DOCSLIB.ORG

NYU Madrid SPAN-UA 9371.M01 CERVANTES: DON QUIJOTE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NYU Madrid SPAN-UA 9371.M01 CERVANTES: DON QUIJOTE NYU Madrid SPAN-UA 9371.M01 CERVANTES: DON QUIJOTE Instructor Information ● Name: Francisco Layna Ranz ● Office hours: martes /jueves 9:00’-9:30’ ● Email address: [email protected] Course Description El Quijote es uno de los libros más famosos y leídos en todo el mundo; sin embargo su capacidad para generar literatura crítica parece no tener límites. En la obra de Cervantes, quizás más que en ninguna otra, cada lector realiza su labor de intérprete bajo la fascinación que ejerce su múltiple y nunca agotada posibilidad de estudio. En este curso se analizarán las causas de esta fertilidad y se verá cómo, por primera vez en un libro, tanto la lectura como la escritura son sometidas a una revisión que inevitablemente transformará la idea de la literatura y de su ficción representada. Durante el curso se abordarán cuestiones que pertenecen al canon crítico, cuestiones que serán discutidas a la luz de estudios recientes: la consideración de que el Quijote es la primera novela moderna; el aspecto vital de que transgrede con mucho la preceptiva heredada; su inscripción en una categoría de literatura lúdica y burlesca (el carnaval, la parodia de los paradigmas clásicos, la crítica irónica de la estructura ideológica, la burla de sus contemporáneos...); su capacidad para hacer suyos casi todos los modelos literarios de la época; la formación de la identidad; el relativismo gnoseológico y moral; la formulación de los límites del texto y de la conciencia; el problema de la buena intención resuelta en efectos negativos etc... Y lo más extraño de todo es que el Quijote no tuvo continuadores hasta muchísimos años después. ● Co-requisite or prerequisite: Prerequisite of SPAN-UA 200 or to be taken concurrently with SPAN-UA 9200. ● Class meeting days and times: Martes / Jueves 11:00’ a.m. –12: 20’ p.m. Desired Outcomes Upon Completion of this Course, students will be able to: Page 1 Problematizar el texto para que el estudiante compruebe que en el Quijote hay temas que no pertenecen ni a una época determinada ni a un tiempo específico. Sin renunciar a su contextualización, se pretende en este curso acercar el Quijote al estudiante y a los temas que afectan a nuestra mundo actual. Se verán los motivos que explican por qué el Quijote es un texto universal. Assessments Components Habrá un examen intermedio para calibrar la lectura del Quijote en su Parte I. Y al final del curso, deberá entregarse un trabajo final escrito sobre algún pasaje, capítulo, tema, personaje, etc… Es un trabajo de investigación, acordado previamente con el profesor, que debe abarcar por parte del estudiante la dedicación y energía de una examen final y de un “paper” final. El número de páginas nunca podrá ser menor de 10. También habrá un pequeño ensayo sobre las diferencias entre el Quijote de 1605 y el de 1615. El trabajo final será entregado varios días antes de terminar la clase. El profesor lo entregará corregido y los estudiantes lo devolverán el día en que se fije oficialmente la fecha del examen final. Esto quiere decir que bajo ningún concepto ningún estudiante puede marcharse antes de la fecha oficial del examen final. Todo material (texto