A Short Biography Of Sor Juana Ines De La Cruz

In Spain and the Spanish colonies in South America in the late sixteenth and early seventeenth centuries, gender roles were distinct and the opportunity gap was enormous. Catalina de Erauso compares the two roles through her memoir, “Lieutenant Nun,” where she recounts her life as a transvestite in both the new and old world. Through having experienced the structured life of a woman as well as the freedom involved in being a man, de Erauso formed an identity for herself that crossed the boundaries of both genders. Catalina de Erauso’s life demonstrates the gap in freedom and opportunity for women, as compared to men, in the areas of culture, politics and economy, and religion.

Doña Josefa grew to loathe Spaniards born in Spain who exhibited a very arrogant attitude toward creoles. She has an anti-Spanish attitude which came about from her engaging in “literary societies.” Writings from varying from Voltaire to Rousseau and Descartes were

When referring to Juana and the Garcia family, it is critical to pay close attention to the family roles. Juana’s family dynamic consisted of Lupe taking care of the home and family and Miguel being the breadwinner (Grande, 2007). The empowerment theory and feminist theory would really have some positive outcomes with the Garcia family. The feminist theory can really help Juana and Lupe to become more dominant and realize the power and strength in themselves as women.

The 1930s were a period of many changes in Spain, especially because Francisco Franco started ruling the country and the political problems that arose. Things slowly started changing for women because of the foundation of Mujeres Libres, a female anarchist organization that fought for female rights. Until then, the general view of women was that of Proudhon, which meant that women were to be seen as reproducers whose role was to contribute to the society by taking care of their household and their children . This was especially common in the rural areas of Spain, where women could even be forced into arranged marriages against their will and almost had no say in what happened to them. The main oppressor of La Casa de Bernarda Alba is actually Bernarda, the mother of

Celia Cruz was one of the most famous Cuban salsa singers. She was nicknamed the Queen of Salsa, with more than thirty-six albums, recorded with some other leading singers in Latin music. Celia worked as a singer for more than forty years, and during that time, she became well known for her vigorous work, great personality, and her emotional way of singing. During her performances, she was well known for being able to improvise lyrics. She was an artist with over six decades of success making her an inspiration to the Latin community as well as the rest of the world.

Salomé Ureña de Henríquez is one of the most influential poets of the Dominican Republic in the nineteenth century. Her roles as a daughter, writer, patriot, teacher, wife, and mother blended throughout her life, and inspired her acclaimed poems. As an advocate for women’s education, she opened the doors of higher education to the women of her period and then on.

Selena Quintanilla was such an amazing person inside and out more known as the queen of tejano music. She won the hearts of many people young and old in the little time she was here on earth. Blessing many people with her contagious smile, and positive upbeat attitude. Selena has always had where to pull from when it came to being musically talented. Her father Abraham Quintanilla played in a band called Los Dinos which means the boys in Spanish. He had to give his life up as an artist because he got married and had his first kid. Therefore he had to find a better support system for his family. So when he saw that Selena had talent he focused all his goals and dreams on her. Therefore selena had to make a lot of sacrifices and not live a normal childhood.

Sor Juana again demonstrates her superior knowledge and capabilities in employing complex Latin language into her argument. As suggested by Stephanie Kirk, “Latin wielded a symbolic power throughout the early modern period” (Kirk 83). Therefore, Sor Juana’s use of Latin language when speaking directly to the patriarchy is ironic as she flaunts her immense knowledge to those who originally restricted her from pursuing education. Ultimately, Sor Juana’s “To the Gentleman in Peru” is a poem filled with critical language and addresses issues of gender roles and the limitations of “woman” in Colonial Mexico.

In 1669, Juana entered the convent of Santa Paula where she officially became a nun. The convent provided Sor (sister) Juana with the opportunity to read further and to reflect on her personal life and on society through writing. Besides thorough studying and writing, Sor Juana taught and directed theatrical performances at the Santa Paula’s school for girls (Trueblood 6). As Sor Juana became better known for her writing she corresponded to intellectuals in Spain and in the Spanish colonies of America. By 1689 Sor Juana wrote the plays: “The Trials of a Household” and “The Greater Labyrinth is Love” (“Sor Juana’s Chronology” 2). Even after Sor Juana died on April 17 of 1695, her writings continued to be published. Very well-known, the first edition of Volume III of Sor Juana’s works was published in 1700 (“Sor Juana’s Chronology” 2).

Never the less, Sor Juana Ines De La Cruz set the bar high during her time as far as dedication to venture outside of the realm of what was socially accepted and provide proof that women have the same ability to study, learn, and teach as men did. She wrote with such

Not only did these women find a place in society other than by the stove, they won the appreciation and respect of men and women around them. Two of the most extraordinary of these women were Dolores Jimenez y Muro, who was an important political writer, and Hermila Galindo, who was a political speaker and advocate for Carranza’s campaign and regime. Dolores Jimenez y Muro's importance is evident in how she was able to have her voice heard and listened to by high-ranking revolutionary officials. Hermila Galindo's prominence is shown by her distinguished political career and feminist movements.

Anachronologically deemed a feminist for her writings, Sor Juana Inés de la Cruz stood in the New World as a defiant, female Catholic. Through her work, she displays her head-strong character, illuminating the hypocrisy that was flourishing in patriarchal Mexico while simultaneously creating metaphors that clearly showed how she viewed her situation. Moreover, through extenstive allusions, she displays her aptitude, proving that she had one true love in life: the love for learning. Perhaps doomed from the start because of her sex, any time Sor Juana delved into her passion she was bound to hear insolence from a traditional member of society, namely the Bishop of Puebla,

Sor Juana Ines de la Cruz, as portrayed in Trambley’s play is only concerned with her own desires. She never shows interest in other women’s rights and she never speaks to other

Sor Juana Ines De La Cruz was a woman far beyond her years. Living in a time when society was dominated by men, she disregarded the fact that women during this time were forced to be uncurious objects, whose highest achievement in life was to give birth. Her relentless pursuit to attain knowledge and defy her culture's standards for women is illustrated throughout her writings. In the readings, ("Response to the Most Illustrious Poetess Sor Filotes de la Cruz, the three "Romances" and the "Redondillas"), she spills out her beliefs, feelings and pain in forms of symbolic devices and irony in attempt to erase the differences between men and women as intellectual beings, as well as to argue for a woman's right to pursue

Women of Latin American culture have incessantly ensued the potent gender roles that have become a social construction of their society over innumerable decades. The profound author of Insurgent Mexico, John Reed, imparts his experiences with the revolutionary leaders of the Mexican Revolution, like Pancho Villa, and was able to witness their culture and more specifically the roles these Mexican women were forced to render by their chauvinistic counterparts. This period of revolution, started to grant women new mantles usually reserved only for men, like participating in fighting for the success of the revolution; any preeminent changes would soon approach, but in the meantime Mexican society run by men enjoyed the regulated traditional