Table of Contents

11.1 (1991)

12.1 (1992)

ISSN 1943-3840

Bulletin of the CERVANTES SOCIETY OF AMERICA

THE CERVANTES SOCIETY OF AMERICA

President
JAVIER HERRERO (1991)

Vice President
RUTH EL SAFFAR (1991)

Secretary-Treasurer
ALISON WEBER (1991)

Cervantes, official organ of the Cervantes Society of America, publishes scholarly articles in English and Spanish on Cervantes' life and works, reviews, and notes of interest to cervantistas. Twice yearly. Subscription to Cervantes is a part of membership in the Cervantes Society of America, which also publishes a Newsletter. $17.00 a year for individuals, $20.00 for institutions, $28.00 for couples, and $9.00 for students. Membership is open to all persons interested in Cervantes. For membership and subscription, send check in dollars to Professor ALISON WEBER, Secretary-Treasurer, The Cervantes Society of America, Department of Spanish, Italian, and Portuguese, University of Virginia, Charlottesville, Virginia 22903. Manuscripts should be sent in duplicate, together with a self-addressed envelope and return postage, to Professor MICHAEL MCGAHA, Editor, Cervantes, Department of Modern Languages, Pomona College, Claremont, California 91711-6333. The SOCIETY requires anonymous submissions, therefore the author's name should not appear on the manuscript; instead, a cover sheet with the author's name, address, and the title of the article should accompany the article. References to the author's own work should be couched in the third person. Books for review should be sent to Professor EDWARD FRIEDMAN, Book Review Editor, Cervantes, Dept. of Spanish and Portuguese, Ballantine Hall, Indiana University, Bloomington, Indiana 47405.

Copyright © 1991 by the Cervantes Society of America.

VOLUME XI, NUMBER 2 TABLE OF CONTENTS

From the Editor

5

ARTICLES

	Of Witches and Bitches: Gender, Marginality and Discourse in El casamiento engañoso y Coloquio de los perros
		CARROLL B. JOHNSON		7
			Todo el Casamiento engañoso y Coloquio de los perros puede afirmarse que es una meditación sobre poder y marginalidad, figuradas en el poseer o no poseer lenguaje, habla, control del discurso. Nos dirigen la palabra una serie de autores ficticios, todos ellos marginados y normalmente desprovistos del habla: un soldado sifilítico y no demasiado astuto, unos pobres chiflados retirados a un hospital, unos perros habitantes del mismo, una bruja. El estudio se centra en el caso de esta última, doblemente marginada a causa de su oficio y su sexo, pero que ocupa el lugar central en el texto. Se considera la figura de la bruja en el cervantismo actual y, desde otro ángulo, en relación al pensamiento feminista contemporáneo, sobre todo en su versión francesa. Se la identifica provisionalmente como una supervivencia, en forma degradada, de la “gran diosa” adorada a través de grandes extensiones del mundo antiguo hasta el primer siglo antes de Cristo, cuyo culto sucumbió ante el descubrimiento de la paternidad y las religiones patriarcales resultantes. Se coteja esta imagen de la bruja como mujer poderosa con la brujería histórica en tiempos de Cervantes. Resulta que las brujas ni eran todas mujeres ni poderosas, sino una versión extremada del patriarquismo imperante en aquella sociedad. Cañizares, sin embargo, asume un poder históricamente inexistente gracias a su posesión del habla. Se presenta como un sujeto hablante, generadora de discurso, de sí misma a través de él, posiblemente de Cipión y Berganza también, lo que opone una generación matrilinear a la relación normal, “patriarquista,” entre autor y texto, poder y marginalidad.

	Diálogo y poder en la liberación de los galeotes
		JOSÉ F. MARTÍN		27
			The power struggle among Don Quixote, the galley slaves, and their guards lends itself to interpretation as a Bakhtinian dynamic wherein the plurality of opposed discourses overpowers the monoglossia which authority figures attempt to impose. Using strategies such as the appropriation of another's discourse, hybridization, and polyglossia, the characters subvert, first, the official discourse, and then that of Don Quixote. This process is carried out with the complicity of the narrator, who inverts the traditional social hierarchy by privileging the marginal over the central. In this episode Cervantes demolishes monoglossic discourse without, however, providing a substitute; the heteroglossia of discourses in constant struggle is his only alternative to discursive hierarchy and authoritarianism.

