1
See Whitaker’s introduction to his edition of Gálvez’s plays, and Serrano y Sanz’s Apuntes para una biblioteca de escritoras españolas.
2
I refer specifically to Moi’s comments in her Sexual/Textual Politics.
3
I paraphrase Lacan here from A. Sheridan’s translation of his Ecrits: A Selection and from A. Wilden’s translation of The Language of the Self: The Function of Language in Psychoanalysis. Toril Moi, in Sexual/Textual Politics, also refers to Lacan’s importance in French feminist thought, especially that of Julia Kristeva.
4
I put this in quotes because many women theorists in France do not identify themselves with «feminism», which they characterize as but another attempt at «phallogocentrism».
5
I have chosen to keep accentuation and spelling in their original forms.
6
Both Cook and Alborg in their histories of Enlightenment drama have accused Gálvez of imitating Moratín, especially in her comedy Los figurones literarios. See also Whitaker’s article on this comedy and its rebuttal of Alborg’s views.
7
Gálvez wrote eight original tragedies (compared to three original comedies), published primarily in volumes two and three of her Obras poéticas.
None of her tragedies was ever performed publicly.
8
I believe that in employing the term «homosexual» Kristeva means to imply that this type of woman attempts to be like a man (homme) and ignores that which is «feminine» (i.e. that outside the «symbolic»).