Don Quixote Research Articles

Health and hygienic practices in Don Quixote: body bath, personal hygiene, cleanliness and odors

Health and hygienic practices in Don Quixote: body bath, personal hygiene, cleanliness and odors

Rewriting the Quixotic Novel in Charlotte Lennox’sThe Female Quixote

ABSTRACTCharlotte Lennox’s The Female Quixote is a gender-bent version of Cervantes’s Don Quixote, and its protagonist Arabella believes the world is like her romance novels. While most critics see the novel as a triumph of reason over romance, this article argues that it is in fact a rewriting of the quixotic genre: rather than awakening to reason, Lennox’s quixote instead molds the world to her romantic expectations. Building on Jodi Wyett’s feminist reading of the text, this article uses both the methods and impact of Arabella’s “mimetic influence” (in Aaron Hanlon’s words) to demonstrate her narrative agency and ultimate success. By resisting genre norms, the novel also resists the social expectations those norms rely on. In Lennox’s hands, the quixotic genre becomes a demonstration of the power of idealistic fiction and the imaginative women who read it.

Concept of “Quixoticism” in Work of Miguel de Unamuno

The article is devoted to the concept of “quixoticism” by M. de Unamuno. It is determined that Unamuno’s Quixoteism was formed on the basis of the philosophy of F. M. Dostoevsky, with which M. de Unamuno has much in common: the perception of the image of Don Quixote as a reflection of the national character. It is emphasized that the basic difference between these philosophies is the realism of the “Christ-like” image in F. M. Dostoevsky and the reality of the “quixotic” image, which goes beyond the artistic world in M. de Unamuno. It has been proven that Unamuno’s Quixoticism is essentially a religion that includes the main religious components, but Don Quixote lives on earth, while, unlike Christ, he is a man, a man with a divine beginning, a man who imitates God. The authors note that, despite the difference in approaches, both F. M. Dostoevsky and M. de Unamuno bow before the image of Don Quixote. Each of them sees in it a reflection of the national characteristics of the peoples to which the authors identify themselves (Russian and Spanish), as well as a biblical reference to Jesus Christ. It is determined that the distinguishing features of perception is the fact that the characters of F. M. Dostoevsky are striving for greater realism, while the characters of Unamuno are more real in their own way, even relative to its creator, and have a greater impact on the existence and spiritual development of “real” people than other “real” people.

The Quixotic Quest for Objectivity in Observation

The Quixotic Quest for Objectivity in Observation

ASHP Session to Discuss Community Initiatives, Address Shortage of Hispanic/Latinx Clinicians, Investigators

Back to table of contents Previous article Next article Annual MeetingFull AccessASHP Session to Discuss Community Initiatives, Address Shortage of Hispanic/Latinx Clinicians, InvestigatorsSearch for more papers by this authorPublished Online:27 Jan 2023https://doi.org/10.1176/appi.pn.2023.02.2.33AbstractThe American Society of Hispanic Psychiatry (ASHP) promotes mental health research, professional education, and clinical activities through the participation of Hispanic psychiatrists and other mental health professionals in the United States, Latin America, Spain, and Portugal.Three leaders of the American Society of Hispanic Psychiatry (ASHP) will speak at a special presidential session at this year’s Annual Meeting in San Francisco.In the opening talk, Bernardo Ng, M.D., a past president of the ASHP, will describe the history of the society, including the date it was founded, the founding members, the mission and goals of the society, and its seminal role in creating a space for Hispanic psychiatry in the United States while staying connected with colleagues in other places. Ng will provide examples of past ASHP presidents who have also been leaders of other societies, such as Carlos Zarate, M.D. (American College of Neuropsychopharmacology), Maria A. Oquendo, M.D., Ph.D. (APA), Mauricio Tohen, M.D. (International Society of Bipolar Disorders), and Roberto Lewis Fernandez, M.D. (World Association of Cultural Psychiatry). He will also explain the origins of the Don Quixote Award, which was created under his tenure to recognize young Hispanic/Latinx researchers.Ruby Castilla-Puentes, M.D., Dr.P.H., M.B.A., the immediate past president of ASHP, will follow with a discussion of her book Quijotes de la Psiquiatria, which recognizes distinguished Hispanic/Latino professionals for their outstanding contributions to the field of psychiatry and mental health. She will then describe important community activities and initiatives being led by the ASHP, such as the speaker series for La Casa de Don Pedro, a community-based, grassroots organization in New Jersey that seeks to empower the marginalized Latino community. This lecture series, sponsored by the Hispanic Organization for Leadership and Achievement (HOLA), an employee resource group at Johnson & Johnson, offers monthly virtual talks on diverse topics including bipolar disorder, substance use disorders, and schizophrenia. Importantly, these talks are in Spanish by members of the ASHP and seek to educate members of Latinx/Hispanic communities about ending the stigma associated with mental illness and improving access to and the quality of mental health care for these communities.In the third part of the session, ASHP President Juan A. Gallego, M.D., M.S., will describe the society’s efforts to train early career Hispanic/Latinx investigators to increase their representation in the research workforce. Gallego will describe the success of a mentoring program called Critical Research Issues in Latino Mental Health (CRI-LMH), which ran between 2002 and 2013. He will then describe a new training program based on the CRI-LMH to be held in conjunction with the society’s annual meeting. It will be called Critical Research Issues in Latinx Mental Health/American Society of Hispanic Psychiatry (CRI-LMH/ASHP). This comprehensive mentoring program seeks to support 12 early career Hispanic/Latinx investigators who will receive a stipend for travel and accommodations to attend the annual ASHP meeting, present their work, and receive research mentoring from senior and accomplished investigators. Several training and mentoring activities will take place during the meeting, including a grant writing workshop and leaders at dedicated lunch tables to discuss research-related themes such as applying for career development awards, navigating the job market, and mentor/mentee relationships. Importantly, all early career attendees, even if they did not obtain the travel award, may attend and participate in all mentoring and training activities. The Don Quixote Award will be given for the best presentation by one of the 12 travel awardees. The award includes a plaque and a three-year membership to the society.All psychiatrists are invited to this session, particularly Hispanic/Latinx psychiatrists, psychiatry residents, fellows, and early career psychiatrists since they will learn all the necessary information to apply for a travel award for the ASHP/CRI-LMH meeting next year. ■ ISSUES NewArchived

