Introduction: Negotiating Rumor and Fame: Sor Juana Inés de la Cruz’s Posthumous Fama
Bibliographic record
Abstract
: This chapter examines the conditions and qualities of Sor Juana that made her a celebrity in her time and warranted her posthumous fame in a transatlantic tribute published in Spain. Instead of the limits of existing models of renown transforming to accommodate a colonial woman author, she is reconciled into conventional notions of fame. The three fictions of Sor Juana that emerge most clearly in her posthumous tome are that of the saintly exemplar, the Tenth Muse of New Spain, and the New World marvel. All three help bridge the gap from celebrity to being worthy of enduring fame and can be traded in the male literary marketplace. Within the framework of Celebrity Studies, I examine both Sor Juana’s role as agent of her own celebrity and the negotiations of her panegyrists. Keywords : Sor Juana Inés de la Cruz; Fama y obras póstumas ; posthumous fame; Celebrity Studies; Hispanic Baroque; seventeenth-century women writers The third and final volume of Sor Juana Inés de la Cruz’s works published in her time (if not her lifetime), appeared posthumously in Madrid in 1700. Organized and edited in New Spain and Old, the Fama y obras pósthumas [Fame and Posthumous Works] includes writing by Sor Juana (1648–1695), the cloistered Hieronymite nun known as New Spain’s “Tenth Muse,” dozens of elegies written upon her death by Spanish and Mexican peers and a voluminous paratext in the way of licenses, a frontispiece, a vita and two prologues. Alone in being the third volume of work published by a New World criolla nun in Spain, the complex baroque volume is also her fama póstuma , a tribute to her posthumous fame, written and printed at a time in which fame was off limits to women and literary posthumous fame (a male affair) did not assure glory. As Ann Rosalind Jones has shown, although the winged figure of allegorical Renaissance iconography that personified Fame was a woman, seventeenth-century women were excluded from her realm (1986, 74). And posthumous literary fame could not be uncoupled from the author’s moral exemplarity until well into the eighteenth century (Goodman 549).
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.006 | 0.005 |
| Scholarly communication | 0.003 | 0.002 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.004 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".