후아나 수녀의 『신성한 나르키소스 El divino Narciso』를 통해 본 중남미 식민지 시대 바로크적 표상

다국어 초록 (Multilingual Abstract)

This article delves into epistemological and political connotation of Baroque allegory in El divino Narciso of Sor Juana Ines de la Cruz. Applying concept of Giorgio Agamben about dispositive, social function of Auto Sacramental in Baroque Hispanic World is the process of subjectification of ideology of Counter Reformation. But Sor Juana seeks for the meaning of the universal which is lied in the crossover of sanctification and profanation mixing Christian Eucharist / Aztec Teocualo and Christian Theology / Hellenistic Ovidian Plots. By way of transculturation and syncretism of different cultural and religious heritages, Sor Juana not only deploys cultural attributes for making new interpretation of Eucharist mystery but also tries to confirm Baroque subject of New World in front of Monarchy of Old World. Through intricate of allegories, Sor Juanas auto sacramental de-centers seventeenth century imperialist and dogmatic discourse.
El divino Narciso posits subversive analogy between traditional epistemological ambition of allegoric figures to make universal and reterritorialize the Eucharist mystery and the quest for a new epistemological and political space through feminine poetic writing like Baroque allegory of Eco. Ecos ambition to capture and to transcend divine truth falls into fragmentary repetition and dissimilation of divine dogma. But her incessant curiosity about knowledge and quest for freedom alludes new Baroque self-mirroring that projects Modern Poetic Subjectivity.