e ideas) que viene de fuentes secundarias (bibliografía) que se utilice en un texto o proyecto preparado por el estudiante debe estar documentado según las normas del MLA. La falta de referencia al material citado o parafraseado se considerará plagio. La asistencia: es obligatoria. En casos de emergencia (ausencias autorizadas), el estudiante es responsable de mantener el ritmo aconsejado de lectura. Ver más abajo Attendance Policy. Grading of Assignments The grade for this course will be determined according to the following formula: Assignments/Activities % of Final Grade Participación en clase: 10% Midterm: 30% Otros escritos: 15% Propuesta de trabajo final de investigación: 10% Trabajo final de investigación: 35% Failure to submit or fulfill any required course component will result in failure of the class, regardless of grades achieved in other assignments. Page 2 Letter Grades Letter grades for the entire course will be assigned as follows: Letter Grade Points Percent A 4.00 Example: 92.5% and higher A- 3.67 Example: 90.0 – 92.49% B+ 3.33 Example: 87.5% - 89.99% B 3.00 Example: 82.5% - 87.49% B- 2.67 Example: 80% - 82.49% C+ 2.33 Example: 77.5% - 79.99% C 2.00 Example: 72.5% - 77.49% C- 1.67 Example: 70% - 72.49% D+ 1.33 Example: 67.5% - 69.99% D 1.00 Example: 62.5% - 67.49 D- .67 Example: 60% - 62.49% F .00 Example: 59.99% and lower Course Schedule Topics and Assignments CAPÍTULOS QUE NO TIENEN QUE LEER DE LA PRIMERA PARTE (QUIJOTE 1605): 6, 10, 11, 15, 17, 19, 23, 26, 27, 36, 38, 41, 43, 44, 45, 46, 51 y 52 CAPÍTULOS QUE NO TIENEN QUE LEER DE LA SEGUNDA PARTE (QUIJOTE 1615): 6, 13, 14, 15, 24, 27, 31, 34, 36, 37, 38, 39, 42, 43, 47, 51, 56, 60, 61, 62, 66, 70 AUNQUE NO SE LEAN, EL PROFESOR SÍ EXPLICARÁ DETALLES DE ESTOS CAPÍTULOS NO LEÍDOS POR LOS ESTUDIANTES TODOS LOS DEMÁS CAPÍTULOS SON DE OBLIGADA LECTURA Page 3 Week/Date Topic Reading BIBLIOGRAFÍA CRÍTICA Introducción general del Session 1, August RECOMENDADA: Georgina curso. 30th Dopico Black. “España abierta: Cervantes y el Quijote”. Prólogo (Ficción y no ficción. Transgresión del prólogo) CAP. 1 NACIMIENTO Y CARÁCTER DEL HEROE (La vida y la literatura. La locura. Ideal caballeresco) CAP. 2 PRIMERA SALIDA. LA VENTA (Realidad múltiple. Fama. Session 2, September Don Quijote y las mozas Prólogo 4th del partido. Lo literario en la Capítulos 1, 2 y 3 (pp. 7-41) vida novelada) CAP. 3 DON QUIJOTE ARMADO CABALLERO (Contraste entre la realidad picaresca y el ideal caballeresco. Realidad social: uso del “don”. Embellecimiento de la realidad de la venta. Locura: del sosiego a la cólera y a la violencia) CAP. 4 EL LABRADOR Y ANDRÉS. LOS Capítulos 4, 5, 7, 8 y 9 (pp. 41- MERCADERES 52; 62-81). TOLEDANOS BIBLIOGRAFÍA CRÍTICA (La justicia: don Quijote RECOMENDADA: Augustin Session 3, September ante los poderosos y los Redondo. “El episodio de 6th oprimidos. Elementos Andrés”. sociales y morales en la aventura de Andrés. Los James A. Parr. “Aspectos formales errores de don Quijote. del Quijote”. Buena intención y efecto perverso. Fe y escepticismo. Don Quijote y Page 4 Week/Date Topic Reading los mercaderes ante Dulcinea) CAP. 5 DON QUIJOTE ES LLEVADO A SU ALDEA (¿Múltiple personalidad de don Quijote? Función terapéutica de la literatura) CAP. 7 SEGUNDA SALIDA. CON SANCHO PANZA (El encantador y su función. Presentación