1
I would like to thank Alban Forcione and Thimothy Hampton for their suggestions for his essay1.1. (N. from the A.)
| 1.1 | See also the closing note, p. 28. -F. J. (N. from the E.) | |
2
Michael Foucault, The Order of Things: An Archeology of the Human Sciences. (New York: Pantheon, 1973) 47. (N. from the A.)
3
Significantly, transvestism makes its first appearance in Cervantes' Persiles when the heroine must be rescued from the barbarians who hold her captive. See Los trabajos de Persiles y Sigismunda (Madrid: Castalia, 1969) 60. (N. from the A.)
4
The work of Thomas Laqueur in Making Sex (Cambridge: Harvard UP, 1990) has clearly problematized this notion of an easy access to biology for «objective» confirmation of sexual identity. (N. from the A.)
5
Lope de Vega, El caballero de Olmedo (Madrid: Cátedra, 1993), 1. 1588-94. Translation by Jill Booty, in Lope de Vega, Five Plays (New York: Mermaid, 1981). (N. from the A.)
6
For an account of this tradition, see Winfried Schleiner, «Male Cross-dressing and Travestism in Renaissance Romances», Sixteenth Century Journal 19 (Spring 1998): 605-619. (N. from the A.)
7
For discussions of this tradition, see Carol Ruprecht, The Martial Maid: Androgyny in Epic from Virgil to the Poets of the Italian Renaissance, (Diss., Yale University, 1977), Valeria Finucci, The Lady Vanishes: Subjectivity and Representation in Castiglione and Ariosto (Stanford: SUP, 1992) 227-254, and Elizabeth J. Bellamy, Translations of Power: Narcissism and the Unconscious in Epic History (Ithaca: Cornell UP, 1992). (N. from the A.)
8
Schleiner, 607. (N. from the A.)
9
See Ursula K. Heise, «Transvestism and the Stage Controversy in Spain and England, 1580-1680», Theatre Journal 44 (1992): 357-74, and Stephen Orgel, «Nobody's Perfect: Or Why Did the English Stage Take Boys for Women?» The South Atlantic Quarterly 88 (Winter 1989): 7-28. (N. from the A.)
10
Heise, 358. (N. from the A.)