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7 Editor’s Note Bruce R. Burningham E xciting things are coming to Cervantes in 2014. First, with the approval of the Executive Council of the Cervantes Society of America, the journal recently entered into an agreement with Project MUSE to make all current content available to the wider scholarly community through Project MUSE’s “Premium Collection” database . Beginning with the Spring 2014 issue, the electronic version of each new issue of Cervantes will become immediately available through Project MUSE at the same time that hard copies are mailed to individual and institutional subscribers. Second, in collaboration with a group of colleagues at the University of Córdoba, the journal is planning (for only the third time in its nearly thirty-four year history) to produce a “special issue.” The previous two special issues include the Winter 1988 special issue on La Galatea and the Winter 1996 “Anuario Bibliográfico Cervantino, 1994-95.” Our forthcoming special issue will be published in Winter 2014 and will numbered 34.3. But I am getting ahead of myself. The primary function of this current Editor’s Note is to introduce the Fall 2013 issue. So, without further ado… As with our previous issues, the Fall 2013 issue of Cervantes contains a wide variety of articles written from a wide variety of scholarly perspectives . This issue’s lead article is a version of a speech that Mercedes Alcalá Galán delivered as the keynote address for the Cervantes Society of America’s official business meeting at the 2012 MLA Convention in Seattle, Washington. Focusing on the Duchess’s thighs, which the text subtly suggests contain bleeding wounds, Alcalá Galán glosses the medical literature of the day and argues that these “fuentes” are signs of a course of treatment for infertility. As such, she argues, the existence of these painful, bleeding wounds is indicative of the enormous pres- 8 Cervantes Bruce R. Burningham sure to produce offspring (particularly male offspring) under which early modern aristocratic women lived their lives. In this way, Alcalá Galán’s analysis re-examines the Duchess not just as one half of a generic pairing usually referred to as “los duques,” but as a fully developed character in her own right whose personal travails are only barely visible within the context of all the other activities that take place in the ducal palace during Don Quixote and Sancho’s sojourn. Following this lead article on the Duchess, we offer an essay by Ignacio López Alemany who also examines—at least in part—those episodes of Don Quixote that involve the Duke and Duchess. Yet, where Alcalá Galán focuses specifically on the individual of the Duchess, López Alemany turns his attention more broadly to the ducal court itself as a figure within a wider societal discussion on the Court and courtiers in early modern Spain. Continuing our ongoing celebration of the 400th anniversary of the publication of the Novelas ejemplares, we offer two articles on this topic. The first, by Gregory Baum, examines James Mabbe’s 1640 translation of “La española inglesa” and argues that Mabbe’s deliberate effacement of Cervantes’s original English geography and context is part of a concerted effort to reimagine both the England and Europe of his day as a place without the contemporary religious conflicts that were raging around him at the time of his translation. The second article , by Eric Mayer, analyzes “La gitanilla” and its debt to Heliodorus’s Ethiopica. Noting that Cervantes himself explicitly posits (in Los trabajos de Persiles y Sigismunda) a competition between his own work and that of Heliodorus, Mayer argues that Cervantes’s earlier work already exhibits traces of the fundamental debt that his fiction owes to this Greek writer. Following these two articles on the Novelas ejemplares, we offer an essay by Jorge Checa on La destruición de Numancia and another by J. A. Garrido Ardila on the debates surrounding Don Quixote and the rise of the modern novel. Examining La Numanica through the philosophical and political lenses of Max Horkheimer, Edmund Burke, and Immanual Kant, Checa argues that Cervantes’s play stages Horkheimer’s concept of “subjective reason” such that...


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