de Sancho. El dinero) CAP. 8 LOS MOLINOS DE VIENTO. LOS FRAILES (Aire y locura. Interrupción del texto) CAP. 9 BATALLA CON EL VIZCAÍNO (Genealogía del texto. Margen de la escritura. Verdad y ficción) CAP. 12 HISTORIA DE MARCELA Y GRISÓSTOMO (El amor y la muerte. Libertad. Historia intercalada. Interrupción del hilo narrativo) Capítulos 12, 13 y 14 (pp. 93- 116). CAP. 13 ENTIERRO DE Session 4, September GRISÓSTOMO. LA 11th BIBLIOGRAFÍA CRÍTICA CABALLERÍA ANDANTE RECOMENDADA: Ruth El Saffar. “In ( La caballería andante y Marcela’s Case”. las órdenes religiosas) CAP. 14 CANCIÓN DESESPERADA. JUSTIFICACIÓN DE MARCELA ( Libertad de amar. Naturaleza y huida de la Page 5 Week/Date Topic Reading sociedad. Negación de la don Quijote) CAP. 16 NOCHE AGITADA EN LA VENTA. MARITORNES ( Contraposición de actitudes: Marcela y Maritornes. Carnaval. La venta como lugar de encuentro. Capítulos 16, 18 y 20 (pp. 124- 131; 139-149; 156-168) CAP. 18 LOS REBAÑOS DE OVEJAS BIBLIOGRAFÍA CRÍTICA Session 5, September ( Nominalización y RECOMENDADA: Sherry Velasco. 13th existencia. Diferencias “Marimachos, hombrunas, barbudas: entre “creen en” y “creer The Masculine Woman in que”) Cervantes.” Ver NYU Classes. CAP. 20 AVENTURA DE LOS BATANES (Reafirmación del miedo. Engaños de Sancho. Conclusión del carácter de Sancho) CAP. 21 EL YELMO DE MAMBRINO. HISTORIA IDEAL DEL CABALLERO ANDANTE (Perspectivismo. Purgación del miedo. Funcionalidad Capítulos 21, 22, 24 y 25 (pp. de los objetos) 169-190; 200-221). Session 6, September CAP. 22 LIBERACIÓN DE BIBLIOGRAFÍA CRÍTICA 18th LOS GALEOTES RECOMENDADA: María Stoopen (Sujeto y autobiografía) Galán. “Sierra Morena: quiebres narrativos, multiplicación de CAP. 24 HISTORIA DE narradores y preeminencia de CARDENIO perspectivas”. Ver NYU Classes. (Mala interpretación. Historia truncada) CAP. 25 PENITENCIA DE Page 6 Week/Date Topic Reading DON QUIJOTE. CARTA A DULCINEA (La locura sin razón. Teatralidad y naturaleza. Amor platónico) CAP. 28 HISTORIA DE DOROTEA ( Erotismo. Ambigüedad sexual. Rebelión de la mujer) CAP. 29 LA PRINCESA MICOMICONA Y EL RESCATE DE DON QUIJOTE (Ingenio y trazas del cura. Capítulos 28, 29, 30 y 31 (pp. Cada uno “hace” de sí 245-282). mismo) Session 7, September 20th BIBLIOGRAFÍA CRÍTICA CAP. 30 LA INGENIOSA RECOMENDADA: Ciriaco Morón HISTORIA DE Arroyo. “Dulcinea”. MICOMICONA (Significado de Dulcinea para don Quijote. Paralelismos de los personajes) CAP. 31 INFORME DE SANCHO SOBRE DULCINEA (La mentira necesaria. Entrevista de Sancho con Dulcinea) CAP. 32 EN LA VENTA ACERCA DE LOS LIBROS Capítulos 32, 33, 34 y 35 (pp. DE CABALLERÍA 283-328). (Ficción e Historia. Poesía y verdad. Recepción Session 8, September BIBLIOGRAFÍA CRÍTICA popular de la literatura) 25th RECOMENDADA: Ashley Hope Pérez. “Into the Dark Triangle of Desire: Rivalry, Resistance, and CAP. 33 COMIENZA LA Repression in ‘El curioso NOVELA DEL “CURIOSO impertinente’.” Ver NYU Classes. IMPERTINENTE” (Amistad y ética. Page 7 Week/Date Topic Reading Experiencia, fe y verdad) CAP. 34 PROSIGUE LA NOVELA DEL “CURIOSO IMPERTINENTE” CAP. 35 LOS CUEROS DE VINO. FIN DEL “CURIOSO IMPERTINENTE” (Interrupción. Curiosidad y pecado) CAP. 37 LLEGADA DEL CAUTIVO Y ZORAIDA. DISCURSO DE LAS ARMAS Y LAS LETRAS (Discurso como introducción a la historia intercalada) Capítulos 37, 39, 40 y 41 (pp.
