Boyle, Margaret E. Unruly Women: Performance, Penitence, and Punishment in Early Modem Spain. Toronto: U of Toronto P, 2014. 184 pp.Margaret Boyle's Unruly Women: Performance, Penitence, and Punishment in Early Modern Spain approaches the theatrical depiction of "bad" women in the Comedia alongside discourses of the real-life entities that worked to rehabilitate them in seventeenth-century Madrid. The inclusion of historical documentation of custodial institutions as well as fictional depictions of deviant women rehabilitated on stage highlights the crucial role of public performance to both. Indeed, as the author points out, the two institutions were even economically bound to one another, given that the revenue from the public theater would have supported the custodial houses (5). Perhaps more conspicuously, Unruly Women signals the fundamentally contradictory nature of rehabilitation inherent in the policing of women in both realms. At once reliant upon criminality and the public exposure of the unruly woman for survival, the custodial institution professes containment and piety for the purpose of rehabilitation. The term recogimiento, for example, encapsulates a meditative, spiritual introspection along with a forced incarceration. Likewise, the public theater holds up its variants on the deviant woman-the widow, the vixen, and the murderess-as exemplary and in need of transformation. The book, though limited in scope, is a fascinating study of the gendered discourses that competed to construct early modern criminality and reform practices in Spain.Unruly Women is divided into two parts. Part One includes Chapter 1, "Gendering Recogimiento in Early Modern Madrid," which analyzes the extant institutional literature pertaining to the Casa de Santa Maria Magdalena de la Penitencia (a 1777 manual authored by Don Manuel Recio), together with the introduction to a proposal written by Madre Magdalena de San Jeronimo in 1608, a petition to King Felipe III to create a women's prison in Madrid. Part Two focuses on three full-length comedias that feature, and rehabilitate, three forms of the unruly woman. Chapter 2, "Stage Widow in Pedro Calderon de la Barca's La dama duende," argues that Calderon's play carves an imaginative space to feature the widow's own creative (and metatheatrical) response to the physical and economic containment wrought by widowhood. Chapter 3, "Dramatizing Women's Community in Maria de Zayas's La traicion en la amistadreassesses Fenisa's designation as a "bad" woman to correct the critical idealization of the community of women represented in the play. Chapter 4, "Women's Exemplary Violence in Luis Velez de Guevara's La serrana de la vera," analyzes the comedic facets of Gila's persona as influenced by the larger-than-life cultural presence of actress Jusepa Vaca. The author notes that Gila's unconventional response to dishonoring, her mass violence, succeeds until she infringes upon the confines of the honor code itself, at which point the play's act of rehabilitation (her execution) crosses over to punishment. In all three examples, the comedia works to transform the protagonists' deviance, but in the process of the depiction of that transformation, there is revealed "a more fluid negotiation of status in ways that frequently disrupt the clear social categories used to describe their outcomes: married or single, comic or tragic" (98).The monograph concludes with a call for more archival research to uncover the points of view of women actually housed in custodial institutions during the early modern period. …

中文翻译：

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不守规矩的女人：玛格丽特·E·博伊尔（Margaret E. Boyle）在近代早期西班牙的表现、忏悔和惩罚

博伊尔、玛格丽特 E. 不守规矩的女性：早期现代西班牙的表现、忏悔和惩罚。多伦多：多伦多大学，2014 年。184 页。玛格丽特·博伊尔的不守规矩的女人：早期现代西班牙的表演、忏悔和惩罚接近了喜剧中“坏”女性的戏剧化描绘，以及那些致力于在十七世纪的马德里修复他们。包括收容机构的历史文献以及在舞台上改过自新的变态女性的虚构描述，突出了公共表演对两者的关键作用。事实上，正如作者所指出的那样，考虑到公共剧院的收入本来可以支持看守所，这两个机构甚至在经济上相互联系（5）。也许更引人注目的是，不守规矩的女性标志着两个领域中女性警务所固有的康复本质上的矛盾性质。为了生存，拘留机构立即依靠犯罪和公开曝光这个不守规矩的女人来维持生计，以实现康复的目的。例如，术语 recogimiento 包含了一种冥想、精神内省以及强制监禁。同样，公共剧院也将其对变态女人——寡妇、泼妇和凶手——视为模范和需要改造的变体。这本书虽然范围有限，但却是对在西班牙竞争构建早期现代犯罪和改革实践的性别话语的引人入胜的研究。不守规矩的女人分为两部分。第一部分包括第一章，“ s La traicion en la amistadreassesses Fenisa 被指定为“坏”女人，以纠正剧中所代表的女性社区的批判理想化。第 4 章“路易斯·贝莱斯·德·格瓦拉 (Luis Velez de Guevara) 的《拉维拉》(La serrana de la vera) 中女性的典型暴力行为”分析了希拉 (Gila) 角色的喜剧方面，这受女演员尤塞帕·瓦卡 (Jusepa Vaca) 超凡脱俗的文化影响。作者指出，Gila 对耻辱的非传统反应，她的大规模暴力，直到她侵犯了荣誉准则本身的范围才成功，此时该剧的康复行为（她的处决）过渡到惩罚。在所有三个例子中，喜剧都致力于改变主角的越轨行为，但在描绘这种转变的过程中，却暴露了“