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.
At the end of each "page" of text (the online book is structured so that the child can flip from page to page after reading the text and examining the illustration), the last line is brought to the foreground with ornate italics, written in red print, and enlarged, giving more importance to certain fundamental terms in Sor Juana's biography, including "tres anos" ("three years"), the young and remarkable age at which Juana Ines learned to read, "la Virreina de Mexico" ("the Vicereine
of Mexico"), the first important political connection Sor Juana made, "ideas brillantes" ("brilliant ideas") that emphasizes Sor Juana's sheer brilliance, and "mujeres poetas" ("women poets"), (55) that combines terms that in Sor Juana's day would have seemed perhaps a bit oxymoronic.
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.
The viceroy and vicereine
had already returned to Spain, and without their protection, Sor Juana was in a particularly vulnerable position.
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).
, the middle leg of the Fortune treble in the mile maiden, took a huge walk in the market before getting the best by a neck and a short head of a three-way photo with Just A Martian and Jumhoor.
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.
The former characterization explains the films reliance on commercial film techniques, including the well-known and quite beautiful lead actors and situations both highly sensual and melodramatic, such as when the panting vicereine begs the kneeling nun to open her bodice during an apparent fit of hyperventilation.
The apparent romance between the nun and the vicereine, as well as the slippery representation of the gender identity of the two women, are two areas that will elucidate the problematic aspects of Bemberg's feminist film.
Notably, her benefactress, the Vicereine Leonor Carreto (the Marquise de Mancera), is seated opposite Juana at the table, dressed in masculine attire.
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.