Re-Creation of Don Quixote: from Comics to Popular Culture
Total Page：16
File Type：pdf, Size：1020Kb
Re-creation of Don Quixote: From Comics to Popular Culture Karuna Warrier Department of Languages, Literatures and Cultures McGill University, Montreal April 2018 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Karuna Warrier 2018 Table of Contents ABSTRACT…………………………………………………………………………………….... 1 RESUMEN……………………………………………………………………………................. 2 RÉSUMÉ……………………………………………………………………………………….... 3 Acknowledgements ……………………………………………………………………………… 4 INTRODUCTION……………………………………………………………………………… 7 0.1 “Canon to Canon” Adaptations……………………………………………………………….. 7 0.2 Don Quixote’s Re-invention: From Word-to-Word to Word-to-Images…………………….. 10 0.3 “Low art” form called Comics ……………………………………………………………... 14 0.4 Hypothesis…………………………………………………………………………………... 18 0.5 Adaptation and Appropriation Studies……………………………………………………..... 21 0.6 Reading Comics…………………………………………………………………………….. 25 0.7 Chapters……………………………………………………………………………………... 29 CHAPTER 1. FORMATION OF THE QUIXOTIC IMAGERY………………………….. 32 1.1 Introduction………………………………………………………………………………..... 32 1.2 Don Quixote in the Postmodern Context…………………………………………………….. 34 1.3 Don Quixote’s Opening Sentence Re-written...…………………………………………….. 38 1.4 Specific Iconography of Don Quixote’s Illustrations………………………………………... 42 1.5 Don Quixote’s Attempt at Transcendence…………………………………………………... 52 1.6 Towards a Near-Slapstick Interpretation of Don Quixote……………………………………. 58 1.7 Conclusion…………………………………………………………………………………... 66 CHAPTER 2. INTERPRETING NEWSPAPER CARICATURES OF DON QUIXOTE... 69 2.1 Introduction………………………………………………………………………………..... 69 2.2 The Loss of Cervantes’s Authority…………………………………………………………. 74 2.3 Don Quixote’s Caricature by Forges……………………………………………………….... 81 2.4 Book Illustrations by Lorenzo Goñi………………………………………………………..... 91 2.5 Mode of Display in the Virtual Exhibition…………………………………………………. 103 2.6 Caricatures by LAZ………………………………………………………………………… 112 2.7 Conclusion…………………………………………………………………………………. 119 CHAPTER 3. DON QUIXOTE RE-IMAGINED AND RE-INVENTED AS A COMIC BOOK CHARACTER……………………………………………………………………….. 122 3.1 Introduction………………………………………………………………………………... 122 3.2 “Fluidity” of Don Quixote…………………………………………………………………. 126 3.3 Different Faces of Don Quixote as seen in Lanza en astillero……………………………… 131 3.4 Mortadelo de la Mancha…………………………………………………………………… 151 3.5 The Play of Perspective in Mortadelo de la Mancha and Don Quixote…………………….. 163 3.6 Sancho’s Confusing Perspective…………………………………………………………… 169 3.7 Don Quixote in Mortadelo y Filemón Or Mortadelo y Filemón in Don Quixote…………... 175 3.8 Conclusion…………………………………………………………………………………. 183 CHAPTER 4. “FLUID” DON QUIXOTE IN GOTHIC SPACE…………………………. 186 4.1 Introduction………………………………………………………………………………... 186 4.2 Don Quixote’s Fight against Real Monsters………………………………………………. 189 4.3 The Gothic Environment…………………………………………………………………… 200 4.4 The Displacement of Don Quixote into the Gothic Environment…………………………. 206 4.5 La sombra de don Quijote read as a Derivation…………………………………………….. 219 4.6 Drawing 15-M Movement…………………………………………………………………. 230 4.7 Conclusion…………………………………………………………………………………. 237 CONCLUSION……………………………………………………………………………….. 241 BIBLIOGRAPHY……………………………………………………………………………. 250 APPENDIX 1: COPYRIGHT RELEASE……………………………………………………………269 Abstract With the canonization of Don Quixote, started with the earlier illustrated editions of the seventeenth and eighteenth centuries, the pictorial representations of the Cervantine novel also reached the status of canon. This dissertation considers the appropriation and re-packaging of the quixotic imagery as caricatures and comics. The research evolves from the initial recognition of the specific set of icons and the establishment of a quixotic imagery, as shown in the first chapter. The next three chapters study the exploitation of this iconography by some of the comic artists to produce a re-imagined version of Don Quixote. With the model of imitation-repetition-variation in the backdrop, Chapters 2, 3 and 4 divide the quixotic-themed primary texts into sub-genres within comics – caricatures, isolated illustrations and comics as an entire book. Employing medium-specific tools, the re-packaged Don Quixote is placed within the theoretical framework of Adaptation and Appropriation Studies and Comics Studies to study how the selected comics and caricatures attempt to incite a backward movement, i.e. encourage readers to read the original Don Quixote, by targeting a particular category of readers. 