Truth and Falsity in Buridan’s Bridge

This paper revisits Buridan’s Bridge paradox (Sophismata, chapter 8, Sophism 17), itself close kin to the Liar paradox, a version of which also appears in Bradwardine’s Insolubilia. Prompted by the occurrence of the paradox in Cervantes’s Don Quixote, I discuss and compare four distinct solutions to the problem, namely Bradwardine’s “just false” conception, Buridan’s “contingently true/false” theory, Cervantes’s “both true and false” view, and then the “neither true simpliciter nor false simpliciter” account proposed more recently by Jacquette. All have in common to accept that the Bridge expresses a truth-apt proposition, but only the latter three endorse the transparency of truth. Against some previous commentaries I first show that Buridan’s solution is fully compliant with an account of the paradox within classical logic. I then argue that Cervantes’s insights, as well as Jacquette’s treatment, are both supportive of a dialetheist account, and Jacquette’s in particular of the strict-tolerant account of truth. I defend dialetheist intuitions (whether in LP or ST guise) against two objections: one concerning the future, the other concerning the alleged simplicity of the Bridge compared to the Liar.

A Window onto the Heart: Cervantes and the Cardiocentric Self

ABSTRACT: Longstanding representations of the heart and all its complexities in art, religion, literature, medicine, and natural philosophy depicted the organ as the center of feelings, but early modern advances in anatomy led to a physiological reinterpretation. Cervantes was aware of both traditions, and the Cervantine heart repeatedly appears subject to surveillance. For Cervantes, to open a window onto the heart of his characters is to reveal an interior ensconcing secrets and passions, offering an intimate view of feelings and images. This is especially relevant in the Cave of Montesinos, where the knight's solitary spelunking marks a pivotal moment, as his physical descent into the cave is commensurate with higher self-revelation, marking the episode as a synecdoche for the larger work. Seen as an act of individual introspection, Don Quixote's experience unveils his confused interior, opening a window to the protagonist's concealed and most deep-seated anxieties that demystifies his decreasingly idealized chivalric world. ABSTRACT: Longstanding representations of the heart and all its concomitant complexities in art, religion, literature, medicine, and natural philosophy depicted the organ as the center of feelings and emotion, but early modern advances in anatomy led to a physiological reinterpretation. Cervantes was aware of both traditions and throughout his oeuvre the Cervantine heart repeatedly appears subject to surveillance, yet open to scrutiny. For Cervantes, to open a window onto the heart of his characters is to reveal a hidden interior ensconcing secrets and passions, offering an intimate view of feelings and images. This is especially relevant in the Cave of Montesinos where the knight's solitary spelunking marks a pivotal moment in the novel as his physical descent into the cave is commensurate with higher self-revelation, marking the episode as a synecdoche for the larger work. Seen as an act of individual introspection and an exploration of his inwardness, Don Quixote's experience unveils his confused and perplexed interior, opening a window to the protagonist's concealed and most deep-seated anxieties that demystifies his less and less idealized chivalric world.

