Perfect Wives, Other Women: Adultery and Inquisition in Early Modern Spain
Bibliographic record
Abstract
account of the late-sixteenth-and seventeenth-century circulation and publication history of Aretino's works in England.Of primary importance is Moulton's substantiated claim that, following Aretino's death, his political significance and social critique were elided and replaced by a concern for his erotic lewdness.Moulton's analysis of Aretino's legacy in early modern England is based on the view that the author's "image" involved a "compelling mix of fascination, admiration, and horror" (p.157).As "Aretine" emerged as an adjective for illicit desire and a range of corrupt sexual practices, many English people roundly condemned the devilish Italian writer.Some others, though, such as Thomas Nashe, defended and celebrated him.Chapter 4 explores in detail Nashe's socially dissident appropriation of the Aretine mantle.The poet's "Choice of Valentines," Moulton argues, draws on Aretino's treatment of female sexual power (warm dildo at the ready) to caution against a loss of masculine authority.The final six pages in this chapter drill down into the poem's manuscript heritage, an obvious source of antiquarian pleasure for the author.Instead of a formal conclusion, Before Pornography closes with a chapter about Aretine eroticism and Ben Jonson's works for the public stage.Returning to the subject of poetry, effeminacy, and national identity, Moulton charts Jonson's transformation from one who scripted appealing, erotically disordered characters to a playwright who sought to dissociate his own writings from effeminate bawdry.The gender confusions and erotic ribaldry that are rife in Volpone give way to the stern anti-feminism of Epicoene, a rewriting of Aretino's play Il marescalo that scrubs away the earlier text's vision of sexual libertinism's effeminizations.It is with his discussion of Epicoene that Moulton makes a firm link to the subject of pornography, arguing that it is this erasure of concerns about effeminacy that points to the future development of pornographic representation -a tantalizing end for such a pleasing book.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.006 | 0.014 |
| Scholarly communication | 0.005 | 0.002 |
| Open science | 0.001 | 0.004 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".