Load more

Recommended publications
  • Span-300: Cervantes' Don Quixote
    SPAN-300: CERVANTES' DON QUIXOTE Lecture 21 - Don Quixote, Part II: Chapters LIV-LXX [November 17, 2009] Chapter 1. Improvisation, International Dimension and Influence of Art on Reality [00:00:00] Professor Roberto González Echevarría: There are three issues that I want to bring up as I begin today's lecture that will determine my general themes today: improvisation, the international dimension that the fiction of the novel acquires, and the influence of art or of literature on reality; those are the general topics. As we move to the conclusion of the Quixote, the issue of how to bring the novel to a close must have loomed large in Cervantes' mind. The plot of the novel is repetitive, more than sequential, with a vague quest of the protagonist to revive the age of chivalry, concretely, to participate in the jousts in Saragossa as goals, but there is no obvious or impending goal to the characters' wonderings. Although, one could argue, with Williamson, the critic I mentioned in the last lecture, that the disenchantment of Dulcinea is the main purpose of Don Quixote and Sancho set by Merlin's prophecy and involving the three thousand lashes that Sancho must apply to his bottom, and the interplay between the two about accomplishing that goal of disenchanting Dulcinea. Yet, even, this is no clear mission whose accomplishment would bring the novel to an end. What if Dulcinea is disenchanted? How could she be disenchanted? What would that mean? Would she and Don Quixote, then, marry? This is not mentioned by the protagonist, nor is marriage normally a desired end to courtly love.
    [Show full text]
  • Guías Diarias Para El Quijote Parte I, Cap
    Guías diarias para el Quijote Parte I, cap. 3 RESUMEN: Don Quixote begs the innkeeper, whom he mistakes for the warden of the castle, to make him a knight the next day. Don Quixote says Parte I, cap. 1 that he will watch over his armor until the morning in the chapel, which, RESUMEN: Don Quixote is a fan of “books of chivalry” and spends most he learns, is being restored. A muleteer comes to water his mules and of his time and money on these books. These tales of knight-errantry drive tosses aside the armor and is attacked by Don Quixote. A second muleteer him crazy trying to fathom them and he resolves to resuscitate this does the same thing with the same result. Made nervous by all this, the forgotten ancient order in his modern day in order to help the needy. He innkeeper makes Don Quixote a knight before the morning arrives. cleans his ancestor’s armor, names himself Don Quixote, names his horse, and finds a lady to be in love with. PREGUNTAS: 1. ¿Qué le pide don Quijote al ventero? PREGUNTAS: 2. ¿Por qué quiere hacer esto el ventero? 1. ¿De dónde es don Quijote? 3. ¿Qué aventuras ha tenido el ventero? 2. ¿Era rico don Quijote? 4. ¿Por qué busca don Quijote la capilla? 3. ¿Quiénes vivían con don Quijote? 5. ¿Qué consejos prácticos le da el ventero a don Quijote? 4. ¿Por qué quería tomar la pluma don Quijote? 6. ¿Qué quería hacer el primer arriero al acercarse a don Quijote por la 5.
    [Show full text]
  • 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.
    [Show full text]
  • Cervantes the Cervantes Society of America Volume Xxvi Spring, 2006
    Bulletin ofCervantes the Cervantes Society of America volume xxvi Spring, 2006 “El traducir de una lengua en otra… es como quien mira los tapices flamencos por el revés.” Don Quijote II, 62 Translation Number Bulletin of the CervantesCervantes Society of America The Cervantes Society of America President Frederick De Armas (2007-2010) Vice-President Howard Mancing (2007-2010) Secretary-Treasurer Theresa Sears (2007-2010) Executive Council Bruce Burningham (2007-2008) Charles Ganelin (Midwest) Steve Hutchinson (2007-2008) William Childers (Northeast) Rogelio Miñana (2007-2008) Adrienne Martin (Pacific Coast) Carolyn Nadeau (2007-2008) Ignacio López Alemany (Southeast) Barbara Simerka (2007-2008) Christopher Wiemer (Southwest) Cervantes: Bulletin of the Cervantes Society of America Editors: Daniel Eisenberg Tom Lathrop Managing Editor: Fred Jehle (2007-2010) Book Review Editor: William H. Clamurro (2007-2010) Editorial Board John J. Allen † Carroll B. Johnson Antonio Bernat Francisco Márquez Villanueva Patrizia Campana Francisco Rico Jean Canavaggio George Shipley Jaime Fernández Eduardo Urbina Edward H. Friedman Alison P. Weber Aurelio González Diana de Armas Wilson Cervantes, official organ of the Cervantes Society of America, publishes scholarly articles in Eng- lish and Spanish on Cervantes’ life and works, reviews, and notes of interest to Cervantistas. Tw i ce yearly. Subscription to Cervantes is a part of membership in the Cervantes Society of America, which also publishes a newsletter: $20.00 a year for individuals, $40.00 for institutions, $30.00 for couples, and $10.00 for students. Membership is open to all persons interested in Cervantes. For membership and subscription, send check in us dollars to Theresa Sears, 6410 Muirfield Dr., Greensboro, NC 27410.