	Sancho y la duquesa: una nota socioliteraria
		ELIAS L. RIVERS		35
			Underlying Cervantes' comic novel we find serious observations about Spanish society, as for example in the dialogues between Sancho Panza, now self-consciously competing with Don Quixote as the protagonist, and the anonymous Duchess, an involved reader who particularly appreciates Sancho. Flattered by her special attention, Sancho rises to the occasion of a private interview which, though completely unrealistic in terms of actual social practice, is made possible by the utopian literary space of the novel, in which readers can make personal contact with members of different classes. But Sancho is in a double bind: he must defer to the authority of the Duchess, even when it goes against his own interests and convictions, as in the case of her assertion that Dulcinea is really enchanted. His response to this assertion is complexly ambiguous, straining the close reader's comprehension.

	The Cervantine Subtext in Góngora's Las firmezas de Isabela
		MARÍA CRISTINA QUINTERO		43
			Este ensayo establece algunos puntos de contacto entre la famosa novela intercalada de Cervantes, El curioso impertinente, y la obra dramática de Luis de Góngora. La comedia gongorina de Las firmezas de Isabela (1610) anuncia claramente sus deudas temáticas y artisticas con la novela de Cervantes. Representa, en efecto, una dramatización, una variación cómica de las situaciones presentadas en El curioso impertinente. Ambas obras examinan los problemas del honor, los celos y especialmente, el problema de la curiositas. Mientras que en Cervantes la crisis entre fe y curiosidad desemboca en un final trágico. Góngora nos proporciona una versión lúdica, polifónica cuya ambigüedad no deja de explorar las connotaciones graves de la curiosidad impertinente y la confianza desmesurada en la experiencia. A la vez, Góngora desarrolla la técnica cervantina de enfatizar “la ficción de la ficción” para hacer a sus lectores conscientes del artificio implícito en toda producción artística.

	Diálogo de voces en el prólogo de la Segunda Parte del Quijote
		DARCI L. STROTHER		59
			Using the ideas of Mikhail Bakhtin in his The Dialogic Imagination as a point of departure, this study explores the Prologue of the second book of Don Quixote, focusing on the diversity of voices present therein. Despite the absence of external dialogue in this prologue, the dialogic relation between the Reader, the Author, and Avellaneda, all developed as independent characters, is examined. Finally, we analyze how the interaction between the voices of these characters forms the nucleus of this Prologue, and suggest other types of discourse which also find their way into these prefatory pages.

	Sobre la amnistía de Roque Guinart: El laberinto de la bandositat catalana y los moriscos en el Quijote
		ENRIQUE MARTÍNEZ-LÓPEZ		69
			Contemporary history ostensibly steps into the space of fiction when the bandit Roque Guinart plays himself in Don Quixote, 1615. Cervantes, however, here as in other instances in which his texts suggest views not in agreement with the official (hi)story, transforms historical data into a fiction that ingeniously conveys indiscreet truth. First, Guinart is presented as a just and reluctant bandit in 1614, although he had been honorably serving the king since 1611. Then his criminal life is linked to Catalan dissent, and his “future” to the fate of the Moriscos (the Ricote family). Finally, both the bandit and the Moriscos' stories are constructed in the romance mode, a typical feature in Cervantes' ideological texts. The 1616 reader of the novel thus was able to perceive dissenting views on the Catalan and Morisco issues, both handled by the government in a disastrous manner.

	Public Indiscretion and Courtly Diversion: The Burlesque Letters in Don Quixote II
		ADRIENNE LASKIER MARTÍN		87
			La carta bufonesca es una modalidad literaria que alcanza su auge en la epoca áurea. Con sus así llamadas “epístolas familiares,” los bufones oficiales y extraoficiales residentes en las cortes renacentistas sentaron las bases de este festivo recodo de la literatura lúdica. En la segunda parte de Don Quijote, Cervantes se apodera de este subgénero epistolar con el carteo mantenido entre Sancho, Teresa Panza, y la duquesa. Aparte de dibujarnos el matrimonio Panza en plena domesticidad, estas cartas proporcionan una serie de “nuevas de corte” aldeanas que sirven, entre otras cosas, para desinflar la pompa de los duques. Mi ensayo examina las cartas del Quijote de 1615 bajo la luz de esta tradición para esclarecer un aspecto del humor cervantino desplegado en la novela, y para explorar también la estrecha vinculación ideológico —literaria entre Cervantes y la bufonesca— la literatura de puro entretenimiento y de risa.

	Adrienne Laskier Martín, Cervantes and the Burlesque Sonnet
		(EMILIE L. BERGMANN)	105

	A. J. Close, Cervantes: Don Quixote
		(KAREN LUCAS)	107

Prepared with the help of Sue Dirrim

11.1 (1991)		12.1 (1992)
Fred Jehle jehle@ipfw.edu	Publications of the CSA	H–Cervantes
URL: http://users.ipfw.edu/jehle/cervante/csa/bcsaf91.htm