Acoustic Epistemologies and Aurality in Sor Juana Inés De La Cruz
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University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2014 Acoustic Epistemologies and Aurality in Sor Juana Inés de la Cruz Sarah E. Finley University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Finley, Sarah E., "Acoustic Epistemologies and Aurality in Sor Juana Inés de la Cruz" (2014). Theses and Dissertations--Hispanic Studies. 16. https://uknowledge.uky.edu/hisp_etds/16 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Sarah E. Finley, Student Dr. Enrico Mario Santí, Major Professor Dr. Haralambos Symeonidis, Director of Graduate Studies ACOUSTIC EPISTEMOLOGIES AND AURALITY IN SOR JUANA INÉS DE LA CRUZ ___________________________ DISSERTATION ___________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky. By Sarah E. Finley Lexington, KY Co-Directors: Enrico Mario Santí, William T. Bryan Professor of Hispanic Studies Moisés R. Castillo, Associate Professor of Hispanic Studies Lexington, KY 2014 Copyright © Sarah E. Finley 2014 ABSTRACT OF DISSERTATION ACOUSTIC EPISTEMOLOGIES AND AURALITY IN SOR JUANA INÉS DE LA CRUZ This dissertation considers the intersection of aurality and visuality in seventeenth- century New Spanish poet Sor Juana Inés de la Cruz’s (1648/1651-95) acoustico- poetic discourse. Prior scholarship has focused either on the author’s engagement with Western music theory and compositional practices or else the role of musical references in her works. This has resulted in the marginalization of Sor Juana’s engagement with sound through disciplines that are not strictly musical or poetic, including: acoustics, cognitive theory and visual art. I address these lacunae by considering such concepts as echo, reflection, Ear, Voice, musica poetica (links between music and rhetoric) and musical pathos within the poet’s canon. Throughout my readings, Athanasius Kircher’s encyclopedic musical treatises— Musurgia universalis (1650) and Phonurgia nova (1673), both of which circulated within New Spain during Sor Juana’s lifetime—stand out as important sources by which such ideas were transmitted. My approach sharpens extant scholarship on these topics and identifies two new influences within Sor Juana’s poetic world: Aristotelian theories of cognition and Kircher’s unique position on musica poetica. More generally, this dissertation engages emerging scholarship on Ear in the early modern world and thus responds to the critical limits of ocularcentrism. KEYWORDS: Sor Juana Inés de la Cruz, Athanasius Kircher, Sound Studies, Aurality, Ear Sarah E. Finley Student’s Signature 4/17/2014 Date ACOUSTIC EPISTEMOLOGIES AND AURALITY IN SOR JUANA INÉS DE LA CRUZ Sarah E. Finley ________________________________________ Dr. Enrico Mario Santí ________________________________________ Dr. Moisés R. Castillo 4/17/2014 Date For Ray Goytowski. ACKNOWLEDGEMENTS First and foremost, I thank my co-directors Moisés Castillo and Enrico Mario Santí for their invaluable mentorship. Professors Castillo and Santí have championed this project from the beginning, and their guidance and wisdom have been fundamental to my growth as a scholar. The other members of my committee, Professors Susan Carvalho, Susan Larson and Donna Kwon, have also been avid supporters of my work, and their diverse scholarly specializations have enriched the dissertation. I am fortunate to count each of these important “voices” within the final project. The support of the University of Kentucky Graduate School, the Latin American, Caribbean and Latino Studies Program at the University of Kentucky and the Grupo de Estudios sobre la Mujer en España y las Américas (pre-1800) was vital to the development of my research. Professor Ricardo Miranda has likewise been generous in answering my questions and locating documents that support my hypotheses. Professor Earl Anderson kindly provided the Latin translations that appear in the dissertation. Finally, Professor Mónica Díaz has been a vital mentor throughout the development of this project. The professional mentorship that I received at the University of Kentucky has been invaluable to my scholarly development. First, I would be wrong not to recognize Professors Alan Brown, Ruth Brown, Irene Chico-Wyatt and Yanira Paz, whose careful coordination of my teaching assignments allowed me to focus on my research. Likewise, thanks to Converse College Professors Brant Bynum, for encouraging me to pursue Hispanic literary criticism, and Beverly Hay and Scott v Robbins for urging me to integrate my scholarly interests with my musical formation. In any intellectual pursuit, it is important to recognize those who challenge, inspire and celebrate with us. I would never have had the courage to finish this endeavor without the faith and support of countless family members and friends: Keeley Bruner, Wael Farouk, Katy and Charlie Finley, Ray Goytowski, Andrea Profili, John and Mildred Roche and Annie Shelby. Finally, I owe a significant debt of gratitude to Dan, who has been at my side through every step of this project and whose voice (and ear) resonate deeply here. vi TABLE OF CONTENTS Acknowledgements.........................................................................................................................v List of Figures....................................................................................................................................ix Chapter One: Rationale and Framework for Approaching Ear in the Canon of Sor Juana Inés de la Cruz (Introduction).............................................. 1 1.1 Introduction..................................................................................................................1 1.2 Context............................................................................................................................5 1.3 Literature review: Reading music in Sor Juana.............................................21 1.4 Overview of theoretical framework...................................................................32 1.5 Chapter outline: Towards an ontological epistemology...........................41 Chapter Two: Panorama of Sor Juana’s Ear........................................................................ 44 2.1 Resonances of Antiquity within early modern music culture................44 2.2 Musica poetica.............................................................................................................55 2.3 Musica pathetica.........................................................................................................58 2.4 Kircher in early modern music culture............................................................64 2.5 Kircherizing New Spain..........................................................................................77 2.6 Multivocality and other selves.............................................................................86 2.7 Methodology................................................................................................................97 Chapter Three: “Óyeme con los ojos”: Acoustical and Cognitive Resonances in Sor Juana’s Courtly Poetry........................................................................... 98 3.1 Introduction.................................................................................................................98 3.2 Prior scholarship.......................................................................................................100 3.3 Reflection and echo as critical concepts.........................................................105 3.4 Early