Note, e.g., «un terrible y espantoso estruendo»; «dando señales y muestras»; «por señas... le dio a entender que no quería matarle»; «de nadie eran entendidas articuladamente las razones que pronunciaba», in Chapter 1; «comenzó a convidar por señas» in Chapter 4. (N. from the A.)

See Seminaire II, p. 303, cited by Ellie Ragland-Sullivan in Jacques Lacan and the Philosophy of Psychoanalysis (Urbana: Univ. of Illinois Press, 1986), p. 289. The Lacanian theory of the «paternal metaphor» (Wilden, pp. 270-72) is regarded as «a revolution in psychoanalytic thought whose repercussion in other areas cannot as yet be estimated» (Wilden, p. 299). (N. from the A.)

Harold Bloom, Kabbalah and Criticism (New York: Seabury, 1975), pp. 107-08. (N. from the A.)

Lectures on «Don Quixote», p. 143. (N. from the A.)

See ed. Frank Pierce, «Introduction», Two Cervantes Short Novels: «El curioso impertinente» and «El celoso extremeño» (Oxford: Pergamon Press, 1966), p. 10; see also Arriola, pp. 37-38; see also Wardropper, p. 597. (N. from the A.)

Camila contests that image of female purity internalized and even enshrined by Renaissance writers: «quiero matar muriendo» [I want to kill while dying] is her laconic correction of Lucrece's exemplary suicide. In contrast to Shakespeare's representation of Lucrece pacing the floor after her rape -«And that deep torture may be called a hell, / When more is felt than one has power to tell» (II.1287-88)- Cervantes' parody focuses especially on her «power to tell». Unlike her own literary models, Camila's affective experience does not lack a voice, a voice that will find a swelling chorus across the Persiles. (N. from the A.)

On the «vast amount of 'acting'» in the Quijote, see John J. Allen's «Levels of Fiction in Don Quixote», in the Norton Critical Edition of Don Quixote, trans. Ormsby, eds. Jones & Douglas, pp. 919-927. (N. from the A.)

See Problems of Dostoevsky's Poetics, intro. Wayne Booth, ed. and trans. Caryl Emerson (Minneapolis: University of Minnesota Press, 1984); Rabelais and His World, trans. Helene Iswolsky (Cambridge, MA; M.I.T. Press, 1968); and «The Bildungsroman and Its Significance in the History of Realism (Toward A Historical Typology of the Novel)», Speech Genres and Other Late Essays, ed. Caryl Emerson, intro. Michael Holquist, and trans. Vern W. McGee (Austin: University of Texas Press, 1986). (N. from the A.)

The Diary of a Writer, trans. Boris Brasol (New York: Scribner's Sons, 1949), p. 260. (N. from the A.)

See «Wie Don Quijote gemacht ist» in Shklovsky's Theorie der Prosa, trans. Gisla Drohla (Frankfurt: S. Fischer, 1966). (N. from the A.)