Abstract
Ortega y Gasset’s Meditations on Quixote is important for the transmission of phenomenology into literary criticism.1 Ortega wrote Meditations “to explain Husserl’s phenomenology” (Obras completas, 273, n. 2, cited in Silver 9). For Ortega, phenomenology meant giving up positivism, natualism and realism to discover the “world of things which I must be personally conscious of” (Basdekis 11). In Ortega’s early career, “the breaching of traditional ethical naturalism was tantamount to sacriligious transgression, [but then] Ortega was thrust, ... into ... phenomenological ontology ... tracable to Husserl’s ‘rigorous new science’ ... a’ stroke of good fortune,’ as Ortega described it” (Basdekis 75). This new Ortega, in a version of Husserl’s phenomenological reduction, “forces his reader ... to disjoin himself from the physical world around him, insulating him from any association with his recognizable natural world” (Basdekis 12).
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