Sor juana

but his portrait of Sor Juana is probably the most famous. Cabrera positions Sor Juana as a nun but also as a scholar. Even though she is wearing clothing and a nun shield to show she is a nun, Sor Juana is sitting at a desk with writing instruments and and an open book. Also, in the background is an extensive library to show how well read she was. What is interesting about this portrait is that it was done more than 50 years after her death, which shows how exceptional Sor Juana

The Portrayal of the Catholic Church in Film The Catholic Church as we know it is much different than that of the past. Love, acceptance, forgiveness, giving, and tradition are all things that come to mind when the words Catholic Church are heard. If one were to ask those living in the 1400-1800s what comes to mind when thinking about the Catholic Church, their answer would have been very different. With the exception of a few countries, there is a separation of the church and state in todays’

The Catholic Church as we know it is much different than that of the past. Love, acceptance, forgiveness, giving, and tradition are all things that come to mind when the words Catholic Church are heard. If one were to ask those living in the 1400-1800s what comes to mind when thinking about the Catholic Church, their answer would have been very different. With the exception of a few countries, there is a separation of the church and state in todays’ government. In our current state of government

In records describing the Virgin of Guadalupe’s appearance in Mexico, Juan Diego is the man identified as the one she first appears to. He was a poor, indigenous man who was in the process of converting to Christianity. The records say that in 1531 he was summoned by a voice as he was on his way to his catechism class. The Virgin of Guadalupe appeared to him and told him to go to the archbishop and tell him to build a shrine in her honor. Juan Diego did as he was told, but the archbishop did not

The connection between the struggles of the two women involved in the film--Maria Luisa Bemberg and Sor Juana Ines de la Cruz--is impossible to miss, since the director has used Juana's character to voice her opinions on feminism and--indirectly--on mainstream filmmaking. Feminist film critics have largely agreed on the function of mainstream cinema in

separation of class and rank created a system that was persuasively accepted by mixed races as a way of having a position in the hierarchy scale, but at the same time holding on to their cultural values knowing that they would never get to the top. Sor

and family enterprises. With this, women are given limited access to education. Only women in higher and middling ranks have access to education, even then they are still subjected to the prejudice that they are not able to fully grasp knowledge. Sor Juana Ines de la Cruz is an example of a woman who was affected by the educational constraints women faced. She stated that she “kept quiet” about her ability to read for having done it without permission would have resulted to her getting in trouble (Red

The double standards which Mexican women forced to live under are social status and sex. Men controlled all aspects such as politic, economy, and cultural life. In the family, husband served as authority over his wife as same as they did over his "slave". The following is an instance from Castellanos's writing which can picture the women's status in the family " The year Modesta was married to Alberto were years of pain and hard work. True that when he was drunk, the

led to me investigating women’s role in Greece along with trying to find other colonial female poets that use either to muses or other Greek mythology to further their ideas. During this investigation, I spoke with a professor who referred me to Sor Juana, Clarinda, and Amarilis as having also spoken about the muses. This interest came to a halt when I realized that reading the Discurso would be near impossible for me because of the time gap between myself and the time of the poems publication as

to the term, emerging from Spitzer’s essay, has prompted my thinking towards not just the presence, but the development of this concept throughout. In Luis de Góngora’s Soledades, we see violent contrasts of the ascendant and the degrading vision. Sor Juana’s Primero sueño takes us on a voyage of the soul that escapes the body, and on a voyage of the internal universe of the body that seems to facilitate the escaping of the soul. Quevedo’s poetry showcases both a skillfully mastery of the poetic