Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The Catholic Church in the 16th century
Catholic Church in the 16th century
Catholic Church in the 16th century
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The Catholic Church in the 16th century
Kimberly Dallmann
ENG 315
David Aitchison
01/29/2014
Biographical Essay
Assignment 2
Final Draft
Introduction
Sor Juana Inés de la Cruz, or Sister Juana, is widely celebrated as the first woman to have had her feminist works published in the New World. Sor Juana was born a daughter of the church, and is well known for her eagerness to learn as much as she could in her lifetime. Her eagerness to learn was so extreme, in fact, that she took vows to become a nun in her late teenage years and renewed her vows just one year before her death. Two of her most famous works Primero Sueño (First Dream) and Hombres Necios (Silly Men) both strongly outline her bold feelings about the lack of education for women as well as the unfair judgements and many times the double standards that men held during her lifetime. Sor Juana was a very intelligent, devout woman of many talents and unfortunately died relatively young but single-handedly paved the way for the future of women in society.
Background
Sor Juana Inés de la Cruz was born on the 12th of November, 1651 as Juana Ramírez de Asbaje. She was born in San Miguel Napantla, Viceroyalty of New Spain (present day Mexico) to a Spanish man Pedro Manuel de Asbaje and a Creole woman Isabel Ramírez. Her parents were never married, hence she was born out of wedlock and deemed a daughter of the church. After begging her mother to let her cross-dress in order to go to college, Sor Juana’s mother finally sent her to Mexico City to live with family and there her dreams to study actually came true.
Early Career
At just three years of age Sor Juana taught herself how to read and from then on began a long journey of self-education. In 1664, as she grew into her mid-teens, Sor Juana became a child prodigy ...
... middle of paper ...
...on what becomes of the people of Aztec and Christian religions when combined.
Later life/career
After Sor Juana’s critique of a sermon given by Manuel Fernández de Santa Cruz, she was faced with a lot of pressure by the church community to discontinue her studies. From 1691 to 1692, Mexico City was hit with floods and famine and this kept her from publishing any works. In 1694, the year before her death, Sor Juana sold her entire personal collection of some 4,000 books as well as musical instruments and scientific equipment in order to appease the church community. The funds received from selling her personal collection and instruments were given as donations to the less fortunate, also known as alms. In 1695, the plague viciously took the convent Santa Paula and Sor Juana eventually died from the plague after taking care of her fellow sisters.
Critical reception
The spanish missions in California included a total of 21 missions that were established by the Spanish Order to bring christianity and civility to the Native Americans that lived in California. The California missions were built along a path called the El Camino Real. California did not become a state until 1852 . California was actually part of the Spanish Order and was called Alta California,in 1821 Mexico got their independence from the spanish order and made alt california part of mexico. On september 9th, 1850 became the 31st state in the united states. Mission nuestra senora de soledad, which has a the of mission soledad, was founded october 9th, 1791 by the franciscan order. It was founded to help convert native americans to catholicism. Mission soledad is the 13th mission out
Guillermo González Camarena was a Mexican electrical engineer who was the inventor of a color-wheel type of color television, and who also introduced color television to Mexico,
“We are never more truly and profoundly human than when we dance.” Jose Arcadio Limon was a dancer and choreographer born and raised in Mexico. He was inspired to begin his studies in modern dance when he saw a performance of Harald Krutzberg and Yvone Georgi. Limon enrolled at the dance school of Doris Humphrey and Charles Weidman. He continued to work with Humphrey until 1946, when he founded the José Limón Dance Company. His most successful work is called The Moor's Pavane and it is based on Shakespeare's Othello. The Limón Dance Company still exists and is part of the Jose Limon Dance Foundation, an institution dedicated to preserve and disseminate his artistic dance work and technique. Jose Limon is important in the American Dance History
Many countries have the pleasure of celebrating Independence Days. These historic holidays are filled with nationalistic celebrations and delicious traditional food. In Chile, the natives celebrate their break from Spain with Fiestas Patrias. In Mexico, the president begins the celebration by ringing a bell and reciting the “Grito de Dolores” and he ends his speech by saying “Viva Mexico” three times.
The poet Rosario Castellanos challenges the belief of the patriarchal couple as she writes about the potential of women to be more than just a domestic worker. In her poem “Poesía no eres tú”, she counters the idea of women written in the poem by Bécquer “Rimas”. A woman is more than just physical beauty. A woman is valued by her skills and intellect, characteristics that are often oppressed by men.
Colonial Latin American society in the Seventeenth Century was undergoing a tremendous amount of changes. Society was transforming from a conquering phase into a colonizing phase. New institutions were forming and new people and ideas flooded into the new lands freshly claimed for the Spanish Empire. Two remarkable women, radically different from each other, who lived during this period of change are a lenses through which many of the new institutions and changes can be viewed. Sor Juana and Catalina de Erauso are exceptional women who in no way represent the norm but through their extraordinary tales and by discovering what makes them so extraordinary we can deduce what was the norm and how society functioned during this era of Colonial Latin America.
