By Hermann F. Sailer, Gion F. Pajarola.
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Additional info for Atlas de cirugía oral
So while she might have been the tenth muse figuratively, she was a decima poet literally. But the very allusion to the Greek muses writes Sor Juana in particular relation to the dominant cultural ideals. That is, from the vantage point of baroque, imperial Spain, the classicism of Greece and Rome could touch Spanish letters, and Spain itself, because of its tenth muse. By placing Sor Juana at the end of the line of the nine previous muses, Calliope, Clio, Erato, Euterpe, Melpomene, Polyhymnia, Terpsichore, Thalia, and Urania, the Spanish Siglo de oro could appear as living Terminus of the line from the classical Golden Age.
California, the Amazon, Nueva Espafia, and New England all denoted new places yet connoted old texts. A name like "Nueva Espana" troped a relationship between old and new. The new was textualized as a spatial dislocation of the preexistent, the old stories and old civilizations in a new place. These Old World tropes textualized relationships across space and across time. Old Muse, New Muse In 1689 in Madrid, the capital of the Spanish Empire, there appeared an American text entitled Inundacion Castdlida de la unica poetisa, musa 45 SEX AND COLOR dezima, Soror Juana Ines de la Cruz; it was a collection of writing by a New World woman writer.
The prohibited and forbidden are its inhabitants," she says, including "the perverse, the queer . . , the mongrel . . , the half-breed, the half dead" (3). 18 For Anzaldua, sexuality, specifically sexual orientation, is a dynamic factor at play in the politics of the subject. Mexican border es una herida abierta [an open wound] where the Third World grates against the first and bleeds. And before a scab forms it hemorrhages again, the lifeblood of two worlds merging to form a third country — a border culture" (3).
Atlas de cirugía oral by Hermann F. Sailer, Gion F. Pajarola.