This point is developed fully in Tim Hampton, Writing from History (Ithaca NY: Cornell University Press, 1990) chapter 6. (N. from the A.)

Ernst Cassirer proposed the idea of symbolic form that was developed by Erwin Panofsky in Perspective as Symbolic Form. In a parenthetical comment at the end of the third part of his essay, Panofsky compares Renaissance perspective to «Kritizismus», which ordinarily refers to Kantian philosophy but may refer in this context to the nascent historical criticism of the Renaissance. His observation merits further discussion. (N. from the A.)

Miguel de Unamuno, Our Lord Don Quixote: The Life of Don Quixote and Sancho with Related Essays, trans. by Anthony Kerrigan (Princeton: Princeton University Press, 1967), 57-58. (N. from the A.)

There is a vast literature on Cervantes' Don Quijote, but no specific study on the role of the novel in underscoring the significance of technology for society and culture. See the bibliographies by Dana B. Drake, Don Quijote (1894-1970): A Selective Annotated Bibliography, vol. 1 (Chapel Hill: University of North Carolina Department of Romance Languages, 1974), vol. 2 (Miami: Ediciones Universal, 1978), vol. 3 (New York and London: Garland Publishing, 1980), and vol. 4 (Lincoln, NE: Society of Spanish and Spanish-American Studies, 1984). (N. from the A.)

J. H. Eliot, Imperial Spain, 1469-1716 (New York: St. Martin's Press, 1964). (N. from the A.)

The relationship between Cervantes' protagonist and modernity has been examined by Leo Lowenthal in Literature and the Image of Man: Sociological Studies of the European Drama and Novel, 1600-1900 (Boston: The Beacon Press, 1957), 20-56. José Ortega y Gasset in his Meditaciones del Quijote (Madrid: Ediciones de la Universidad de Puerto Rico, 1957) views Don Quijote as «un Cristo gótico, macerado en angustias modernas» (p. 54). Other authors have emphasized the character's conscious adoption of a new identity either in the form of defiance of reality or as a personal, independent choice. See, in particular, José Echeverría, El Quijote como figura de la vida humana (Santiago: Ediciones de la Universidad de Chile, 1965), and Juan Bautista Avalle-Arce, Don Quijote como forma de vida (Valencia: Fundación Juan March y Editorial Castalia, 1976). (N. from the A.)

José Antonio Maravall, Utopía y contrautopía en el Quijote (Santiago de Compostela: Editorial Pico Sacro, 1976). (N. from the A.)

For the purposes of reference, I will use the widely available translation by Samuel Putnam, The Ingenious Gentleman Don Quixote de la Mancha, 2 vols. (New York: The Viking Press, 1949). To refer to episodes in chapters without direct quotation I will use the following format: Roman numerals indicate parts (I and II), and Arabic numerals indicate chapters (52 in the first part, 74 in the second). (N. from the A.)

Fernand Braudel indicates that while windmills were not new to Europe, they certainly were in Don Quijote's La Mancha. Hence, his reaction was «quite natural». In this, he follows Lynn White, Medieval Technology and Social Change (Oxford: Oxford University Press, 1962), p. 88. See his The Structures of Everyday Life: The Limits of the Possible, vol. 1 of Civilization and Capitalism in 15th-18th Century, 3 vols. (New York: Harper & Row, 1979), p. 359. See also Lewis Mumford, Technics and Civilization (New York and Burlingame: Harcourt, Brace & World, 1963), pp. 115-117. On the relationship between giants and windmills, see Augustin Redondo, «Nuevo examen del episodio de los molinos de viento (Don Quijote, I, 8)» in James A. Parr, ed., On Cervantes: Essays for L. A. Murillo (Newark, DE: Juan de la Cuesta Hispanic Monographs, 1991), 189-205. (N. from the A.)

The episode of the fulling hammers, especially the element of surprise in Don Quijote's response, has been analyzed by Robert Brady in his «Don Quijote's Emotive Adventures: Fulling Hammers and Lions», Neophilologus 59 (1975), 372-381. (N. from the A.)