mexicaN baroque writer Sor Juana inés de la cruz, who is currently undergoing a form of re-canonization, is a particular case. in contrast to her male contemporaries, she excelled in all literary genres and was the source of innumerable original aesthetic innovations that have still to receive adequate appreciation. with these innovations she managed to transform her fourfold disadvantage (as a female criolla stemming from a lower social stratus and writing in colonized mexico) into the basis for a poetic independence that often put her well ahead of her historical and cultural context. this also holds true for her lyric poetry and her dialogue with petrarchism. whereas her theatre production and her prose writings have already been intensely examined, there has been little systematic research into her lyric poetry. to date, most studies have concentrated on the question how Sor Juana completes or transforms the petrarchist system by inserting indigenous elements or by merging it with contemporary discourses of knowledge.1 this focus has already yielded important results. Nevertheless, one aspect of her lyric writing still requires further examination: the nexus of lyric poetry and drama. in an astute study, Susana hernández araico focuses on Sor Juana’s villancicos in order to bring more light to this relationship. She concludes: “el nexo de teatralidad entre estos textos surge no a manera de literatura dramática ni de diálogo representado, sino de escenificación coreográfica de versos cantados” (603). a closer look at some of Sor Juana’s sonnets shows again the wide array of her literary techniques, because in those texts the effect of dramatization results precisely from the lyric representation

中文翻译：

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圣胡安·伊内斯·德拉克鲁兹作品中抒情诗的戏剧化

墨西哥巴洛克作家Sor Juanainésde la cruz目前正在经历重新规范化，这是一个特例。与同时代的男性不同，她在所有文学流派中都表现出色，并且是无数原始美学创新的源泉，这些创新仍需得到足够的重视。通过这些创新，她成功地将自己的四重劣势（作为来自下层社会阶层并在墨西哥殖民地写作的女性criolla）转变为诗意独立的基础，这常常使她远远超越了她的历史和文化背景。这对于她的抒情诗和与父权制的对话也是如此。尽管她的戏剧作品和散文作品都受到了严格的检查，但对她的抒情诗却缺乏系统的研究。迄今为止，大多数研究集中在一个问题上，即圣胡安纳如何通过插入土著元素或通过将其与当代知识话语相结合来完善或改变宗法制度1，这一重点已经产生了重要的结果。尽管如此，她的抒情写作的一个方面仍然需要进一步研究：抒情诗和戏剧的联系。在一项敏锐的研究中，Susanahernándezaraico着眼于Sor Juana的反面人物，以便为这种关系带来更多的启示。她的结论是：“两性之间的关系没有任何文艺复兴时期的意义，反之亦然”（603）。仔细观察Sor Juana的十四行诗，再一次显示出她广泛的文学技巧，