Loa to the Divine Narcissus: Instrumental Liminality of Sorjuanian Creole Festivities

This study delves into the metatextual reading of the Loa to the Divine Narcissus as an analogy genre, a hybrid of anthropological theater of Baroque festivities in the plays of Sor Juana. I analyze an inversion of the rhetorical capabilities of Calderon's Autos, inverted here in the Mexican imaginary toward resignifying the dramatic action in Creole festivities from a newly authorial position. Subalternaive readings and liminarities of alterity gain protagonism throughout the work, in turn shifting the specator's cognitive anagnorisis in celebrating Neohispanic-Creole identity as an act of representation.