The Ingenious Knight
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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. -
Iconografía Militar Del Quijote: Emblemas De Aviación1
Revista de la CECEL, 15 2015, pp. 189-206 ISSN: 1578-570-X ICONOGRAFÍA MILITAR DEL QUIJOTE: EMBLEMAS DE AVIACIÓN1 JOSÉ MANUEL PAÑEDA RUIZ UNED RESUMEN ABSTRACT La popular obra de Cervantes ha sido ob- The popular text of Cervantes has received a jeto de una pluralidad de fi guraciones que plurality of confi gurations that have illustrat- han ilustrado la obra; mientras que por otro ed the work; while on the other hand an ex- lado surge en torno a dicho texto una extensa tensive popular iconography arises over the iconografía popular. Sin embargo, las repre- text. However, the representations in the mili- sentaciones en el ámbito militar son escasas, tary fi eld are scarce, being mainly focused in estando centradas principalmente en la esfera the fi eld of aviation. In this study a tour of the de la aviación. En este estudio se realiza un latter has been made, in order to analyze their recorrido por estas últimas, con el fi n de ana- origin, meaning and its relationship with the lizar su procedencia, signifi cado y su relación Quixote. con el Quijote.. PALABRAS CLAVE KEY WORDS Quijote, aviación, iconografía popular, pilo- Quixote, aviation, popular iconography, tos de caza. fi ghter pilots. 1. INTRODUCCIÓN La celebración del III centenario de la publicación de la segunda parte del Quijote2 en 1915 coincidió con otros dos acontecimientos que aunque inicial- mente no guarden relación aparente con la obra cervantina, posteriormente se verá que están intimamente ligados con la línea de trabajo del presente texto. El primero de ellos fue la Guerra Europea o Gran Guerra, o en palabras de Woodrow Wilson, presidente de Estados Unidos: 1 Fecha de recepción: 3 de diciembre de 2015. -
Review of R. M. Flores, Sancho Panza Through Three Hundred Seventy
Bulletin of Hispanic Studies, 61 (1984), 507–08. [email protected] http://bigfoot.com/~daniel.eisenberg R. M. Flores, Sancho Panza through Three Hundred Seventy-five Years of Continuations, Imitations, and Criticism, 1605–1980. Newark, Delaware: Juan de la Cuesta, 1982. x + 233 pp. This is a study of the fortunes of Sancho Panza subsequent to Cervantes, followed by a chapter analyzing ‘Cervantes’ Sancho’. It is a bitter history of what the author views as misinterpretation, a study of ‘disarray, irrelevance, and repetition’, which constitute the overall picture of the topic (149). Included are three bibliogra- phies, one of which is a chronological listing without references, 54 pages of appendices with categorized information about Sancho found in Don Quixote, a tabulation of the length of Sancho’s speeches, and an index of proper names. Flores’ focus in his historical survey is to see if and by whom Sancho has been presented accurately. This is a fair question when dealing with scholarship, but he evaluates creative literature from the same perspective. Thus, a novel of José Larraz López ‘fails to throw any useful light on Sancho’s character’ (105), and we are told that ‘it is impossible to accept [a novel of Jean Camp] as a genuine continuation of Cervantes’ novel’ (105). Flores praises Tolkien because ‘in most…respects the characters of Tolkien and Cervantes are alike’ (108). The question of why a novelist, dramatist, or poet should be expected to be faithful to Cervantes is never addressed, nor is the validity of authorial interpretation and intent explored. Even aside from this, the treatment of creative literature is incomplete, and relies heavily on secondary sources: thus, the discussion of seventeenth-century Spanish images of Sancho is based exclusively on the summary notes in Miguel He- rrero García’s Estimaciones literarias del siglo XVIII. -
Is There a Hidden Jewish Meaning in Don Quixote?
