In the first in-depth study of the interconnected relationships among public theatre, custodial institutions, and women in early modern Spain, Margaret E. Boyle explores the contradictory practices of rehabilitation enacted by women both on and off stage. Pairing historical narratives and archival records with canonical and non-canonical theatrical representations of women's deviance and rehabilitation, Unruly Women argues that women's performances of penitence and punishment should be considered a significant factor in early modern Spanish life. Boyle considers both real-life sites of rehabilitation for women in seventeenth-century Madrid, including a jail and a magdalen house, and women onstage, where she identifies three distinct representations of female deviance: the widow, the vixen, and the murderess. Unruly Women explores these archetypal figures in order to demonstrate the ways a variety of playwrights comment on women's non-normative relationships to the topics of marriage, sex, and violence.
Introduction Part One Chapter 1: Gendering Recogimiento in Early Modern Madrid I. Reforming Prostitutes: Madrid's Magdalen House II. Reforming the Magdalen House: Madre Magdalena de San Jeronimo's galera III. Recogimiento as a Women's Practice Part Two Chapter 2: Stage Widow in Pedro Calderon de la Barca's La dama duende Chapter 3: Dramatizing Women's Community in Maria de Zayas's La traicion en la amistad Chapter 4: Women's Exemplary Violence in Luis Velez de Guevara's La serrana de la Vera Conclusion Epilogue Appendix 1A Reason and Form of the Galera and Royal House (1608) Appendix 1B Razon y forma de la galera y casa real (1608) Appendix 2A Historical Compendium and Instructive Manifesto on the Origin and Foundation of the Royal House of St. Mary Magdalene of the Penitence, commonly known as the Recogidas of Madrid Appendix 2B Compendio historico, y manifiesto instructivo del origen, y fundacion de la Real Casa de Santa Maria Magdalena de la Penitencia, vulgo las Recogidas de Madrid Works Cited