{"id":6480,"date":"2019-01-25T16:25:59","date_gmt":"2019-01-25T15:25:59","guid":{"rendered":"https:\/\/www.imex-revista.com\/?p=6480"},"modified":"2021-06-01T12:06:25","modified_gmt":"2021-06-01T11:06:25","slug":"xv-identificacion-diferencia-cultural","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xv-identificacion-diferencia-cultural\/","title":{"rendered":"Claudia J\u00fcnke \u2013 Identificaci\u00f3n y diferencia cultural"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text]\n<p style=\"text-align: center;\"><a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/6412\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Issue<\/span><i class=\"icon-button-arrow\"><\/i><\/a> <a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/6425\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Article<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221; text_align=&#8221;left&#8221;][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text]\n<h3 style=\"text-align: center;\"><strong><span style=\"color: #b0b0b0;\">Pr\u00e1cticas literarias de pertenencia: identificaci\u00f3n y diferenciaci\u00f3n cultural en la loa del <em>Divino Narciso<\/em> de Juana In\u00e9s de la Cruz<br \/>\n(pp. 69-82; DOI: 10.23692\/iMex.15.6)<\/span><\/strong><\/h3>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fwp-content%2Fuploads%2F5_CJ_Practicas-literarias-de-pertenencia_iMex15.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/5_CJ_Practicas-literarias-de-pertenencia_iMex15.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Prof. Dr. Claudia J\u00fcnke<br \/>\n<\/span><\/strong><\/span><\/h3>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\"><a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Claudia-J\u00fcnke_iMex.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-6328\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Claudia-J\u00fcnke_iMex.jpg\" alt=\"\" width=\"150\" height=\"200\" \/><\/a><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Claudia J\u00fcnke is Professor in Spanish and French literatures and cultures at the University of Innsbruck. Her research focusses on modern and contemporary literature and culture in France, Spain and Latin America, with a special interest in cultural memory of violent pasts, cultural identities, narratology and intermediality. She received her doctoral degree from the University of Cologne in 2002 and her postdoctoral degree (Habilitation) from the university of Bonn in 2009. She is the author of <em>Erinnerung \u2013 Mythos \u2013 Medialit\u00e4t. Die Darstellung des Spanischen B\u00fcrgerkriegs im aktuellen Roman und Spielfilm in Spanien<\/em> (Berlin 2012) and the co-editor of <em>La Movida revisitada. <\/em><em>Perspectivas actuales sobre un fen\u00f3meno cultural y transmedial<\/em> (W\u00fcrzburg 2014). Her articles have been publishes in a variety of international journals and books.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;50&#8243;][tabbed_section style=&#8221;default&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1547557827370-1b54c-8d95&#8243; tab_id=&#8221;1547571626406-7&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">El art\u00edcula se dedica a estudiar las din\u00e1micas transculturales y las huelleas de una conciencia criolla en la loa del auto sacramental <em>El Divino Narciso<\/em> de Juana In\u00e9s de la Cruz. En la lectura de esta pieza aleg\u00f3rica quisi\u00e9ramos aplicar el concepto de pertenencia (<em>belonging<\/em>) para el an\u00e1lisis de las multifac\u00e9ticas din\u00e1micas de identificaci\u00f3n y diferenciaci\u00f3n cultural en este texto literario de la autora del barroco colonial hispanoamericano. Se enfocan tres dimensiones en las cuales la autora se sirve de diferenciaciones que estructuran la tem\u00e1tica y la acci\u00f3n de la pieza: la dimensi\u00f3n geocultural, la dimensi\u00f3n \u00e9tica y la dimensi\u00f3n geopol\u00edtica. Proponemos entender el criollismo de Juana In\u00e9s de la Cruz no como una identidad que posee sino m\u00e1s bien como el conjunto de las pr\u00e1cticas de pertenencia complejas y a veces contradictorias que se traducen en su textos.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1547557827331-10b54c-8d95&#8243; tab_id=&#8221;1547571626366-6&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">The article investigates the transcultural exchanges and the traces of a creole consciousness in the <em>loa<\/em> of the <em>auto sacramental<\/em> <em>El Divino Narciso<\/em> by Juana In\u00e9s de la Cruz. Our reading of this allegorical play takes the concept of <em>belonging<\/em> as a tool for the analysis of the multifaceted dynamics of cultural identification and differentiation that are deployed in this literary text from the Mexican colonial baroque of the 17<sup>th<\/sup> century. We will focus on three dimensions on which the author introduces differentiations that structure the topic and the action of the play: the geocultural dimension, the ethic dimension and the geopolitical dimension. In doing so, we propose to consider Juana\u2019s creole consciousness not so much as an identity that she possesses but rather as the totality of the complex and sometimes contradictory practices of belonging that are expressed in her texts.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b015 | Sor Juana In\u00e9s de la Cruz&#8221; id=&#8221;1547557827412-1b54c-8d95&#8243; tab_id=&#8221;1547571626448-7&#8243;][vc_column_text]<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-editorial\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Claudia J\u00fcnke \/ Jutta Weiser - Editorial<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-documentos-sor-juana\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Sara Poot Herrera \u2013 Documentos alrededor de Sor Juana<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-figuraciones-mecenazgo-autoria\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Beatriz Colombi \u2013 Figuraciones del mecenazgo y la autor\u00eda<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-riquezas-ingenio-indiano\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Francisco Ram\u00edrez Santacruz \u2013 Las riquezas del Nuevo Mundo y el ingenio indiano <\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-discurso-criollo-autoria-implicita\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Jutta Weiser \u2013 Discurso criollo y autor\u00eda implicita<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-identificacion-diferencia-cultural\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Claudia J\u00fcnke \u2013 Identificaci\u00f3n y diferencia cultural<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-espacio-teatral-criollo\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Agnieszka Komorowska \u2013 Construyendo el espacio teatral criollo<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-transformacion-codigo-petrarquista\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Ver\u00f3nica Grossi \u2013 La transformaci\u00f3n del c\u00f3digo petrarquista<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-geometrizacion-del-poder\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Patricia Saldarriaga \u2013 La geometrizaci\u00f3n del poder<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-marginalidad-en-el-centro\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Kurt Hahn \u2013 La marginalidad puesta en el centro <\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xv-resenas\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Reviews<\/span><i class=\"icon-button-arrow\"><\/i><\/a>[\/vc_column_text][\/tab][\/tabbed_section][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;full_width_background&#8221; 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