    [Show full text]
  • El Otro Don Quijote. La Continuación De Fernández De Avellaneda Y Sus Efectos
    Hanno Ehrlicher (ed.) El otro Don Quijote La continuación de Fernández de Avellanda y sus efectos Nueva Serie No. 33 Hanno Ehrlicher (ed.) El otro Don Quijote La continuación de Fernández de Avellaneda y sus efectos Augsburgo 2016 Universität Augsburg Institut für Spanien, Portugal- und Lateinamerikastudien (ISLA) Instituto de Investigaciones sobre España, Portugal y América Latina Marzo de 2016 Índice A manera de prólogo ............................................................................................. 5 Avellaneda: edición y autoría Luis GÓMEZ CANSECO Avellaneda en la imprenta: Tarragona, 1614 ...................................................... 11 Nanette RIßLER-P IPKA Avellaneda y los problemas de la identificación del autor. Propuestas para una investigación con nuevas herramientas digitales ............... 27 Avellaneda y Cervantes frente a frente: el entramado de los tres Quijotes Hanno EHRLICHER La artificiosidad aumentada. Avellaneda como catalizador de la narrativa del Quijote ........................................................................................................... 55 José Manuel MARTÍN MORÁN El diálogo en las dos segundas partes del Quijote .............................................. 75 David ALVAREZ ROBLIN Propuestas para un nuevo enfoque de la relación Cervantes-Avellaneda........... 93 La herencia literaria de Avellaneda William HINRICHS Los felices continuadores de Avellaneda: expansión del mundo quijotesco después de 1614 ...............................................................................................
    [Show full text]
  • Don Quixote and Its Author in the Context of Moorish Question
    Don Quixote and its Author in the Context of the Moorish Question Susnigdha Dey Jawaharlal Nehru University Meeting of cultures or the clash of civilizations, whether it is the one with the other or the one against the other, and the entire spectrum of distances in this often love-hate polarization has a complex and bizarre relationship in many shades of grey, posited between "my" kind of white and "your" (that is in all likelihood perceived by "my") kind of black. In the context of Christianity and Islam, especialIy in its south-western European dimension, the existence of the "self' and the "other" became manifest barely a century or two after the advent of the Islamic relígion. As students of Hispanic literature from the Indian sub-continent, it seems pretty important to observe two distinct phenomena, that of "La España Musulmana" and "Moghul India", which historical factors have continued to influence even in our times, though much more garrulously in South Asia. That William Shakespeare and Miguel de Cervantes died in the same year and even on the same day, though according to two different calendars, could be a coincidence as valid or as inconsequential as Akbar, the Great Moghul Emperor of India who also died in 1605, i.e., just a few months after the publicatíon of the first part of Don Quixote, which became irnmediately successful. Thís is proved by the fact that as many as sixteen editions carne out during Cervantes' lifetime, which ineludes Avellaneda's book written in the same vein, hiding behind a pseudonym, persuading Cervantes himself to conelude it with a definitive second part in an attempt to keep the glory to him.
    [Show full text]
  • Metafiction and History in Cervante's DON QUIJOTE
    CERVANTES AND THE QUESTION OF METAFICTION Nicholas Spadaccini University of Minnesota Much has been written about the metafictional aspects of Cervantes’s Don Quijote (1605, 1615), a novel that continues to receive the accolades of literary critics and creative writers after four hundred years of circulation in various languages (Close, “Is Cervantes”). There are many reasons for such interest—among them, the novel’s propensity to call attention to itself as a literary artefact and the manner in which it problematizes the issue of “representation”: the notion that the “real” world exists as a construction that is shaped through the conventions of perception and interpretation. In fact, while the focus of this kind of discussion tends to center on Don Quijote, one could well extend it to much of Cervantes’s writing which aims, “simultaneously, toward the production of a new image of the world and toward a dialogue with the very discourses that have constructed the world the way we actually know it” (Spadaccini and Talens 169). For the moment, suffice it to say that Cervantes’s writing shares with contemporary metafiction the notion that representation is less focused on the world itself that on the “discourses on the world” (Waugh 41). In Cervantes, these issues are ultimately tied to a reader (“lector mío”) as opposed to the public (“vulgo”), who is challenged to make sense of the text’s often contradictory, ironic incursions into a multitude of topics which are activated through various “authors” and circumstantial readers. Thus, one might say that the world is not translatable in a univocal manner but only through multiple appropriations and interpretations.
