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I would like to thank Alban Forcione and Thimothy Hampton for their suggestions for his essay1.1. (N. from the A.)



See also the closing note, p. 28. -F. J. (N. from the E.)



Michael Foucault, The Order of Things: An Archeology of the Human Sciences. (New York: Pantheon, 1973) 47. (N. from the A.)



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.)



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.)



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.)



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.)



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.)



Schleiner, 607. (N. from the A.)



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.)



Heise, 358. (N. from the A.)