The loa is similar in design, language and content to the loas de fiestas reales of Calderon and his school, and to those composed by Sor Juana herself to be performed in the viceregal palace and other venues in honor of the kings and queens of Spain, viceroys, vicereines
, and other dignitaries.
I have so far published 10 volumes with Edizione Scientifiche Italiane (Napoli) beginning with the Longobards, Normans, Sveve, Angevin, Aragonese, up to the vicereines
Nightingale's support and guidance to successive vicereines
in their attempts to improve maternal health and nursing are also examples of her keen interest in India.
This and similar poems by Sor Juana to the vicereines Leonor Carreto and Maria Luisa Manrique de Lara address them as aristocratic superiors and, as Dugaw and Powell point out, employ "erotically charged, not just affectionate, language that often plays with the reader's possible discomfort at such woman-to-woman ardor" while also drawing its power from the role of the Virgin Mary and female purity in the early modern imaginary.
The libretto conflates the two vicereines Leonor Carreto and Maria Luisa Manrique de Lara into a single character, for an economy of scale and a stronger dramatic focus.
Succeeding vicereines took over the Fund presidency and initiated their own funds and schemes in women's health, to such an extent that involvement in women's medical relief came virtually to define the role of the Indian political consort.
One newspaper pointed out that having the Vicereine at the head of the Fund created such moral pressure to pay up that it amounted 'practically to the imposition of an indirect tax upon the Indian people'.
The author appears to place great significance on Juana's transformation from precocious child, aided by her grandfather and his literary resources, to Sor Juana Ines de la Cruz, famous literary name supported by powerful viceroys and vicereines.
46 In serving the vicereine, Juana finds herself surrounded by smart people, but in this case she is the one who is in center of the circle.
The second explores the ambiguities of Sor Juana's gender and sexual identity, emphasizing the personal suffering that grew out of institutional restrictions on her, as well as her attempts to free herself from these restrictions through her intellectual activities and relationships with other thinking women (specifically the vicereines, Leonor Carreto and Maria Luisa Manrique).
Miller's analysis of the scene where Sor Juana (Assumpta Sema) and the vicereine, Maria Luisa Manrique de Lara (Dominique Salada), first meet underscores the pseudo-romantic aspects of the relationship between the two women, thus complicating the film's representation of the nun and her transgressions.
Juana, the pawn in a complicated traffic in women, has been affianced to an elderly nobleman, Don Fabio, at the bequest of the Vicereine
who tells her that "Marriage is the only protection and insurance you can have" (33).