From: Cervantes: Bulletin of the Cervantes Society of America , 24.1 (2004): 173-88. Copyright © 2004, The Cervantes Society of America. Is There a Hidden Jewish Meaning in Don Quixote? MICHAEL MCGAHA t will probably never be possible to prove that Cervantes was a cristiano nuevo, but the circumstantial evidence seems compelling. The Instrucción written by Fernán Díaz de Toledo in the mid-fifteenth century lists the Cervantes family as among the many noble clans in Spain that were of converso origin (Roth 95). The involvement of Miguel’s an- cestors in the cloth business, and his own father Rodrigo’s profes- sion of barber-surgeon—both businesses that in Spain were al- most exclusively in the hand of Jews and conversos—are highly suggestive; his grandfather’s itinerant career as licenciado is so as well (Eisenberg and Sliwa). As Américo Castro often pointed out, if Cervantes were not a cristiano nuevo, it is hard to explain the marginalization he suffered throughout his life (34). He was not rewarded for his courageous service to the Spanish crown as a soldier or for his exemplary behavior during his captivity in Al- giers. Two applications for jobs in the New World—in 1582 and in 1590—were denied. Even his patron the Count of Lemos turn- 173 174 MICHAEL MCGAHA Cervantes ed down his request for a secretarial appointment in the Viceroy- alty of Naples.1 For me, however, the most convincing evidence of Cervantes’ converso background is the attitudes he displays in his work. I find it unbelievable that anyone other than a cristiano nuevo could have written the “Entremés del retablo de las maravi- llas,” for example. -
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. -
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. -
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. -
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. -
Masterpiece: Don Quixote, 1955 by Pablo Picasso
Masterpiece: Don Quixote, 1955 By Pablo Picasso Keywords: line, shape, pen & ink Grade: 5th Month: May Activity: The Mighty Pen (and Ink) Meet the Artist: Picasso was born in Spain in 1881. His father was an artist who taught at a local university and he encouraged Pablo at an early age to pursue his artistic talents. At the age of 11, Pablo and was sent to art. Picasso’s artworks changed significantly through his career and he created hundreds of paintings and sculptures. He married and had 4 children. When they were younger, he was a fantastically fun dad. He would draw on tablecloths, did magic tricks and would prepare birthday dinner celebrations made up entirely of chocolate. He became most well known for his Cubist paintings. Cubism emphasized line, shape and color. It was a modern art style that is not realistic in nature, but based geometric shapes. It started out with neutral colors, but eventually became a very colorful style. Picasso was very outspoken, opinionated and eccentric. He never threw anything out, hated the telephone, and refused to dust his studio. He loved keeping an odd assortment of pets, including goats, reptiles, a monkey and always some Afghan Hounds. He loved any publicity and made sure he was always reading something about himself. He was a prolific painter, and even in his 90th year, he painted 200 paintings. He was still working on the day he died, at 92, of heart failure. Don Quixote is a 1955 sketch by Pablo Picasso of the Spanish literary hero and his sidekick, Sancho Panza. -
Unamuno's “Quixotism”
The Pennsylvania State University The Graduate School College of the Liberal Arts FLESH AND BONE: UNAMUNO’S “QUIXOTISM” AS AN INCARNATION OF KIERKEGAARD’S “RELIGIOUSNESS A” A Dissertation in Philosophy By Mary Ann Alessandri © 2010 Mary Ann Alessandri Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 ii The dissertation of Mary Ann Alessandri was reviewed and approved* by the following: Shannon Sullivan Professor of Philosophy, Women’s Studies and African and African American Studies Head of the Department of Philosophy Dissertation Adviser Co-Chair of Committee Daniel Conway, Professor and Department Head Philosophy Department, Texas A&M University Co-Chair of Committee Special Member Brady Bowman Assistant Professor of Philosophy John P. Christman Associate Professor of Philosophy and Political Science Nicolás