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203 Notes CHAPTER ONE 1. In Love and the Law in Cervantes, Roberto González Echevarría ponders the intimate connections between desire, interdiction, and the law in works by Spain’s greatest Golden Age novelist. My approach is similar in that I examine the type of sexual traffic that legal proscriptions tried to control and literary criticism has often denied or attempted to camouflage under the cloak of didacticism. As González Echevarría notes, “Literature becomes an archive of the forbidden, counterbalancing the copious repository of the pious, generally the context that has been used to read Cervantes because of its availability. The forbidden, on the other hand, tends by nature to be scarce in its public displays and leaves a scant record. There is a surfeit of information about the law, about how to suppress and punish crime and sin, but scant contextual documentation about the allure and manifestations of desire” (2005, xv–xvi). Although I agree that literature is the great repository of the forbidden, I disagree regarding the absence of manifestations of desire in literature, especially early modern Spanish texts, which are particularly rich in eroticism. As I argue herein, what we lack is an appropriate methodology for analyzing and evaluating erotic literature. This issue is addressed further in Chapter Five. 2. The following are important among the studies that shape the novella’s critical history: Raymond Foulché-Delbosc’s classic essay (1899), José Toribio Medina’s extensive essay included in his edition of the novel (see Cervantes 1919), Jorge García López’s discussion in his edition of Cervantes’s Novelas ejemplares (2001), and the studies by Julián Apráiz (1906), Francisco A. de Icaza (1916), Manuel Criado de Val (1953), Luis Astrana Marín (1953, 391–408), 204 Notes to Pages 3–15 Alan Soons (1970), E.T. Aylward (whose 1982 postulates are reviewed in Geoffrey Stagg’s 1984 study), Mary Gossy (1989 and 1993), Pedro Tena (1990), Francisco Márquez Villanueva (1990), Carmen Hsu (2002), and José Luis Madrigal (2003). 3. My understanding of the Foucauldian notion of discourse is informed by Michel Foucault’s “The Discourse on Language” (1972), “What Is an Author?” (1977b), and “Truth and Power” (1980) and by Robert D’Amico’s “What Is Discourse?” (1982) and Manfred Frank’s “Sur le concept de discours chez Foucault” (1989). Works by Diane MacDonell (1989) and Timothy W. Crusius (1986) provide a greater context. 4. William Nelson, who discusses the progress of changing attitudes with respect to “invented history,” has called this ambivalence the dilemma of the Renaissance storyteller (1973). Regarding Cervantes, see pages 32–33, 63–64, 70, and passim. The subtitle to La tía fingida clearly locates the reader in a given sociohistorical moment, a “chronotope,” which could interfere in the narrative strategies that can be perceived in the text. This and subsequent chapters quote parenthetically from García López’s 2001 edition of Cervantes’s Novelas ejemplares. Unless otherwise indicated, all translations in this book are my own. 5. Cervantes did not totally disregard the cortegiana onesta, however, since Estefanía de Caicedo from El casamiento engañoso falls within the parameters of this literary and historical figure. See Hsu’s 2002 study of courtesans in Spanish Golden Age literature. 6. See Gossy 1989 on the relationship between “text” and “hymen.” 7. In his examination of the Salamancan society depicted in La tía fingida, Francisco Márquez Villanueva (1990) has concluded that the work corresponds to the genre of university literature and is intimately linked to the Celestinesque novel. For the greater context of student life in Salamanca, see Luis Cortés Vázquez’s 1989 study; regarding the relationship between prostitutes and students in that city, see pages 121–32. 8. As the textualization of prostitution, La tía fingida reflects the common distinction made in Western culture between man as mind and woman as body. Esperanza’s corporeality is constantly thrust before the reader in this text as her body is acted upon and treated as an object of exchange. In Volatile Bodies (1994), Elizabeth Grosz studies the philosophical bases of corporeality in an attempt to recover the female body for feminism. 9. This type of unattached, autonomous woman who plays sexual tricks on men is discussed in Chapter Five. 10. Regarding legal prostitution in Spain at this time, see Perry 1985, Perry 1990 (37–152), and Sánchez Ortega 1995. The situation was similar in other European countries. Legalized...