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  • Don Quixote and Legacy of a Caricaturist/Artistic Discourse
    Don Quixote and the Legacy of a Caricaturist I Artistic Discourse Rupendra Guha Majumdar University of Delhi In Miguel de Cervantes' last book, The Tria/s Of Persiles and Sigismunda, a Byzantine romance published posthumously a year after his death in 1616 but declared as being dedicated to the Count of Lemos in the second part of Don Quixote, a basic aesthetie principIe conjoining literature and art was underscored: "Fiction, poetry and painting, in their fundamental conceptions, are in such accord, are so close to each other, that to write a tale is to create pietoríal work, and to paint a pieture is likewise to create poetic work." 1 In focusing on a primal harmony within man's complex potential of literary and artistic expression in tandem, Cervantes was projecting a philosophy that relied less on esoteric, classical ideas of excellence and truth, and more on down-to-earth, unpredictable, starkly naturalistic and incongruous elements of life. "But fiction does not", he said, "maintain an even pace, painting does not confine itself to sublime subjects, nor does poetry devote itself to none but epie themes; for the baseness of lífe has its part in fiction, grass and weeds come into pietures, and poetry sometimes concems itself with humble things.,,2 1 Quoted in Hans Rosenkranz, El Greco and Cervantes (London: Peter Davies, 1932), p.179 2 Ibid.pp.179-180 Run'endra Guha It is, perhaps, not difficult to read in these lines Cervantes' intuitive vindication of the essence of Don Quixote and of it's potential to generate a plural discourse of literature and art in the years to come, at multiple levels of authenticity.
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  • Language and Gender in Don Quixote: Teresa Panza As Subject
    Language and Gender in Don Quixote: Teresa Panza as Subject Patricia A. Heid University of California, Berkeley Teresa Panza, the wife of Don Quijote’s famous squire Sancho, is depicted in a drawing in Concha Espina’s book, Mujeres del Quijote, as an older and somewhat heavy woman, dressed in the style of the pueblo, with a sensitive facial expression and an overall domestic air. This is, in fact, the way in which we imagine her through most of Part I, when her identity is limited to that of a main character’s wife, and a somewhat unintelligent one at that. Concha Espina herself says that Cervantes’ book offers her to us as “la digna compaflera del buen Sancho, llena de rustiquez y de ignorancia” (90). Other critics have at least recognized that Teresa, like most of Cervantes ’ female characters, exhibits alertness and resolve (Combet 67). Teresa, however, eludes these simple characterizations. Dressed in all the trappings of an ignorant and obedient wife, she bounds over the linguistic and social borders which her gender imposes. In the open space beyond, Teresa develops discourse as a non-gendered subject. Her voice becomes one which her husband must reckon with in the power struggle which forms the context of their language. By analyzing the strategies for control utilized in this conflict, we see that it is similar to another power struggle with which we are quite familiar: that of Don Quijote and Sancho. The parallels discovered between the two highlight important aspects of the way in which Teresa manages her relationship to power, 1 and reveal that both conflicts are fundamentally the same.
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  • The Universal Quixote: Appropriations of a Literary Icon
    THE UNIVERSAL QUIXOTE: APPROPRIATIONS OF A LITERARY ICON A Dissertation by MARK DAVID MCGRAW Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Eduardo Urbina Committee Members, Paul Christensen Juan Carlos Galdo Janet McCann Stephen Miller Head of Department, Steven Oberhelman August 2013 Major Subject: Hispanic Studies Copyright 2013 Mark David McGraw ABSTRACT First functioning as image based text and then as a widely illustrated book, the impact of the literary figure Don Quixote outgrew his textual limits to gain near- universal recognition as a cultural icon. Compared to the relatively small number of readers who have actually read both extensive volumes of Cervantes´ novel, an overwhelming percentage of people worldwide can identify an image of Don Quixote, especially if he is paired with his squire, Sancho Panza, and know something about the basic premise of the story. The problem that drives this paper is to determine how this Spanish 17th century literary character was able to gain near-univeral iconic recognizability. The methods used to research this phenomenon were to examine the character´s literary beginnings and iconization through translation and adaptation, film, textual and popular iconography, as well commercial, nationalist, revolutionary and institutional appropriations and determine what factors made him so useful for appropriation. The research concludes that the literary figure of Don Quixote has proven to be exceptionally receptive to readers´ appropriative requirements due to his paradoxical nature. The Quixote’s “cuerdo loco” or “wise fool” inherits paradoxy from Erasmus of Rotterdam’s In Praise of Folly.
