胡安娜·伊內斯·德·拉·克魯茲（Juana Inés de la Cruz，1648年11月12日—1695年4月17日），是一位自學成才的學者，也是巴洛克藝術學派的科學思想家，哲學家，作曲家和詩人。也是新西班牙聖哲羅姆派的修女。被稱為「第十繆斯」，「美洲鳳凰」或 「墨西哥鳳凰」。[1]
生平
[編輯]胡安娜生活在墨西哥殖民時期，成為早期墨西哥文學以及更廣泛的西班牙黃金時代文學的貢獻者。她從小就是神童，精通拉丁語[2]，會用納瓦特爾語寫作[3]並因其十幾歲時的哲學研究而聞名。[4]胡安娜是在她自己的圖書館裡自學成才，這個圖書館的書籍大多是從祖父那裡繼承來的。[1]在1667年加入女修道院之後[4]，開始撰寫有關愛，女性主義和天主教會等話題的詩歌和散文。[2] 1680年代，修女胡安娜受到教會人士反對。[5] 1680年代，胡安娜與她的耶穌會告解神父安東尼奧（Antonio Núñez de Miranda）有所衝突。[5]1691年，普埃布拉主教曼努埃爾（Manuel Fernández de Santa Cruz）未經胡安娜允許，出版她對神父安東尼奧·維埃拉的批評。[5]1694年，在內外壓力下，胡安娜開始出售她的藏書，以專注於對窮人的慈善事業。翌年，胡安娜在為其他修女治療時染上鼠疫去世。[5]
文化形象
[編輯]墨西哥作家奧克塔維奧·帕斯1982年作品《修女胡安娜》（Sor Juana Ines de la Cruz o las trampas de la fe）及其1990年的改編電影，奠定了修女胡安納自1930年代以來的基本文化形象，即宗教迫害下不幸身死的女性主義烈士。[6]
At the Cloisters, Sor Juana’s Words Ring Out in Song
The opera “Primero Sueño” translates Sor Juana Inés de la Cruz’s poem about the soul’s journey into a musical promenade around the Cloisters.
in the chains of love, shackled in its irons,
a wretched slave despairing of her freedom,
and so far, so distant from consolation?
Do you see my soul filled with pain and anguish,
wounded by torments so savage, so fierce,
burned in the midst of living flames and judging
herself unworthy of her castigation?
Do you see me without a soul, pursuing
a folly I myself condemn as strange?
Do you see me bleeding along the way
as I follow the trail of an illusion?
Are you very surprised? See then, Alcino:
the cause of harm to me deserves much more.
de Amor, paso en sus hierros aherrojada,
mísera esclavitud, desesperada
de libertad, y de consuelo ajena?
¿Ves de dolor y angustia el alma llena,
de tan fieros tormentos lastimada,
y entre las vivas llamas abrasada
juzgarse por indigna de su pena?
¿Vesme seguir sin alma un desatino
que yo misma condeno por extraño?
¿Vesme derramar sangre en el camino
siguiendo los vestigios de un engaño?
¿Muy admirado estás? Pues ves, Alcino:
más merece la causa de mi daño.
woman without reason,
not seeing you occasion
the very wrong you blame:
since you, with craving unsurpassed,
have sought for their disdain,
why do you hope for their good works
when you urge them on to ill?
You assail all their resistance,
then, speaking seriously,
you say it was frivolity,
forgetting all your diligence.
What most resembles the bravery
of your mad opinion
is the boy who summons the bogeyman
and then cowers in fear of him.
You hope, with mulish presumption,
to find the one you seek:
for the one you court, a Thaïs;
but possessing her, Lucrecia.
Whose humor could be odd
than he who, lacking judgment,
himself fogs up the mirror,
then laments that it's not clear?
Of their favor and their disdain
you hold the same condition:
complaining if they treat you ill;
mocking them, if they love you well.
A fair opinion no woman can win,
no matter how discreet she is;
if she won't admit you, she is mean,
and if she does, she's frivolous.
You're always so stubbornly mulish
that, using your unbalanced scale,
you blame one woman for being cruel,
the other one, for being easy.
For how can she be temperate
when you are wooing after her,
if her being mean offends you
and her being easy maddens?
Yet between the anger and the grief
that your taste recounts,
blessed the woman who doesn't love you,
and go complain for all you're worth.
Your lover's grief gives
wings to their liberties,
yet after making them so bad
you hope to find them very good.
Whose blame should be the greater
in an ill-starred passion:
she who, begged-for, falls,
or he who, fallen, begs her?
Or who deserves more blame,
though both of them do ill:
she who sins for pay,
or he who pays for sin?
So why are you so afraid
of the blame that is your own?
Love them just as you have made them,
or make them as you seek to find.
Just stop your soliciting
and then, with all the more reason,
you may denounce the infatuation
of the woman who comes to beg for you.
With all these arms, then, I have proved
that what you wield is arrogance,
for in your promises and your demands
you join up devil, flesh, and world.
Magos Herrera, center, as Sor Juana in “Primero Sueño,” an opera based on one of her poems.Credit...Earl Wilson/ The New York TimesBy Elisabeth Vincentelli
Jan. 22, 2025
The Met Cloisters were alive with the sound of music on a frigid January afternoon. Six nuns in white surrounded a seventh dressed in black, and all were singing. The scene was beautifully formal but it also felt organic, as if the women had been there for 一群身著修女裝、胸前佩戴圓盤的歌手。中間的那位女士舉起手臂，握著一小枝東西。
馬戈斯·埃雷拉 (Magos Herrera)（中）在根據胡安娜的一首詩改編的歌劇《Primero Sueño》中飾演胡安娜修女。
伊麗莎白·文森利
2025 年 1 月 22 日
一個寒冷的一月下午，大都會藝術博物館修道院藝術博物館裡音樂聲不斷。六位身著白衣的修女圍繞著第七位身著黑衣的修女，大家都在唱歌。這一幕非常正式，但也讓人感覺很自然，就好像這些婦女已經在那裡生活了幾個世紀。
Ronda Kasl, a curator of Latin American art at the Met and a consultant on the project, could not contain a smile. “This is so exciting,” she murmured as chants bounced around the limestone walls that keep the world at bay.
Based on a mystical poem from 1692 by Sor Juana Inés de la Cruz, the 17th-century nun and proto-feminist polymath, “Primero Sueño” (“First Dream”) was conceived as a processional opera that would take over the Cloisters as it meandered from room to room, audience in tow.
centuries.
“Each of them is different,” she added, “and each has a sort of the secret of that sister.”
Those high-tech escudos carry into the 21st century a concept their predecessors illustrated: the transmission of knowledge and artistry. Cloistered life may look punitive and repressive to modern sensibilities, but for many women like Sor Juana, it represented an opportunity to nurture intellect without having to serve men.
“This was the place they could study, this was the place they could live quite free lives,” Prestini said. “They were staging plays, they were musical. It was a way to be yourself, to not just do what society told you — to be able to actually be free.”
“她們每個人都不一樣，”她補充道，“每個人都有自己姐妹的秘密。”
這些高科技埃斯庫多將其前輩闡明的概念帶入了21世紀：知識和藝術的傳播。從現代人的觀念來看，與世隔絕的生活可能帶有懲罰性和壓抑性，但對於許多像胡安娜修女這樣的女性來說，它代表著一種培養智慧而不必為男性服務的機會。
「這是他們可以學習的地方，這是他們可以過著相當自由的生活的地方，」普雷斯蒂尼說。 「他們正在上演戲劇，他們正在演奏音樂劇。這是一種做自己的方式，不只是按照社會的要求去做——能夠真正獲得自由。
大都會博物館拉丁美洲藝術館長兼專案顧問朗達·卡斯爾（Ronda Kasl）忍不住露出了笑容。 「這太令人興奮了，」她低聲說道，低吟在與世隔絕的石灰岩牆壁間迴盪。
《Primero Sueño》（《第一個夢》）改編自17 世紀修女、女權主義先驅胡安娜·伊內斯·德拉克魯斯修女於1692 年創作的一首神秘詩歌，被設想為一部將接管修道院的遊行歌劇，因為它從一個房間漫步到另一個房間，觀眾跟在後面。
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At the Cloisters, Sor Juana’s Words Ring Out in Song
The opera “Primero Sueño” translates Sor Juana Inés de la Cruz’s poem about the soul’s journey into a musical promenade around the Cloisters.
在修道院，胡安娜修女的歌聲迴盪
歌劇《Primero Sueño》將胡安娜·伊內斯·德拉克魯斯修女關於靈魂之旅的詩歌改編成圍繞修道院的音樂長廊。
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