Reviewed by:

• Hearing Voices: Aurality and New Spanish Sound Culture in Sor Juana Inés de la Cruz by Sarah Finley
• Alice Brooke

MUCH ATTENTI ON HAS BEN PAID IN RECENT YEARS to the role of ocular motifs in the work of Sor Juana Inés de la Cruz and to their engagement with early modern theories of visual perception. Much less attention, however, has been paid to aural tropes and to the soundscapes that both informed Sor Juana’s viceregal context and are channeled into her works. A few studies have previously attended to the significance of music in Sor Juana’s corpus, including Pamela H. Long’s Sor Juana/Música. How the Décima Musa Composed, Practiced, and Imagined Music (Peter Lang, 2009) and Mario A. Ortiz’s “La musa y el melopeo. Los diálogos transatlánticos entre Sor Juana Inés de la Cruz y Pietro Cerone” (Hispanic Review, vol. 75, no. 3, 2007, pp. 243–64). Sarah Finley’s Hearing Voices aims to broaden the scope of such scholarship by approaching Sor Juana’s works through the more comprehensive field of sound studies, both theoretical and practical. As such, the study belongs and contributes to a wider auditory turn in early modern studies that pushes against the dominance of an ocularcentric model of scholarship.

The primary purpose of Finley’s study is to demonstrate how attendance to sonority in Sor Juana’s works revises our readings of several of her key texts and extends our understanding of her engagement with central themes such as authority (civil, intellectual, and theological) and agency, with a particular emphasis on their relationship to gender. Furthermore, the book aims to establish Sor Juana’s works as a point of confluence in our understanding of the soundscapes of the early modern world, first by expanding awareness of the theoretical and practical musical influences on her work and second by using her representations of music and music practice to further our knowledge of the acoustical environment of New Spain.

The book is structured around six acoustic concepts (harmony, resonance, sound, echo, silence, and coda), each of which is accorded a chapter and explored through a selection of Sor Juana’s works (with the main focus on [End Page 145] loas 374, 380, and 384; redondilla 87; villancicos 220, 251, and 273; romance 8; her auto sacramental, El divino Narciso; the “Respuesta a sor Filotea de la Cruz”; and Primero sueño). Chapter 1 (“Harmony: Order and Authority in Occasional Poems”) investigates how sound imagery in Sor Juana’s occasional poems emphasizes the resonances between civic order and cosmic harmony, while chapter 2 (“Resonance: Intersections of Music and Other Arts”) turns to similar motifs in Sor Juana’s musico-poetic portraits, in both cases arguing that musical imagery is used to emphasize women’s involvement in the political order as well as their capacity for cognition and intellect. Chapter 3 (“Sound: Female Auralities in the Villancicos”) furthers this focus on gender by analyzing Sor Juana’s representation of sonorous female figures, with particular emphasis on the Virgin Mary as a source of musical and cosmic harmony. Chapter 4 (“Echo: Repercussions of Feminine Intellect”) focuses on the presence of aural motifs in Sor Juana’s treatment of the vulnus caecum, particularly through engagement with Athanasius Kircher’s anacamptics—the principles of sound reflection—and emphasizes in particular the significance of sound to early modern understandings of temperament. Chapter 5 (“Silence: Transgressions and Feminine Revoicings”) inverts the attention to sound considered thus far throughout the book to contemplate silence and soundlessness in the “Respuesta” and Primero sueño. Here, Finley draws on contemporary theory to posit silence as a disruptive space that conceals certain voices and sounds, but thereby also points to their veiled presence, thus interrupting the harmony–discord binary she shows to have shaped viceregal representations of civic and gendered harmony and order. In turn, chapter 6 (“Coda: Re-sounding Voices”) rereads the presence of acoustic motifs in Primero sueño as a counterpoint to the masculine...

审核人：

• 聆听的声音：莎拉·芬利（Sara JuanaInésde la Cruz）的声音和新的西班牙声音文化
• 爱丽丝·布鲁克（Alice Brooke）

近几年来，人们对眼睛的图案在Sor JuanaInésde la Cruz的作品中的作用以及与早期现代视觉知觉理论的交往给予了极大的关注。然而，人们很少关注听觉的比喻和声景，它们既使Sor Juana的副官境遇也得以传播，并被运用于她的作品中。以前有一些研究涉及音乐在圣胡安纳语料库中的重要性，包括帕梅拉·H·朗（Pamela H. Long）的圣胡安纳/穆西卡音乐。DécimaMusa是如何创作，实践和想象音乐的（Peter Lang，2009年）以及Mario A. Ortiz的“ La musa y el melopeo”。洛斯diálogostransatlánticosentre Sor JuanaInésde la Cruz y Pietro Cerone”（《西班牙文评论》，第75卷，第3期，2007年，第243-64页）。莎拉·芬利（Sarah Finley）听觉之声旨在通过更全面的声音研究领域（包括理论和实践）来接触Sor Juana的作品，从而扩大此类奖学金的范围。因此，这项研究属于早期现代研究中的一个广泛听觉转向，并为之做出了贡献，这在学术上阻碍了以眼中心的学术模式的主导地位。

Finley进行这项研究的主要目的是展示对Sor Juana作品中声音的关注如何修改我们对她的几本关键著作的解读，并扩展我们对她与诸如权力（公民，知识分子和神学）和代理机构等核心主题的参与的理解，特别强调他们与性别的关系。此外，这本书的目的是将胡安娜（Sor Juana）的作品确立为我们对早期现代世界的音景理解的汇合点，首先是通过扩大对其作品的理论和实践音乐影响的认识，其次是利用她对音乐和音乐的表现形式。音乐练习，以进一步了解新西班牙的声学环境。

本书围绕六个声学概念（和声，共鸣，声音，回声，沉默和尾声）构成，每个概念均与章节相关，并通过选择Sor Juana的作品进行了探索（主要着眼于[End Page 145] LOAS 374，380，和384; redondilla 87; villancicos 220，251，和273;浪漫8;她的汽车圣，埃尔迪维努纳西索;而“Respuesta一个SOR Filotea克鲁斯”;和Primero的SUENO）。第1章（“和谐：偶然诗中的秩序与权威”）探讨了圣胡安偶尔诗歌中的声音意象如何强调公民秩序与宇宙和谐之间的共鸣，而第2章（“共鸣：音乐与其他艺术的交汇”）转向在两个案例中，索尔·胡安娜（Sor Juana）的音乐诗般的肖像中都有类似的图案，它们都认为音乐意象强调了妇女对政治秩序的参与以及她们的认知能力和理智能力。第3章（“声音：维兰科科斯的女性可听性”）通过分析圣胡安（Sor Juana）对高贵女性形象的表现，特别是作为音乐和宇宙和谐之源的圣母玛利亚，进一步强调了性别。第四章（“ Echo：阴部盲肠，特别是通过与Athanasius Kircher的散生术（即声音反射原理）接触，并特别强调了声音对早期现代气质理解的重要性。第5章（“沉默：犯罪和女性言语”）将注意力转移到整本书到目前为止考虑的声音上，以考虑“ Respuesta”和Primerosueño中的沉默和无声。。在这里，芬莉（Finley）运用当代理论将沉默视为颠覆性的空间，掩盖了某些声音和声音，但同时也指出了它们的面纱，从而打断了她所展现出的塑造公民和性别和谐的副统治形象的和睦与不和谐的二元关系。命令。反过来，第6章（“ Coda：重新听起来的声音”）重新读取了Primerosueño中声学图案的存在，以此作为对男性的反对。