Fernández-Medina Assistant Professor of Spanish Literature, Department of Spanish, Italian and Portuguese *Signatures are on file in the Graduate School. iii ABSTRACT My dissertation explores the philosophical kinship between the existentialist thinkers Søren Kierkegaard (1813-1855) and Miguel de Unamuno (1864-1936) in an attempt to resurrect an ethically religious way of life. In Kierkegaard’s writings one can find a description of a passionately committed way of life that is distinguishable from both his conception of ethics and his version of Christianity. He calls this form of ethical religion or religious ethics “Religiousness A,” but he fails to give a vivid illustration of it that definitively distinguishes it from ethics and Christianity. As a result, the scholarship on Religiousness A is impoverished, and what would otherwise amount to a promising new way of being religious in a secular world has been largely regarded as unimportant or simply a watered-down version of Christianity. -
Texto Completo (Pdf)
Los nombres de los personajes de la novela de Miguel de Cervantes, Don Quijote de la Mancha DOMINIQUE REYRE* l propio Miguel de Cervantes nos brindó el tema del presente curso in- E vitándonos a investigar el significado de los nombres de personajes de su genial novela Don Quijote de la Mancha, al decir en la última frase de su pri- mer capítulo, a propósito de la dama del héroe: Don Quijote vino a llamarla Dulcinea del Toboso, porque era natu- ral del Toboso; nombre a su parecer, músico y peregrino, y significativo, como a todos los demás que a él y a sus cosas había puesto1. Esta frase nos autoriza a preguntarnos lo que Cervantes entendía por “sig- nificativo” y, una vez aclarado este concepto clave, nos convida a emprender el desciframiento de los nombres de sus personajes. Dicho concepto tan só- lo puede aprehenderse resituándolo en el marco general de la teoría del len- guaje que seguía vigente entre los hombres de principios del Seiscientos. De esta teoría nos da una idea Sebastián de Covarrubias, quien en el prólogo de su Tesoro de la lengua castellana (1611) afirmó que: El lenguaje no [era] adquirido ni inventado por ellos, sino infundido del Señor, y con tanta propiedad que los nombres que Adán puso a los animales terrestres y a las aves fueron los propios que les competían; por- * LEMSO, Universidad de Toulouse-Le Mirail. 1 Citamos por la edición de Diego Clemencín, El ingenioso hidalgo don Quijote de la Mancha, Edi- ción IV Centenario, Madrid, Ediciones Castilla, 1967. Daré las indicaciones de la parte, del capítulo y de la página de dicha edición. -
The Search for Dog in Cervantes
humanities Article Article The Search for Dog in Cervantes ID Ivan Schneider Seattle, WA 98104,98104, USA; [email protected] Received: 20 20 March March 2017 2017;; Accepted: 11 11 July July 2017 2017;; Published: 14 14 July July 2017 2017 Abstract: This paper reconsiders the missing galgo from the first line in Don Quixote with a set of Abstract: This paper reconsiders the missing galgo from the first line in Don Quixote with a set of interlocking claims: first, that Cervantes initially established the groundwork for including a talking interlocking claims: first, that Cervantes initially established the groundwork for including a talking dog in Don Quixote; second, through improvisation Cervantes created a better Don Quixote by dog in Don Quixote; second, through improvisation Cervantes created a better Don Quixote by transplanting the idea for a talking dog to the Coloquio; and third, that Cervantes made oblique transplanting the idea for a talking dog to the Coloquio; and third, that Cervantes made oblique references to the concept of dogs having human intelligence within the novel. references to the concept of dogs having human intelligence within the novel. Keywords: Cervantes; talking dogs; narratology; animal studies Keywords: Cervantes; talking dogs; narratology; animal studies 1. Introduction 1. Introduction “[Cervantes] saw his scenes and the actors in them as pictures in his mind before he put “[Cervantes]them on paper, saw much his scenes as El Greco and the [see actors Figure in1] madethem as little pictures clay models in his ofmind his figuresbefore beforehe put thempainting on paper, them.” much (Bell as1947 El ,Greco p.