111
Research and theory in cognitive science tends to take one of two orientations. One assumes the metaphor of the computer for the mind, sees cognition as information processing, and is consistent with a realist, empiricist, mechanistic worldview. It is found most often in neuroscience, strong versions of Artificial Intelligence, and what is left of behaviorism. It has been the dominant branch of cognitive science and is still considered by some to be what cognitive science must be all about. The other, with which I align my approach, is often referred to as cultural (Bruner), ecological (Gibson), experiential (Lakoff and Johnson), and/or enactive (Varela et al.). See Gillespie, as well as Bruner, for a discussion of the differences between these two orientations.
112
Rosch and Lakoff insist that the prototype is not a specific instantiation of the category, but a model, almost a Platonic ideal. Thus Lakoff employs the term «idealized cognitive model» (67-76). The categorical prototype or idealized cognitive model (which varies in its details from one individual to another) does not actually exist.
113
Hart specifically notes the appropriateness of using Bakhtin's concepts of genre in an assessment of Cervantes' stories, both romance and novel: «Mikhail Bakhtin's discussion of the Greek romances helps us to measure the distance that separates 'El amante liberal' from Heliodorus' Ethiopian History, while his conception of heteroglossia illuminates Cervantes' preoccupation with language in 'Rinconete y Cortadillo' (3)».
114
One of the first to note the alternating placement of the novelas within the collection was Atkinson: «It will be observed that, were the order of 'La ilustre fregona' and 'Las dos doncellas' reversed, the sequence of the collection would show a regular alternation of new and exemplary with old and stereotyped; and it would be easier to accept an incidental disturbance of the order of these two in the process of printing than an absence of designs of the author in so ordering the others» (194). Since then, a tendency to see a pendulum-like movement in generic orientation has been fairly common.
115
El Saffar also calls attention to the strategic placement of the CE-CP pairas suggesting «the idea that they most fully capture the meaning of the collection taken as a whole» (167).
116
«El curioso impertinente» (CI) would probably be placed near ZE in the novel sphere, while «El capitán cautivo» (CC) would be squarely within the romance sphere. But the whole question of embedded narratives in Don Quijote is a murky and ambiguous one and does not lend itself to easy resolution in the scheme employed here; see Mancing, «Embedded Narration», for a consideration of the concept of embedded narratives in Alemán and Cervantes.
117
Rodríguez-Luis (I, 1) makes exactly the opposite point: «Las semejanzas de tono entre algunas Novelas son tan marcadas que tienden a establecer entre ellas un parentesco, y por contraste a subrayar lo que las distingue de otras Novelas o grupos de ellas. En consecuencia, la crítica ha abundado en clasificaciones globales, exagerando a la postre las diferencias a costa de las semejanzas».
118
An earlier and shorter version of this essay was presented in a paper at the meeting of the Cervantes Society of America at UCLA in January, 1998. I am pleased to acknowledge the questions, comments, and suggestions from several who participated in that meeting, especially George Shipley, as well as the suggestions made by my colleagues Elizabeth and G. R. Thompson, in revising the presentation for publication.
119
Texto ampliado de la comunicación presentada en la sesión titulada «Cervantes's Novelas ejemplares at the End of the Millennium» del congreso anual de la Northeast Modern Languages Association, Pittsburgh, abril de 1999. Debo agradecer al profesor Stephen Rupp las sugerencias que me hizo al leer la primera versión de este trabajo. Asimismo quiero expresar mi gratitud a Connie Tchir por su atenta lectura de la versión final.
120
La yuxtaposición de «ir suelto» y «sentar plaza» por supuesto también implica el motivo de asociación/desasociación que se desarrolla en la novela. La más clara expresión de dicho motivo se encuentra en las últimas páginas del relato en el «religioso de la Orden de San Jerónimo» (73), personaje que remedia la dislocación (social y psíquica) de Tomás y por consiguiente hace que él vuelva a formar parte de la sociedad.