![]() She started out as a novice in the Carmelite order, but the order's predilection for little sleep and self-flagellation repelled her after a few months. Yet she soon left the court for the nunnery practically speaking, this was the best way for an illegitimately born woman to secure the time and resources for scholarship.īut Sor Juana did not shut herself away in an ascetic cell. ![]() She quickly gained renown in society and became a lady-in-waiting in the court of the Spanish viceroy. (Girls of her time were rarely, if ever, formally educated.) The door to learning then burst open - the young prodigy would embark upon a life shaped and shaken by intellectual inquiry. It was in Pedro’s book-filled house that Juana learned to read. Manuel soon abandoned the family, so mother and child spent a great deal of time with Juana’s grandfather, Pedro Ramirez. ![]() Juana Inés Ramirez was born out of wedlock to Isabel Ramirez and Manuel de Asbaje in a small village in Mexico, New Spain. Her "Respuesta" is a maverick work outlining the logical sense of women’s education more than 200 years before Woolf’s "A Room of One’s Own." Her poetry, meanwhile, states in bold language the potency of the feminine in both love and religion. This article explores the wide-reaching power of the duchess and the conversations she had with the priests she supported with her energy and her wealth.Sor Juana Inés de la Cruz was an exceptional seventeenth-century nun who set precedents for feminism long before the term or concept existed. Later, when relations between Spain and Portugal improved, the duchess petitioned the king to allow her elder son, Joaquín, the title to the duchy of Arcos while her second son, Gabriel, was to inherit the duchy of Aveiro. When the duchess left Spain, Carlos II decreed that the houses of Aveiro and Arcos must forever remain separate, but on March 1, 1681, the Spanish king created the title of Duchess of “Aveyro” in an effort to encourage the duchess to return. She decided to leave Spain and her husband to accept her birthright. Despite an attempt by the Spanish crown (administered de facto by Carlos II’s mother, the regent Mariana of Austria) to keep her in Spain, she separated from the duke and returned to Portugal in 1673 to administer the house of Aveiro. However, Dom Pedro would only allow the duchess to assume her inheritance if she resided in Portugal. After mounting a legal petition, she was granted the right to her family title by the Portuguese king, Pedro II. Married to Manuel Ponce de León, Duke of Arcos, she was living in Spain when her uncle, the Duke of Aveiro, died without an heir. In contrast to the social expectations identified by Kelly-Gadol, the duchess also exercised choices in her role as a wife. Sor Juana dedicated the 1689 edition of her poetry collection Inundación castálida to the Countess of Paredes, and one of the poems in the collection, “Romance XXXVII,” to the Duchess of Aveiro. The duchess was the cousin of Sor Juana’s friend and patron, María Luisa Manrique de Lara Gonzaga y Luján, Countess of Paredes. ![]() The agency exercised by the Iberian noblewoman, María Guadalupe de Lencastre, the Duchess of Aveiro y Arcos, serves as an example that specifically contradicts Joan Kelly-Gadol’s assertion that European noblewomen did not experience a “Renaissance” because they were dependent on both their husbands and their rulers.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |