ated unity amongst authorities (217). It is difficult to measure a popular mission’s lasting impact on an individual—‘to prevent men and women from sinning again was a difficult task’ (231)—but the author convincingly shows that they left a significant imprint on the development of early modern Catholicism in the Hispanic world. The fifth chapter takes a deep dive into the sermons composed and delivered by friars. They predictably condemn fornication, gambling, and blasphemy, but they also impose limits on public leisure (music, dancing and theater), reform female dress, and reinforce particular societal divisions. To sin no more is a remarkable contribution, one that scholars of religion, Franciscan historians, and readers of the global early modern will find extremely useful. My only complaint is that few artworks are illustrated, and some (five Jesuit prints) seem oddly out of place. There is a vast corpus of surviving paintings, sculptures, and engravings that speak to propaganda fide’s transatlantic identity, devotional preferences, and missionary goals. The apostolic friars became the new Jesuits in more ways than one.

中文翻译：

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听觉声音：Sor Juana Inés de la Cruz 的听觉和新西班牙声音文化

当局之间的联合 (217)。很难衡量一个流行的使命对个人的持久影响——“防止男人和女人再次犯罪是一项艰巨的任务”（231）——但作者令人信服地表明它们对早期现代天主教的发展留下了重要的印记在西班牙裔世界。第五章深入探讨了由修士撰写和发表的讲道。可以预见，他们谴责通奸、赌博和亵渎神明，但他们也对公共休闲（音乐、舞蹈和戏剧）施加限制，改革女性着装，并加剧特定的社会分歧。不再犯罪是一项了不起的贡献，宗教学者、方济各会历史学家和全球早期现代读者都会发现这一贡献非常有用。我唯一的抱怨是很少有艺术品插图，并且有些（五张耶稣会印刷品）看起来很奇怪。有大量幸存的绘画、雕塑和版画作品讲述了宣传信仰的跨大西洋身份、奉献偏好和传教目标。使徒修士以不止一种方式成为新的耶稣会士。