101
For an overview of recent interpretations of the death scene, see Friedman 105-11.
102
Casalduero also notes the spectacle of Alonso Quijano's death, and considers it typical of death in the Baroque period as opposed to in medieval times. «El hecho ordinario y general -la muerte- se está transformando en un hecho extraordinario y particular -la muerte individual-, gran espectáculo que todos los vivos contemplan» (399).
103
Various authors have suggested that Don Quijote's trials and suffering in Book II represent a passage of sorts through purgation and/or purgatory in this world (see Parker, Descouzis, and Sullivan).
104
In this abbreviation key, each novela is cited by the two initials most prominent in its title. Only «El celoso extremeño» is a little forced, cited as ZE, rather than CE, to avoid confusion with «El casamiento engañoso». But this is, I believe, a pardonable liberty, since Cervantes spelled zeloso with an initial z.
105
Particularly useful in reconstructing this history have been the monumental study of Agustín G. Amezúa y Mayo and the bibliography of Dana B. Drake.
106
More recently, Ludovico Osterc echoes this position: «Tampoco faltan los comentadores de las novelas cervantinas que se han sentido movidos por un infantil anhelo de clasificarlas, pues si es difícil catalogar las piedras, plantas y animales del mundo material, tanto más difícil, por no decir imposible, resulta encasillar el mundo de la fantasía por su infinita variedad y falta de límites exactos entre una y otra» (23).
107
El Saffar attempts to reverse the long and entrenched tendency to see Cervantes's aesthetic and intellectual development from a youthful orientation toward romance toward a more mature novelistic orientation and makes a strongcase for a «novel to romance» pattern. Though I think her thesis on chronologyis not convincing and tends to frame her readings of specific novelas in some unfortunate and misleading ways, her general perception of the idealistic-realistic/romance-novel generic distinction is basically very perceptive.
108
The opening words of Thomas R. Hart's recent book (1) on the Novelas are: «Scholars usually divide Cervantes' Novelas ejemplares into two contrasting groups, just as they divide his writings as a whole into 'realistic' works like Don Quixote and 'idealistic' ones like La Galatea and Los trabajos de Persiles y Sigismunda».
109
Summaries of the work of Rosch and assessments of its importance can be found in Gillespie (165-75) and Lakoff (39-57). See also the useful summary of prototype theory by Geeraerts and the extensive consideration by Taylor (38-80).
110
Aristotelian logic was also characteristic of set theory where the «law of the excluded middle» reigned supreme until Lotfi Zadeh proposed the concept of fuzzy sets. In brief, Zadeh's revolutionary theory was that a thing needn't be either wholly in or wholly outside of a set, but could be partly in and partly out of it. In other words, the bounds of a set were not absolutely clear and objective, but blurred or fuzzy. Perhaps the best and most accessible book on the subjectis that of Bart Kosko.