SOR JUANA – Loa Para El Auto Sacramental de El Divino Narciso. Cargado por Verónica Russo. Loa para el auto sacramental de El divino Narciso. Sor Juana. Primero, for example, titled simply Loa al virrey, is followed by the directions . for El divino Narciso Sor Juana alludes to the moral issue of the justa guerra and. Analysis of El Divino Narciso. Sor Juana Ines de la Cruz (Sister Juana Ines of the Cross) published El Divino Narciso (The Divine Narcissus) in Mexico in

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Log In Sign Up. Both the loa and the auto sacramental of El Divino Narciso are highly allegorical. Depicting the first encounter between narcisl Aztecs and their Spanish conquerors, the loa depicts indigenous religion crossing narcso with Spanish colonialism. Sor Juana portrays the Aztecs as becoming the first audience for the auto, which xl them a new religion: By his side is America, an Aztec woman of poised self-possession. Denouncing the religious festival Occident and America celebrate as idolatrous, Religion and Zeal impose Christianity.

In both Spain and New Spain, Corpus Christi festivals blended military triumph with theological triumphalism. Armed coercion echoed theological persuasion: The celebrations depicted the enemies European Christianity would overcome. InIsabella the First ordered all Jews expelled from Spain.

Confronting persecution, some Jews pretended to convert to Catholicism in an attempt to hide their continuing secret adherence to Judaism. The Spanish Inquisition persecuted these Jews, called marranos, with special ferocity. The Inquisition defined marranos as heretics who, if discovered, must choose between conversion and immolation.

The Inquisition also pursed marranos in New Spain, where some had fled Beller 2.

Like Moors and Jews in Spain, indigenous idolaters appeared in New World Corpus Christi celebrations as the festive opponents over whom Christ triumphs.


Pauline allegory posits a set of binary oppositions outer literal letter versus inner figural meaning, flesh versus spirit, sin versus grace, death versus life to which European tradition added another: The Israelites idolatrously confuse God for a calf, but God ironically mirrors that idolatry by confusing the Israelites for cattle.

Now therefore let me alone, that my wrath may wax hot against them, and that I may consume them” Exodus Exodus narrates yet ironically disarticulates the system of tropes by which that confusion takes place. That is, Sor Juana deploys the allegorical procedures by which Paul works with the Hebrew scriptures. When God threatens to destroy the Israelites as idolaters, Moses intercedes: Like Moses, Religion intercedes to save Occident and America from annihilation: Religion proposes to save America by converting her to Catholicism.

These images are virtually indistinguishable from because prefigured in the idolatrous images America worships. Religion restrains Zeal from genocide, but America is wary: Occident replies by describing the images in his heart. Religion then says to herself: O God, help me! Dibujos are designs, drawings, sketches, or pictures.

Given that the word dibujos sod to jhana, drawn, or etched images produced by one kind of stylus or another, one could easily call dibujos graven images or idols.

In Spanish, a cifra is the symbol for zero, a secret or occult manner of writing, or a monogram engraved on a seal or stamped on stationary. Remedos are imitations, copies, or mockeries. Religion finds that image still idolatrous. Conquest will be secure when colonizer and colonized sing in harmony. Religion works to purge that figure of any remaining idolatrous reference.

Loa Al Auto Sacramental Del Divino Narciso Sor Juana Ines De La Cruz

In the Jewish temple, a veil separates the worshippers from the covenant ark. Paul allegorizes the veil as marking our subjection to law Torahwhich, only disclosing sin, blocks divinno access to God.

When Christ dies on the cross, redeeming us from sin, the veil in the temple is rent Luke Zeal also endorses this change of reference because Zeal personifies the Hebraic deity who was willing to commit genocide against idolaters.


In effect, America, Occident, and Zeal are the festive opponents over whom Divin triumphs.

When America, Occident, and Zeal sing as one, they become one in Christ. A complex allegorical reference masks as a phenomenal cognition. Singing together, Zeal, Religion, America, and Occident all implicitly say what Occident refused to stop saying: U of California P, Librett, The Rhetoric of Cultural Dialogue: The Case of Jews and Christians in Germany.

The Review of Communication 2. U of Minnesota P, Paul de Man and the Afterlife of Theory, ed. Tom Cohen, et al. A participant in the debate appealed to the relation between genocide and idolatry in scripture: In figuring Christ as Narcissus, Sor Juana follows an established strategy.

Allegorizing pre- or non-Christian divinities as or in relation to Christ was, as Dean reminds us, a very common practice in European Christianity. America does not yet know what Christian charity is. Unlike God, the idols cannot give life.

Culture Machine, Reviews Section Jews in Latin America. Inka Bodies and the Body of Christ: Corpus Christi in Colonial Cuzco, Peru. U of New Mexico P, Religion, Art, and Feminism. Wayne State UP, Idolatry and Its Enemies: Colonial Andean Religion and Extirpation, The Spiritual Conquest of Mexico.

Loa to Divine Narcissus – Wikipedia

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