{"id":71,"date":"2014-07-02T19:30:10","date_gmt":"2014-07-02T19:30:10","guid":{"rendered":"https:\/\/eladd.org\/en\/?page_id=71"},"modified":"2026-05-08T17:58:24","modified_gmt":"2026-05-08T17:58:24","slug":"rosa-guerra","status":"publish","type":"page","link":"https:\/\/eladd.org\/en\/popular-authors\/rosa-guerra\/","title":{"rendered":"Rosa Guerra"},"content":{"rendered":"
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Rosa Guerra<\/h2>\n

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\"\"<\/a>Rosa Guerra<\/p>\n

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Translated by Mia Ruiz<\/em><\/p>\n

 <\/p>\n

Born in Buenos Aires in 1834, Rosa Guerra, was an educator, poet, playwright and journalist. From a young age, she was a vocal advocate for the education of women. She taught and later directed a private school in the Belgrano neighborhood of Buenos Aires previously managed by Ana Bevans. In 1852, she began her literary career with the publication of her own newspaper, La Camelia<\/em>, published by the Republicana press after the fall of the dictatorship of Juan Manuel de Rosas. The biweekly publication consisted of contributions from anonymous collaborators. Rosa Guerra introduced ideas of social equality and female emancipation with the slogan \u201cLiberty! Not license; equality<\/em> between the sexes,\u201d<\/em> while also strongly opposing the idea that society should become less religious. La Camelia <\/em>advocated that women be given access to a scientific education since they, in fact, were responsible for teaching what was right and wrong, something beneficial for both families, and in a larger sense, the nation. A common theme across Guerra\u2019s journalism is her call to challenge the belief that Latin American women are inferior to their European and North American counterparts and to recognize the experiences of the women who were exiled from Argentina because they opposed the Rosas dictatorship.<\/p>\n

 <\/p>\n

La Camelia <\/em>and its content were quite unique in journalistic spheres across Argentina because this was a space traditionally dominated by male voices. As a woman, Guerra started from a position of systematic disadvantage; she attempted not only to destabilize existing power relations, but also to challenge the restrictions imposed on women\u2019s participation in the public literary discourse. Given the newspaper\u2019s structure and its focus on domestic issues, La Camelia<\/em> was the target of strong criticism and mockery in the national press, including threats based on the controversial content discussed in its pages. La Camelia<\/em> followed La Aljaba<\/em> as the second literary newspaper in Argentina founded by a woman. La Aljaba <\/em>was short-lived, and La Camelia<\/em> ceased publication on May 11, 1852, having published only 14 installments.<\/p>\n

 <\/p>\n

In July of 1852, Guerra returned with a new weekly publication: La<\/em> Educaci\u00f3n, a religious, poetic and literary newspaper<\/em>. This time, Guerra publicly claimed authorship for her work, acknowledging that she decided to found another newspaper based on the criticism and ridicule received by La<\/em> Camelia<\/em>. Unlike that previous publication, in La Educaci\u00f3n<\/em>, in some letters and essays, Guerra used the pseudonym \u201cCecilia\u201d and focused on the issue of women\u2019s education.<\/p>\n

 <\/p>\n

Guerra questioned prevailing public opinions in Argentina by arguing that women could both pursue a science-based education and engage in writing without neglecting their domestic roles. In addition to advocating for a practical education for women as architects of future Argentine generations, Guerra supported European immigration projects that began to arise mid-century. She rejected the imitation of French fashion because it was irrelevant to the Argentine reality and instead promoted political reforms aimed at reopening educational centers and enacting laws to protect women.<\/p>\n

 <\/p>\n

La Educaci\u00f3n<\/em> had significant support, not just from its many individual subscribers, but also from the provisional government who not only subscribed to the newspaper, but also incorporated it into the reading materials for schools that provided free basic education in impoverished areas. La Educaci\u00f3n<\/em> stopped publishing on August 7, 1852 after just three issues, which clearly reflected the challenges facing journalism at the time\u2014a profession still predominantly seen as a male sphere. \u00a0Guerra continued her journalistic work as a contributor to El Nacional<\/em> (1824- 1826), La Tribuna<\/em> (1853-1884), and La Naci\u00f3n Argentina<\/em> (1862-1870).<\/p>\n

 <\/p>\n

Rosa Guerra was one of the first women novelists to be published in Argentina. Her debut novel, Luc\u00eda Miranda,<\/em> was published in 1860 and was based on the folk legend of Luc\u00eda Miranda<\/em>, the first European woman to be captured by indigenous people [1]. In this novel, she recounts the saga of Miranda, a Spanish woman who arrived at the Paran\u00e1 Coast with her husband, Sebasti\u00e1n Hurtado, as colonizers in 1532. Luc\u00eda began her evangelical mission with Chief Mangora, with whom she spoke of the pleasures of Christian love through marriage. Mangora and his brother Siripo fell in love with Luc\u00eda, who, despite feeling a clear emotional attraction towards Mangora, remained faithful to her husband.<\/p>\n

 <\/p>\n

Faced with Luc\u00eda\u2019s rejection, the brothers attacked the Spanish fort intending to kidnap her. Mangora died in combat and Miranda and her husband were taken captive by Siripo. To save Sebastian\u2019s life, Luc\u00eda agrees to become Siripo\u2019s wife. Siripo spares Sebastian\u2019s life on the condition that he marry an indigenous woman. Neither Sebastian nor Luc\u00eda can hide their love for each other from Siripo, and as a result, they are both executed: Luc\u00eda is burned alive and Sebasti\u00e1n is murdered by being shot with arrows.<\/p>\n

