31
I use ‘woman’ repeatedly to underscore the universalizing tendency in Renaissance writing, and not because I subscribe to it. (N. from the A.)
32
See Adrienne Rich, «Compulsory Heterosexuality and Lesbian Existence», Signs 5(4), (1980): 631-60, and Monique Wittig, «One is not born a Woman», Feminist Issues 2, (1981): 47-54. (N. from the A.)
33
Haraway, 1991, referring to Catharine MacKinnon's theoretical legal work, p. 141. (N. from the A.)
34
The episode of Marcela and Grisóstomo has been the object of much critical attention. The following represent a variety of readings: John J. Allen, «Style and Genre in Don Quijote: The Pastoral», Cervantes, 6, no 1 (Spring, 1986): 51-56; Francisco de Ayala, Ensayos (Madrid: Aguilar, 1972), pp. 605 and ff.; Juan Bautista Avalle-Arce, «Grisóstomo y Marcela (La verdad problemática)», Deslindes cervantinos (Madrid: Edhigar, 1961); Joaquín Casalduero, «Cervantes rechaza la pastoril y no acepta la picaresca», Bulletin of Hispanic Studies 61 (1984): 283-85; Javier Herrero, «Arcadia's Inferno: Cervantes' Attack on Pastoral», Bulletin of Hispanic Studies 55 (1978): 289-99; Elvira Macht de Vera, «Indagación en los personajes de Cervantes: Marcela o la libertad», Explicación de textos literarios 13-15 (1984-85): 3-17; Michael D. McGaha, «The Sources and Meaning of the Grisóstomo-Marcela Episode in the 1605 Quijote», Anales cervantinos 16 (1977): 33-69; Helena Percas de Ponseti, Cervantes y su concepto del arte: Estudio crítico de algunos aspectos y episodios del Quijote, 2 vols., (Madrid: Gredos, 1975); Harry Sieber, «Society and the Pastoral Vision in the Marcela-Grisóstomo Episode of Don Quijote», Estudios literarios de hispanistas norteamericanos dedicados a Helmut Hatzfeld con motivo de su ochenta aniversario, Josep M. Solà-Solé, Alessandro Crisafulli, and Bruno Damiani eds., (Barcelona: Hispam, 1974), pp. 185-96; Ann E. Wiltrout, «Las mujeres del Quijote», Anales cervantinos 12 (1973): 1-6. For feminist readings of the episode, see: Yvonne Jehenson, «The Pastoral Episode in Cervantes' D. Quijote: Marcela Once Again», Cervantes, X (2), (Fall 1990): 15-35, and Adrienne Munich, «Notorious Signs, Feminist Criticism and Literary Tradition», Making a Difference: Feminist Literary Criticism, Gayle Greene and Coppelia Kahn, eds. (London and New York: Methuen, 1985), pp. 238-259. (N. from the A.)
35
Don Quixote's production of his knightly self begins with the cleaning of his ancestors' rusty arms, follows with the re-naming of his horse, then proceeds to choosing a name for himself, and only then progresses to the selection and naming of his beloved, thus revealing Dulcinea's subordinate and accessory textual existence. See Martín de Riquer's edition, D. Quijote de la Mancha, pp. 38-41. (N. from the A.)
36
On the practice of pastoral poetry by women's poets in the
Renaissance, and their use of the genre's conventions, see Ann Rosalind Jones,
The Currency of Eros. Women's Love Lyric in
Europe, 1540-1620 (Bloomington and Indianapolis: Indiana University Press,
1990), pp. 118-154. Jones convincingly argues that «in the poems of
Stampa and Wroth the abuses inveighed against are committed by men. The
pastoral vocabulary legitimates the women's complaints and their desire to
break free of the limits imposed on them by their social
circumstances»
, p. 123. (N. from the A.)
37
I refer to Rachel Blau DuPlessis' term, which is the title of her book as well, published by Indiana University Press: (Bloomington, 1985). (N. from the A.)
38
DuPlessis, p. ix. DuPlessis characterizes writing beyond the ending as the narrative strategies of twentieth century women writers created to criticize and delegitimate traditional romance plots based in the heterosexual sex-gender system. (N. from the A.)
39
Plessis, p. 3. (N. from the A.)
40
| Miguel de Cervantes, D. Quijote de la Mancha, I, Martín de Riquer, ed. (Barcelona: Editorial Juventud, 1968), p. 130 | ||
Underlining and translation are my own. (N. from the A.)