Don Quijote De La Mancha
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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. -
“Ella Pelea En Mí Y Vence En Mí”: Dulcinea, Ideal Amoroso Del Caballero De La Voluntad
“Ella pelea en mí y vence en mí”: Dulcinea, ideal amoroso del Caballero de la Voluntad CARLOS MATA INDURÁIN* ulcinea es un personaje complejo, cuyo análisis puede ser abordado –así D lo ha hecho la crítica– desde muy diversas perspectivas: se puede anali- zar su figura como componente de la materia amorosa, que forma junto con la materia caballeresca y la literaria los tres grandes núcleos temáticos del Quijote; se puede estudiar su función estructural (Dulcinea al servicio de la narración: pienso especialmente en todo lo relacionado con su encantamien- to y su desencantamiento en la Segunda Parte); se puede poner en relación con el estatus de la locura de don Quijote y la evolución de su carácter en las dos Partes, y con la problemática relación que se establece en la novela entre realidad y ficción, o entre apariencia y realidad; en este sentido, Dulcinea es también un factor determinante en la relación entre el caballero y su escude- ro Sancho Panza; la dualidad Dulcinea-Aldonza brinda abundantes momen- tos para la comicidad y la parodia, en pasajes que permiten la conformación de un mundo carnavalesco; se puede abordar el estudio de Dulcinea desde el psicoanálisis y la sexualidad1, etc., etc. Además, debemos partir del hecho fundamental de que Dulcinea es un personaje que no existe, que es la creación de una creación: Dulcinea es una invención de don Quijote de la Mancha, que a su vez es una invención de Alonso Quijano (que, a su vez, es una invención de Cervantes). Incluso po- * GRISO-Universidad de Navarra 1 Véase la Bibliografía final, y especialmente Javier S. -
Las Transformaciones De Aldonza Lorenzo
Lemir 14 (2010): 205-215 ISSN: 1579-735X ISSN: Las transformaciones de Aldonza Lorenzo Mario M. González Universidade de São Paulo RESUMEN: Aldonza Lorenzo aparece en el Quijote tan solo como la base real en que se apoya la creación de la dama del caballero andante, Dulcinea del Toboso, a partir del pasado enamoramiento del hidalgo por la labradora. No obstante, permanece en la novela como una referencia tanto para don Quijote como para su escudero. Para el caballero, lo que permite esa aproximación es la hermosura y la honestidad de una y otra, exacta- mente los atributos que Sancho Panza niega radicalmente en Aldonza para crear lo que puede llamarse una «antidulcinea». A la obsesión de don Quijote por desencantar a Dulcinea, parecería subyacer la de salvar la hermosura y honestidad de Aldonza Lorenzo. De hecho, cuando todos los elementos de la realidad son paulatinamente recuperados por el caballero en su vuelta a la cordura, la única excepción es Aldonza Lo- renzo, de quien Alonso Quijano sugestivamente nada dice antes de morir. ABSTRACT: Aldonza Lorenzo appears in Cervantes’s Don Quixote merely as the source that gave birth to the knight- errant’s imagined ladylove Dulcinea del Toboso ever since the Hidalgo fell in love with the farm girl in the past. However, Aldonza Lorenzo remains a reference to Don Quixote and his squire Sancho Panza throughout the novel. For the knight, beauty and honesty aproximate both girls, the real and the imagi- nary, while his squire denies those virtues in Aldonza creating what can be defined as an «anti-dulcinea». -
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. -
Cervantes and the Spanish Baroque Aesthetics in the Novels of Graham Greene
TESIS DOCTORAL Título Cervantes and the spanish baroque aesthetics in the novels of Graham Greene Autor/es Ismael Ibáñez Rosales Director/es Carlos Villar Flor Facultad Facultad de Letras y de la Educación Titulación Departamento Filologías Modernas Curso Académico Cervantes and the spanish baroque aesthetics in the novels of Graham Greene, tesis doctoral de Ismael Ibáñez Rosales, dirigida por Carlos Villar Flor (publicada por la Universidad de La Rioja), se difunde bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2016 publicaciones.unirioja.es E-mail: [email protected] CERVANTES AND THE SPANISH BAROQUE AESTHETICS IN THE NOVELS OF GRAHAM GREENE By Ismael Ibáñez Rosales Supervised by Carlos Villar Flor Ph.D A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy At University of La Rioja, Spain. 2015 Ibáñez-Rosales 2 Ibáñez-Rosales CONTENTS Abbreviations ………………………………………………………………………….......5 INTRODUCTION ...…………………………………………………………...….7 METHODOLOGY AND STRUCTURE………………………………….……..12 STATE OF THE ART ..……….………………………………………………...31 PART I: SPAIN, CATHOLICISM AND THE ORIGIN OF THE MODERN (CATHOLIC) NOVEL………………………………………38 I.1 A CATHOLIC NOVEL?......................................................................39 I.2 ENGLISH CATHOLICISM………………………………………….58 I.3 THE ORIGIN OF THE MODERN -
Sobre Crítica Del «Quijote» La Razón Que Nutren La Cultura Y La Reflexión, La Voz De Alonso Quijano