Soon after the Bishop of Pubela reads one of her letters, he publishes it (without her knowing), and she responds with a respectful yet sarcastic letter (Lawall and Chinua 155-156). Cruz’s “Reply to Sor Filotea de la Cruz” was written during the period of Enlightenment of Europe (1660- 1770). This era in Europe cast an opaque shadow over women’s rights to educate themselves and self-expression. Sor Juana’s piece however is both inspirational and empowering for every woman.... ...
Through the study of the Peruvian society using articles like “The “Problem of the Indian...” and the Problem of the Land” by Jose Carlos Mariátegui and the Peruvian film La Boca del Lobo directed by Francisco Lombardi, it is learned that the identity of Peru is expressed through the Spanish descendants that live in cities or urban areas of Peru. In his essay, Mariátegui expresses that the creation of modern Peru was due to the tenure system in Peru and its Indigenous population. With the analyzation of La Boca del Lobo we will describe the native identity in Peru due to the Spanish treatment of Indians, power in the tenure system of Peru, the Indian Problem expressed by Mariátegui, and the implementation of Benedict Andersons “Imagined Communities”.
Hilma Contreras’s most substantial honor occurred when she became the first female recipient of the 2002 “Premio Nacional de Literatura” (The National Literature Award) for lifetime work. Throughout her 93 years of life, Contreras published many literary works including, “Four Stories”, “The Bait”, “The Earth is Raging”, and many others. As previously mentioned, Contreras died alone in her hometown San Francisco de Macoris, leaving behind a life long legacy of
Velazauez’s 1650 portrait of Juan de Pareja and Peale’s 1782 portrait of George Washington differ greatly in their places and times of origin, as well as the historical contexts in which they were painted. Their color palates and compositions appear as polar opposites to each other, and their subject matters are entirely dissimilar. Despite these apparent contrasts between the two works, they both preserve the likeness and honor the characters of their respective subjects. The comparison of these works illuminates how although both structure and context may vary significantly from portrait to portrait, there are characteristics inherent to many if not all portraits that remain unaltered even when in seemingly disparate contexts.
Sor Juana and Julia de Burgos did not simply stop at acknowledging the problem at hand. Rather, these two strong and powerful female figures made drastic strides in correcting the problems of male oppression and female subservience. Although from different regions of the world and from different time periods, the writings of Sor Juana Ines de la Cruz and Julia de Burgos have influenced Latin American writers such as Rosario Castellanos and they continue to impact the feminist movement. Sor Juana Ines de la Cruz’s upbringing greatly influenced her character. In 1648, Juana was born illegitimately in the town of San Miguel de Nepantla, located southeast of Mexico City (Trueblood 2-3).
Rosario Castellanos studied not only Sor Juana Ines de la Cruzs’ works, but her life as well. Sor Juana Ines de la Cruz was a powerful seventeenth century Latin American woman. Growing up Juana was a huge reader to the point where she would hide in chapels to read her grandfather’s books. At the mere age of eight years old, Juana composed her first poem. In her early teenage years she was already an expert on Greek logic, and was teaching Latin to young children. This is ironic because she was a young child as she was teaching young children. Juana went as far as attempting to disguise herself so she could go to a university to study, but her family forbade her to do so. Instead of disguising herself, she simply studied in silence until age sixteen, but the silence would not remain for long....
A long time ago more than 500 years ago, there were Spanish Conquistadors who had landed in what is now referred to as central Mexico. Once here they stumbled upon populations of natives who were performing a customary celebration that appeared to simulate death. Dia de los Muertos initiated periods in the past in Mexico, where it is still commonly celebrated to this generation. This festival that takes place over 3 days is a assortment of pre-Hispanic ethnic views and Spanish Catholic philosophies. The Mexican celebration of Día de los Muertos, or Day of the Dead, proceeds over the initial 2 days in the month of November. Its beginnings are a concoction of Native American behaviors and a set of Catholic celebrations. The celebration concentrates
The traditions my parents instilled in me at a young age are important to me. They are part of my Latin culture and identity. One of the most important traditions that I value the most is our devotion to “La Virgen de Guadalupe” (The Virgin of Guadalupe), and although I don't go to church or share a specific a religion, I believe in La Virgen as a protector and a guardian figure and maintain her presence in my daily life. The story of La Virgen de Guadalupe goes back to 1531, during the time of the Spanish conquest, an indigenous man named Juan Diego encountered the apparition of La Virgen who told Juan Diego that a church should be built in her honor at the top of Tepeyac hill, where she appeared, which is now in the suburbs of Mexico City.
One of the similarities is the right to inherit property, and sell goods in the marketplace. She was under patria potestad until the age of 25, because she was illegitimate child, and her grandfather has passed away, she was sent to live with her maternal aunt’s family in Mexico City (2). Sor Juana wrote about the promise-to-marry plight of women in her poem Hombres necios que acusais describing how men seduce women and blame the woman for the indiscretion (5). Gauderman describes the Convent as an asylum for women to escape the life of a married women, which was exactly why Sor Juana joined a Convent (Gauderman 37). Sor Juana did not go to the courts for justice for women’s rights, she wrote about