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  • Under the Influence of Cervantes: Trapiello's Al Morir Don Quijote
    Under the Influence of Cervantes: Trapiello’s Al morir don Quijote Dr. Isidoro Arén Janeiro Independent Scholar Yor the last four hundred years, Cervantes’ masterpiece, Don Quixote (1605- 1615), has influenced literary creation, and it has conditioned the authors who dared to distinguish themselves from one of the monsters of literature. It has been argued that there is a before and an after the first publication of the Primera parte del Ingenioso Hidalgo Don Quijote de la Mancha (1605). In essence, giving it the status of being the first “original”: the first modern novel that set the tone for the process of narrative production in Spain. Afterwards, all writers owed Cervantes, and are obliged into a conscious effort to swerve from the “original,” so as to differentiate their work by taking their narrative one step away; thus, positioning their work next to the “original” as a unique creation on its own. The aim of this article is to study these aspects, and to present an overview of the influence upon Andrés Trapiello’s Al morir Don Quijote (2005) by its predecessor: Cervantes’ Don Quijote (1605-1615). It will also analyse the complexity of the Cervantes’ masterpiece and the relationship established between the Primera parte del Ingenioso Hidalgo Don Quijote de la Mancha (1605), the “original,” and the Segunda Parte del Ingenioso Caballero Don Quijote de la Mancha (1615). Additionally, it will present a study of Trapiello’s Al morir don Quijote, where the betrayal of Alonso Quijano is the central aspect that defines this novel. Finally, it will take into account Harold Bloom’s work The Anxiety of Influence: A Theory of Poetry, and it will analyse the intricate relationship between Trapiello and his text, as it is overshadowed by its predecessor.
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  • Fiction Excerpt 2: from the Adventures of Don Quixote
    Fiction Excerpt 2: From The Adventures of Don Quixote (retold with excerpts from the novel by Miguel de Cervantes) Once upon a time, in a village in La Mancha, there lived a lean, thin-faced old gentleman whose favorite pastime was to read books about knights in armor. He loved to read about their daring exploits, strange adventures, bold rescues of damsels in distress, and intense devotion to their ladies. In fact, he became so caught up in the subject of chivalry that he neglected every other interest and even sold many acres of good farmland so that he might buy all the books he could get on the subject. He would lie awake at night, absorbed in every detail of these fantastic adventures. He would often engage in arguments with the village priest or the barber over who was the greatest knight of all time. Was it Amadis of Gaul or Palmerin of England? Or was it perhaps the Knight of the Sun? As time went on, the old gentleman crammed his head so full of these stories and lost so much sleep from reading through the night that he lost his wits completely. He began to believe that all the fantastic and romantic tales he read about enchantments, challenges, battles, wounds, and wooings were true histories. At last he fell into the strangest fancy that any madman has ever had: he resolved to become himself a knight errant, to travel through the world with horse and armor in search of adventures. First he got out some rust-eaten armor that had belonged to his ancestors, then cleaned and repaired it as best he could.
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  • Fall 2015 CERVANTES' DON QUIXOTE Prof. Julio Baena Syllabus
    Fall 2015 SPAN 3700: SELECTED READINGS. SPANISH LITERATURE IN TRANSLATION. CERVANTES’ DON QUIXOTE Prof. Julio Baena Office: McKenna 24 Office hours: Mondays 10-12; Wednesdays 1-3, and by appointment e-mail address: [email protected] Syllabus Don Quixote de la Mancha is one of the most important books ever written. No literary critic in the world, or cultural critic, or even philosopher fails to mention it, to analyze it to interpret it. It has been influential to thinkers from Lukács to Foucault to Bakhtin to Girard to the Frankfurt School, and to writers from Sterne to Nabokov to Borges to Flaubert. No other book in the world, except for the Bible, has been translated to more languages, or undergone more editions and reprints, or generated so many books and articles about it. It is, of course, a novel, the first modern novel according to most critics, a herald of modernity, but it is also a book that scrutinizes the human psyche, the nature of empire and domination, the reality of the real, or the way in which it is reality that imitates fiction as much as the other way around. The purpose of this course is to read and comment this one book. Or it can be argued that it is two books, because Cervantes published Part I in 1605, and Part II in 1615… or it can be argued that it is three books, because a “fake” Don Quixote was published in 1614, which Cervantes incorporates in a brilliant intertextual exercise, or it can even be argued—following Borges—that we are dealing with an unlimited number of Don Quixotes.
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  • Sancho Panza and the Mimesis of Solomon: Medieval Jewish Traditions in Don Quijote1
    CHAPTER THIRTEEN SANCHO PANZA AND THE MIMESIS OF SOLOMON: MEDIEVAL JEWISH TRADITIONS IN DON QUIJOTE1 Francisco Peña Fernández Th en he ordered the cane to be broken open in the presence of everyone; and when this was done they found ten gold crowns incide. Whereupon everyone expressed astonishment, and hailed the governor as a New Solomon.2 Th e above quote, in which the people of the Island of Barataria liken Don Quijote’s squire Sancho Panza to the fi gure of King Solomon, constitutes the only explicit mention of the legendary Biblical monarch in Cervantes’ entire masterpiece. Th is paper seeks to show that this allusion to the fi gure of Solomon is actually the culmination of a series of intertextual echoes of Hebrew legends in Don Quijote. Although the association between the squire Sancho Panza and King Solomon is evident in diff erent ways throughout the novel, I will focus especially on a series of events linked to the episode of Sancho’s governorship in Barataria. Th e shadow of King Solomon in Don Quijote is not only that of the monarch described in several books of the Bible, but also the mythical Solomon popularized in diverse Hebrew and specifi cally Judeo-Spanish legends that circulated throughout Spain in the Middle Ages. Carmen Vega Carney, bringing to light the “meticulous” study by R. M. Flores, has summarized the main critical approaches to the charac- ter of Don Quijote’s squire. Sancho has been considered—among other things—a madman, a fool, a carnivalesque buff oon, an instrument for 1 Parts of this paper appeared in a previous article: Francisco Peña Fernández.
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