The three secular plays of Sor Juana Inés de la Cruz a critical study
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Lexington
The University Press of Kentucky
2000
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| Schriftenreihe: | Studies in Romance languages (Lexington, Ky.)
43 |
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| Online-Zugang: | DE-1046 DE-1047 Volltext |
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Inhaltsangabe:
- Cover; Title; Copyright; Contents; List of Figures and Tables; By Way of Prologue; Glossary of Literary Terms from Spanish; First Critical Act: Introduction to Sor Juana's Dramatic Work; The Last of the Forgotten; On the Question of Dramatic Genres; Sor Juana's Dramatic Work; Early Editions and Dramatic Texts; Appreciation of Sor Juana's Theater by Her Contemporaries; Anonymous Editions; Editions of Doubtful Authorship; Dramaturgy and the Convent; Second Critical Act: The Dramatic Itinerary of Sor Juana; Chronology for the Compositions and Performances
- The Second Celestina, in Collaboration with Agustin de Salazar y TorresThe Trials of a Noble House; Love Is Indeed a Labyrinth, in Collaboration with Juan de Guevara; Dramatic Itinerary Repertory of Works Performed during Sor Juana's Lifetime; Sor Juana's Readings of Dramatic Works; Comparative Study of the Three Plays; The Triangular Structure; Metric Study; Sor Juana's Art of Love; Reception Codes for the Theater; Third Critical Act: Sor Juana's Poetics for Drama; The Dramatic Theory of Sor Juana; The Author's Criteria; Theater as Visual Metaphor; Allegorical Characters and Human Characters
- Conflicts of Thought and Conflicts of ActionPrincipal Dramatic Influences; Elements of Sor Juana's Theater; Dramatic Elements; Linguistic Elements; Dramatic Rhetoric; Metatheater; The Mexican Quality of SOT fuana's Theater; Fourth Critical Act: The Second Celestina; Introduction; Research into the Authorship of The Second Celestina; Documentary and Factual Evidence; Ideological and Thematic Evidence; Linguistic and Statistical Evidence; Proof of Sor Juana's Authorship; The Other Ending for the Play by Salazar y Torres; Dramatic Elements of The Second Celestina; The Plot; The Structure
- Final CommentaryPsychological Code; Ideological Code; Aesthetic-Theatrical Code; Linguistic Code; Fifth Critical Act: The Trials of a Noble House; Introduction; Study of The Trials of a Noble House; Loa; Lyrics for the Song ""Divine Phoenix, Allow ... ""; Act I; Lyrics for the Song ""Most Beautiful Mary ... ""; Act II; Lyrics for the Song ""Tender, Adored Adonis ... ""; The Second Sainete; Act III; Dramatic Elements; Final Commentary; Aesthetic-Theatrical Code; Psychological Code; Ideological Code; Linguistic Code; Sixth Critical Act: Love Is Indeed a Labyrinth; Introduction
- Study of Love Is Indeed a LabyrinthThe Loa Celebrating the Birthday of His Excellency, the Count of Galve; Act I; Act II; Act III; The Dramatic Structure; Could Sor Juana Have Collaborated on Act IB; Dramatic Elements in Love Is Indeed a Labyrinth; Final Commentary; Seventh Critical Act: Posthumous Reputation of Sor Juana's Theater; Notes; Bibliography; Index
- Sor Juana Inés 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