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In this novel, Guerra explored the possibility of an interracial union between a white woman and an indigenous man, showing some sympathy for Mangora, whose actions are portrayed as the result of his misguided love for Luc\u00eda. Although the story introduced the threat of sexual transgression, it never actually takes places. Luc\u00eda sacrificed herself with romantic fatalism, thus rejecting the savage practices of the indigenous people. Through her adaptation of this legend, Guerra reinforced the distinction between indigenous barbarism and white civilization, presenting it as a failed attempt at colonization and Europeanization.<\/p>\n

 <\/p>\n

In 1862, Guerra became Argentina\u2019s first female playwright when she published Clemencia<\/em>, a three-act drama written in verse and dedicated to President Bartolom\u00e9 Mitre. In her play, Guerra continued her social critique and highlighted the lack of scientific education among women. She wrote: \u201cIf it were like other countries\/ Where women receive an education,\/ Her education is not defective\/ Like ours; she is taught\/ The study of the sciences\/ She is enlightened in conscience\/ And her knowledge is equal\/ To that of men; she is a poet,\/ Writer, a literary intellectual,\/ She paints, sings and even creates portraits,\/ She travels and contributes to the press.\/ Thus, even if she does not marry\/ Her life is active and fulfilled.\u201d (70) Guerra sought to expand women\u2019s social roles by advocating for education, writing, and the arts as ways for women to participate in public life and expand their sphere of action. Clemencia\u2019s antagonist, In\u00e9s, reveals the social constraints imposed on women, particularly those that arise from marriage: \u201cA woman is lost\/ if by fifteen she is not yet married, \/ She has nothing left to do,\/ Society rejects her [\u2026] Her crime – to be unmarried,\/ What a frightful aberration!\u201d (71). Guerra\u2019s argument criticizes nineteenth-century marriage norms that reinforced women\u2019s subordination and restricted what women were allowed to do in society or how they were expected to behave. Clemencia emerges as an exception among women of her time, who often conform to the superficialities of the century and accept the marriage as a path to economic and social advancement.<\/p>\n

 <\/p>\n

In political terms, Clemencia<\/em> portrays the seizure of property, the persecution of Unitarians, and the forced emigrations from Montevideo during the Rosas administration. The third act highlights the lack of resources available to those attempting to reclaim their properties, the indifference of judges and notaries toward the demands of the needy, and the lack of recognition and financial support for those who fought in the independence movement and the anti-Rosas campaigns.<\/p>\n

 <\/p>\n

Rosa Guerra passed away unmarried on August 18, 1864. Her book of poems, Desahogos del coraz\u00f3n,<\/em> dedicated to Vicente Fidel L\u00f3pez was published posthumously that same year. This final project reflects Guerra\u2019s continued pursuit of freedom from the social determinism of the time. The poem \u201cDespedida,\u201d dedicated to her friend Juana Leloir, reflects Guerra\u2019s goal to make her own life decisions without pleasing or serving anybody else and challenge the prevailing rules of social interaction: \u201cIf I could exist\/ Without ever being bound\/ By any connections\/ Be happy or be thankful.\u201d (26) In her poem \u201cLa ni\u00f1a de quince a\u00f1os,\u201d Guerra talks about love and a rejection of fashionable men: \u201cI would never want to see\/ Those new puppets\/ Designed by fashion, \/ Those hollow dolls\/ That seem empty\/ In plaster mold\/ That only exhibit\/ Their empty display to the wind.\u201d (38) Her preferences lean toward an educated man: \u201cBut my desires, are not limited\/ If I do not want him to possess\/ A cultivated talent\/ In the precious sciences\/ That charms the mind,\/ Elevates the soul,\/ And enlightens the intellect.\u201d (42)<\/p>\n

 <\/p>\n

In her poem \u201cMi reconocimiento,\u201d Rosa Guerra uses an acrostic technique by inverting the first letter of each line to spell the proclamation \u201cViva Rivadavia.\u201d (135) She thanks President Rivadavia for the survival of her family and for her education. Her critique of the Rosas regime continues to be reflected throughout this book through poems like \u201cLa ni\u00f1a exp\u00f3sita,\u201d where Guerra refers to the closure of an orphanage and the abandonment of the orphans who once lived there.<\/p>\n

 <\/p>\n

Rosa Guerra was among the first women in Argentina to participate in literature and journalism, a woman who challenged the limited means available for her gender to participate in the Buenos Aires\u2019 press.<\/p>\n

 <\/p>\n

Although her public engagement was brief and marked by limited support, and her journalism was defined by an abrupt disappearance, her voice initiated discussion about unequal access to education and women\u2019s social roles. The country\u2019s political situation ensured that her literary legacy is still a critical element in understanding the sociocultural dynamics of nineteenth-century Argentina.<\/p>\n

 <\/p>\n[1] The legend of Luc\u00eda Miranda was first published in 1612 by Ruy D\u00edas in La Argentina<\/em>. In 1860, the same year that Rosa Guerra\u2019s work was published, Eduarda Mansilla published her novel titled Luc\u00eda<\/em> Miranda.<\/em> Later, in 1883, Celestina Funes recounted her version of the legend in the poem Luc\u00eda Miranda: Episodio nacional.<\/em><\/p>\n

 <\/p>\n

Vanesa M. Landrus Eastern Illinois University<\/p>\n

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