SOBRE CRÍTICA DEL QUIJOTE Maxime Chevalier Hace varias décadas que deja pendientes la crítica cervantina unas preguntas esenciales. Me refiero a la relación entre Cervantes y el protagonista del Qui• jote, por una parte, y, por otra parte, al concepto en que tenía Cervantes los libros y la cultura libresca. Sobre ambas preguntas quisiera explicarme hoy. La primera pregunta la planteó la edad romántica al afirmar que Cervan• tes mal había entendido la grandeza de su héroe. Tal concepto iba ya en germen en la conocida frase de la Estética hegeliana que define el asunto del Quijote como «oposición cómica entre un mundo ordenado según la razón [...] y un alma aislada», frase decisiva por señalar la pauta de la crítica deci• monónica, según la cual la novela cervantina es el conflicto entre prosaísmo y poesía, realidad e ideal, don Quijote y la sociedad. Al tomar este camino, se orientaban forzosamente los estudiosos a quienes competía la definición del protagonista hacia un elogio de la locura, un elogio de la locura radicalmente distinto del de Erasmo, que es elogio jocoso de la simpleza (stultitia).1 E iban a desembocar fatalmente en el dilema enunciado por Marthe Robert: de dos cosas la una, o bien abona el lector el buen sentido cervantino, hipótesis en la que don Quijote no pasa de ser un loco grotesco; o bien vemos en don Quijote una especie de santo escarnecido, y hemos de confesar que Cervantes no en• tendió su propia creación.2 Dilema finamente cincelado —y dilema inacepta• ble. Cualquier lector de buena fe en seguida advierte que dicho dilema no da cuenta de la realidad. -
Oceánide 4# 2012 Don Quixote and Jesus Christ
Oceánide 4 2012 Fecha de recepción: 24 diciembre 2011 Fecha de aceptación: 20 enero 2012 Fecha de publicación: 25 enero 2012 URL:http://oceanide.netne.net/articulos/art4-15.php Oceánide número 4, ISSN 1989-6328 Don Quixote and Jesus Christ: The suffering “Idealists” of Modern Religion Rebekah Marzhan (Hamline University, Minnesota USA) RESUMEN: La figura de Don Quijote ha sido siempre examinada como la de un personaje que simboliza el absurdo de la búsqueda idealista. Por lo tanto, incontables generaciones han sido capaces de apropiarse temporalmente de este caballero medieval como representante de su propia situación histórica. A través de muy diversa tradición poética, ensayística, o novelesca, grandes pensadores han elevado el espíritu del Quijote desde las páginas de Cervantes, y revivido a este loco caballero como símbolo, no solo como estandarte de la fe en uno mismo, sino también de la fe en el sentido religioso o espiritual en este mundo moderno y racional. Si bien esta evolución del pensamiento ha sido desarrollada y explorada a través de diversos movimientos literarios, el análisis de ilustraciones modernas de Don Quijote han sido ampliamente descuidadas. En otras palabras, para apreciar la evolución del espíritu quijotesco ha de prestarse especial atención a las composiciones artísticas del siglo XX, con la obra de Salvador Dalí a la cabeza. Con una edición de 1945 de la obra cervantina, Dalí refleja a través de la iconografía cristiana la figura de un Don Quijote irracional que sufre a causa de su idealismo. Palabras clave: Don Quijote, Dalí, análisis visual, sufrimiento, Cristianismo. ABSTRACT: The figure of Don Quixote has always been seen as a character symbolizing the absurdity of idealistic pursuits. -
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. -
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. -
Love and Contracts in Don Quixote Martha Ertman
Don Quixote: Interdisciplinary Connections Edited by Matthew D. Warshawsky and James A. Parr On the cover: Santiago Moix “Señores” said Don Quixote, “let us go slowly, for there are no birds today in yesterday’s nests” (Don Quixote series, hand colored), 2008, Drypoint with hand-coloring, Paper Size: 19 1/2 x 25 inches, Image Size: 14 7/8 x 20 7/8 inches, Edition of 5. Courtesy the artist and Pace Prints. Copyright © 2013 LinguaText, Ltd. All rights reserved Juan de la Cuesta—Hispanic Monographs An imprint of LinguaText, Ltd. 10 3 Wa l ker Way Newark, Delaware 19711-6119 usa (302) 453-8695 Fax: (302) 453-8601 www.JuandelaCuesta.com Manufactured in the United States of America isbn: 978-1-58871-235-6 11 Love and Contracts in Don Quixote Martha Ertman iewing love as a contract seems, initially, like mistaking windmills for giants, or a peasant girl for a grand lady. This paper seeks, like Don Quixote, to convince you to suspend Vyour practiced views of everyday relationships in order to see them in a new light. What seems crazy at first glance may come to look as good, and sometimes better, than the more conventional view. As a law pro- fessor, I usually write about love and contracts by focusing on legal opinions and statutes, and recently I have added real-life stories from books and newspapers, as well as my friends, family, colleagues, and students.1 But if I am right that love and contracts often complement instead of oppose each other, then my argument that contracts shape the beginning, middle, and demise of love relationships ought to hold true in fiction as well, especially for the jump-off-the-page characters and situations in Don Quixote. -
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.