losing their independence of thought nor the liberating condition of their androgyny.

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Let no one guess her sex: sor juana, jesusa palancares and the mask of androgyny

La segunda Celestina

Hallazgo y significación de un texto en prosa perteneciente a los últimos años de sor Juana Inés de la Cruz@@@Hallazgo y significacion de un texto en prosa perteneciente a los ultimos anos de sor Juana Ines de la Cruz

Los autores del presente artículo han descubierto más de sesenta documentos sobre las familias que fueron ancestros de sor Juana Inés de la Cruz: Asuaje, Ramírez de Vargas, Majuelo y Lezcano; se presentan pruebas de que provenían de las Islas Canarias. Se incluye la imagen del Permiso de Paso del que fue padre de Juana Inés, Pedro de Asuaje, quien llegó a América siendo niño. Se incluyen consideraciones sobre el habla de sor Juana de carácter americano, su «seseo». Se presentan tres árboles genealógicos: patrilineal, matrilineal y uno que prueba que tuvo una tatarabuela del lado paterno de origen judío.

Indagación genealógica sobre el origen canario de la familia paterna de Sor Juana Inés de la Cruz/Juana Inés de Asuaje y rastreo lingüístico de su habla con seseo

Guillermo Schmidhuber

Papers

La segunda Celestina

Hallazgo y significación de un texto en prosa perteneciente a los últimos años de sor Juana Inés de la Cruz@@@Hallazgo y significacion de un texto en prosa perteneciente a los ultimos anos de sor Juana Ines de la Cruz

Indagación genealógica sobre el origen canario de la familia paterna de Sor Juana Inés de la Cruz/Juana Inés de Asuaje y rastreo lingüístico de su habla con seseo