    [Show full text]
  • PDF of Who Wrote Don Quixote?
    WHO WROTE DON QUIXOTE? FRANCIS CARR To my wife,Antoinette Jane 1 WHO WROTE DON QUIXOTE? by FRANCIS CARR What evidence is there that Miguel de Cervantes wrote Don Quixote? There is no manuscript, no letter, no diary, no will, no document that proves that he wrote this masterpiece. There is no portrait, no marked grave, and no record of any payment for Don Quixote, although it became popular in Spain and abroad during his lifetime. What do we know about Thomas Shelton, whose translation has won the praise of literary historians ever since it appeared in this country in 1612? What do we know of Cid Hamet Benengeli, the Arabian historian, who, we are told by Cervantes, is the real author? Until now no proper attempt has been made to place Don Quixote in the wider context of European literature, of the great works of writers and dramatists of this period. And no-one has studied the Shelton text. which is seldom read today. After an examination of the actual publication of this work in Madrid and in London, revealing a surprising proximity in dates of registration, the story of Don Quixote’s adventures in Spain is looked into, and some surprising details emerge, which show a remarkable understanding of English history and English folklore. The story takes us from La Mancha to Sussex, from Madrid to London, to the court of Queen Elizabeth and King James. Acknowledgements: I am especially grateful to Nicholas Tolman, Andrea Mason and Maria Angell, for their help in translation. I am also grateful to the following .for their advice and assistance: Martin Gwynne, Thomas Bokenham, Peter Welsford, Lavender MacMillan, Mary Brameld, Helena Aikin, Lawrence and Philip Carr-Gomm, Anthony Chamberlaine - Brothers, Lady Mary Jones-Parry, Lord Shawcross, the Sussex Archaeological Society, the Spanish Institute in London, Laurence Gerald and Glen Claston.
    [Show full text]
  • The Subtle Arbitrios of Cervantes: Don Quijote As a Cautionary Tale for Leaders
    Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato Theses, Dissertations, and Other Capstone Projects 2010 The ubtleS Arbitrios of Cervantes: Don Quijote as a Cautionary Tale for Leaders Jonathan Edwin Olson Minnesota State University - Mankato Follow this and additional works at: http://cornerstone.lib.mnsu.edu/etds Part of the Spanish Literature Commons Recommended Citation Olson, Jonathan Edwin, "The ubtleS Arbitrios of Cervantes: Don Quijote as a Cautionary Tale for Leaders" (2010). Theses, Dissertations, and Other Capstone Projects. Paper 251. This Thesis is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. The Subtle Arbitrios of Cervantes: Don Quijote as a cautionary tale for leaders By Jonathan Edwin Olson A Thesis Submitted in Partial Fulfillment of the Requirements for Master of Science In Spanish Minnesota State University, Mankato Mankato, Minnesota December 2009 Date: 11.04.2009 This thesis paper has been examined and approved. Examining Committee: ____________________________________ Dr. James Grabowska, Chairperson ____________________________________ Dr. Kimberly Contag ____________________________________ Dr. Jasper Hunt Abstract The Subtle Arbitrios of Cervantes: Don Quijote as a Cautionary Tale for Leaders by Jonathan Edwin Olson Master of Science in Spanish Minnesota State University, Mankato 2009 Miguel de Cervantes was clearly a man who had an interest in leadership. He sought leadership positions for himself during his life, and his works often include treatments of leadership issues.