1 Resumen Junto con la canonización del Quijote, iniciada con la publicación de las ediciones ilustradas de los siglos XVII y XVIII, las representaciones visuales de la novela cervantina también alcanzaron la categoría de canon. La tesis investiga las apropiaciones y reinvenciones de la imaginería quijotesca en la forma de caricaturas y cómics. La investigación evoluciona del reconocimiento inicial de una colección específica de íconos y el establecimiento de la imaginería quijotesca, como se muestra en el primer capítulo. Los siguientes tres capítulos analizan la deconstrucción y la reconstrucción de esta iconografía por algunos de los artistas del cómic para producir una versión re-imaginada del Quijote. Con el modelo de imitación-repetición-variación como trasfondo, los capítulos 2, 3 y 4 dividen los textos primarios con temática quijotesca en sub-géneros de cómics – caricaturas, ilustraciones aisladas y cómics como un libro entero. Al emplear las herramientas específicas del medio, el Quijote reinventado se coloca dentro del marco teórico de los estudios de las adaptaciones y apropiaciones y los estudios del cómic para examinar cómo los cómics y las caricaturas seleccionados tratan de instigar un movimiento hacia atrás, es decir, animar a los lectores a que lean el Quijote original, intentando dirigirse a una categoría de lectores. 2 Résumé Avec la canonisation de Don Quichotte, lancée par la publication des éditions illustrées des dix- septième et dix-huitième siècles, les représentations visuelles du roman cervantin ont aussi atteint le statut du canon. Cette thèse investigue les appropriations et les réinventions de l’imagerie de Don Quichotte comme les bandes dessinées et les caricatures. La recherche évolue à partir de la reconnaissance initiale de la collection spécifique des icônes ainsi que de l'établissement d'une imagerie sur Don Quichotte, tel que démontré dans le premier chapitre. Les prochains trois chapitres examinent la déconstruction et la reconstruction de cette iconographie par certains artistes des bandes dessinées pour produire une version nouvellement imaginée du Don Quichotte. En ayant le modèle d’imitation-répétition-variation comme toile de fond, les chapitre 2, 3 et 4 divisent les textes principaux avec le thème sur Don Quichotte en sous-genres au sein des bandes dessinées - les caricatures, les illustrations isolées et les bandes dessinées comme un livre entier. Avec les outils spécifiques des médias, le Don Quichotte revisité se place dans le cadre théorique des études d’adaptation et appropriation et des études de bandes dessinées avec pour objectif d’examiner comment les bandes dessinées et les caricatures sélectionnées tentent de provoquer un mouvement rétroactif, c'est-à-dire d’encourager les lecteurs à lire le Don Quichotte original, en dirigeant à une catégorie particulière des lecteurs. 3 Acknowledgements My first and my biggest gratitude goes to Mummy and Papa, and Ammamma who encouraged me to think about pursuing my higher studies abroad in the first place. Their support increased manifold the moment when McGill University offered me admission. The emotional and financial pillars that my parents together have been, throughout my journey here at McGill, are so firm that at hardly at any step have I felt weak, and I hope to be able to fulfill their dreams in the years to come. In my small family circle, my gratitude also goes to my uncle Girish and aunt Valerie, who have also been immense emotional as well as financial contributors in this journey. I thank them for taking time out to have frequent telephonic conversations with me and to help me monetarily in several ways during times when my parents were going through a difficult phase. I owe a lot to my supervisor Professor Jesús Pérez-Magallón, who has been a great mentor for me in the formation of this thesis. I thank him a lot for his valuable suggestions and comments on the content of the thesis, for his meticulous review of every fragment and for inspiring me to develop my own ideas with the autonomy that one can desire for. I cannot forget to mention the financial support that he has given me whenever he could, which has helped me sustain myself during my time here at McGill. Within the academic circle in the Department of Languages, Literatures and Cultures, I owe a lot to Professor José R. Jouve-Martín who was generous enough to give me a second opportunity for one of the essays for him during my first year. After submitting the rewritten essay, his appreciation of the essay and a meeting with him restored my confidence and morale multifold to advance ahead. He is also one of the professors to thank for helping me financially during my third year here at McGill. 4 My initial interest in Don Quixote got reasserted from the course on the Cervantine novel given by ex-Professor David Boruchoff in our department in whose seminars the discussions had helped in the academic reading of the novel. Here, I would also like to mention my professor from University of Delhi, Prof. Vibha