    [Show full text]
  • Quantum Quixote: Embodying Empathy in the Borderlands
    Quantum Quixote: Embodying Empathy in the Borderlands ______________________________________Amy R. Williamsen s I looked forward to the Cervantes Society symposium in Texas, I looked back over my thirty-three year relationship with Cervantes, bearing in mind the question posed by the confer- Aence organizers: why does Cervantes still inspire us today?1 Or, phrased more narrowly, what significance does Don Quixote hold in/for the quantum age? As I reflected upon what it means to read Cervantes in the 21st century, I realized with stunning clarity that since my first serendipitous encounter with Cervantes in a Missouri classroom with a seemingly fearless Howard Mancing (who did indeed wear a bowl on his head to teach a certain episode), I have seen Cervantes everywhere. 1 These remarks were first presented in November 2010, a few months before the dev- astating events on the morning of January 8, 2011. The multiple shots fired that morning in Tucson may not have been heard around the world, but they were heard by my thirteen-year- old son who was hiking perilously close to the area. Adults nearby attempted to reassure him that the percussive blasts echoing through the foothills were merely firecrackers—until rescue helicopters and wailing sirens filled the air. As he attempted to make sense of what had hap- pened, he kept repeating, “Mom, I should have known better.” At the MLA in Los Angeles, I was touched by the support of friends, colleagues and strangers who, reading the badge that identified me as a Tucson resident, tried to comfort me, often repeating “Things will change now.” Upon reflection, I was forced to recognize that we should all know better.
    [Show full text]
  • Collaborative Academic Project: Don Quixote 2014-2015
    Don Quixote de la Mancha Miguel de Cervantes & Saavedra Las fotografías de este proyecto colaborativo han sido tomadas in situ por Martha García. La Mancha, España Page 1 of 120 Introducción & Prólogo a este proyecto colaborativo Martha García, Ph.D. La Mancha, España Page 2 of 120 Martha García, Ph.D. Don Quijote: una novela en tercera dimensión A raíz de la celebración del cuarto centenario de la publicación de la primera parte de Quijote en el año 2005 se ha observado un creciente interés en la lectura de la obra cervantina, no sólo a nivel multitudinario, sino también en las aulas de clases y congresos nacionales e internacionales. Debido a que el valor intrínseco de la producción literaria de Cervantes radica precisamente en su antigüedad y atemporalidad, los temas de estudio resultan múltiples y de gran utilidad para una gran cantidad de disciplinas y materias de investigación. La pregunta clave surge en algunas ocasiones en el terreno de la aplicación y su respectiva admisión: ¿cómo se presenta una obra tan esotérica como lo es el texto cervantino al lector moderno? ¿Qué obras cervantinas se deben incluir en los prontuarios o programas curriculares? ¿Con qué propósito u objetivos pedagógicos se podría utilizar de forma útil y eficiente? ¿Cómo se estudia y difunde un libro como Quijote en la segunda década del siglo XXI en salones equipados con alta tecnología y arquitecturas multidimensionales? En cuanto a estudios sobre la enseñanza de la obra cervantina se refiere, contamos con Approaches to Teaching Cervantes’ Don Quixote publicado por la Asociación de Lenguas Modernas [MLA]1 y editado por Richard Bjornson.
    [Show full text]
  • Thee Comic T Cal Hi a Thoma Istory a Criti As D'u Y
    THOMAS D’URFEY’S THE COMICAL HISTORY OF DON QUIXOTE (1694–1695): A CRITICAL EDITION Antonio María Rosso Ponce TESIS DOCTORAL Dirigida por la Dra. María José Mora Sena Departamento de Literatura Inglesa y Norteamericana UNIVERSIDAD DE SEVILLA Sevilla, 2018 CONTENTS Table of figures…………………………………………………………………………………… 3 Acknowledgements……………………………………………………………………………… 5 Abbreviations…………………………………………………………………………………… 7 A note on citations……………………………………………………………………………… 11 1. Introduction…………………………………………………………………………………… 13 2. The life of Thomas D’Urfey…………………………………………………………………… 19 3. The reception of Cervantes’s Don Quixote in 17th century England…………………………… 35 3.1. Translations and condensations……………………………………………………… 37 3.2. Influence and adaptations…………………………………………………………… 45 3.3. Allusions……………………………………………………………………………… 59 4. The stage history of The Comical History of Don Quixote………………………………………… 63 5. The text……………………………………………………………………………………… 73 5.1. Bibliographical description…………………………………………………………… 73 5.1.1. Bibliographical records…………………………………………………………… 79 5.1.2. List of copies examined………………………………………………………… 99 5.2. The text of the songs………………………………………………………………… 100 5.2.1. List of copies examined………………………………………………………… 107 5.3. Editorial procedure…………………………………………………………………… 108 5.3.1. Substantives and accidentals……………………………………………………… 109 5.3.2. Paraphernalia…………………………………………………………………… 114 5.4. Apparatus…………………………………………………………………………… 116 6. The Comical History of Don Quixote: a critical edition…………………………………………… 119 6.1. The Comical History of Don
    [Show full text]