The Garnishee is Not Don Quixote - Reflections on the Role of the Garnishee in Garnishee Proceedings

The Garnishee is Not Don Quixote - Reflections on the Role of the Garnishee in Garnishee Proceedings

КІНЕМАТОГРАФІЧНА ТРАНСПОЗИЦІЯ КОДУ СЕРВАНТЕСА У ФІЛЬМІ "ДОН КІХОТ" ОРСОНА ВЕЛЛСА

The article is dedicated to the problem of transposition of the Cervantes’s Code in the cinematographic adaptation of the novel Don Quixote by Orson Welles (1957-1992). The study focuses on identifying and revealing the aesthetic and ideological kinship of the film adaptation of the American director with the work of the Spanish writer, as well as on the analysis of methods and mechanisms of actualization of the main thematic, problematic, structural and narrative aspects of the novel of Cervantes at various levels of the Welles’s cinematic poetics. Welles retains the "intellectual" skepticism of Cervantes, but demostrates a greater affinity with the romantic tradition of reading this text, which at his time dominated the cinematic and scientific-critical discourse. The actualization of the anachronism of Don Quixote as one of the key thematic codes of Cervantes's novel is carried out by transferring the action of the novel to the Francoist Spain. The structure of the film reproduces the plot mostly on the basis of the first volume. Working in the "manner of Cervantes", the author of the cinematic adaptation uses a wide range of ludic, metatextual and metanarrative techniques that reveal the "auto-reflexivity" of his text. In addition, Welles' adaptation of Don Quixote transposes the linguistic and stylistic codes of the Spanish author's novel by using the cinematic montage techniques, oblique angle shots, and stylized mise-en-scène (in-depth). Those features, in turn, demonstrate the inherent kinship with the baroque style of the second volume. Welles stresses the ambivalence inherent in Cervantes's text: he criticizes modernity, but uses its achievements (especially the cinema) to implement his own utopian cultural program of the new knight of cinema. Welles's film chosen as the object of our study essentially and aesthetically remains "faithful" to the original and at the same time contributes to a deeper understanding of the Cervantes’s code in the modern media space and culture in particular. The film reveals the ability of Cervantes's code to adapt to modern communication technologies and changes in life (cinema, advertising, tourism) that not only present Don Quixote and Sancho Panza as anachronisms, but also ensure their immortality, proving the validity of Welles's idea who states that they are heroes for all ages.

Концепт «книга» в романе Ф.М. Достоевского «Идиот»

The article is intended as part of the project “The Role and the Image of Books in F.M. Dostoevsky’s novel The Idiot.” Rather than analyzing a particular book, the author focuses on the concept of “book” itself in the novel: where and how it appears and the connections it creates in the text, leading the reader to understand the meanings that Dostoevsky wanted to communicate through it. First of all, the article analyses the presence of books as concrete objects in the novel and shows how the author constantly underlines their quality of being a repository. Further on, the author demonstrates how the level of obrazovanie (eng. “formation” or “education,” etymologically from the word obraz, eng. “image”) in the novel is connected to the quantity of read books and the quality of the reading processes. This connection is different for all characters and discloses its profound meaning in the history of Rogozhin, bezobraznyi (eng. “ugly,” literally “without image”) who needs to obrazovat’sia (eng. “receive formation / education,” same root word). Delving deeper into the theme of reading and understanding books, it is shown how it connects and opposes the two main female protagonists: Nastasya Filippovna and Aglaya. It is disclosed how in the novel the possibility of a correct interpretation depends on whether the book is read to the end: this fact throws a new light on both the contents of Ippolit’s “Explanation” and the central role of the Apocalypse in the novel. The paper concludes with a brief discussion of the role of Cervantes’ Don Quixote in Dostoevsky’s novel as a complex subtext operating at different levels in different characters, thus identifying possible directions for further research.

A Unique State-Civilization, Its Neighbors and Kinfolk

The West can, though scarcely, cancel Russia. Russia will irreparably be orphaned by losing Hamlet, Don Quixote and D’Artagnan. The West can, though scarcely, cancel itself. Russia cannot and, for all we know, does not want to cancel either itself or the West.

The Mytheme of Way in Cormac McCarthy’s The Road

The way or road is one of the central mythemes in the world literature. It is used as a bone-structure in numerous mythic and literary narratives. In a sense, the myth of Sisyphus, the Epic of Gilgamesh, Homer’s Odyssey, Wolfram von Eschenbach’s Parsifal and other medieval Grail romances, Dante’s Divina Commedia, Cervantes’s Don Quixote, Goethe’s Faust, James Joyce’s Ulysses, T. S. Eliot’s Journey of the Magi and The Waste Land and many other masterpieces of the world literature are embodiments of the mytheme of the way and the mythic motive of quest. The forms of its literary embodiment of the mytheme vary from one literary epoch to another depending on the author’s world outlook and method. As Temur Kobakhidze puts it, in the final analysis, two separate journeys, the historic and the spiritual one, can be presented in any work. The historic journey can take place in the profane time of everyday events, while the spiritual quest endures in the sacred space-time, serving as a binding principle for what can be described as the mythopoeic chronotope of the spiritual quest (Kobakhidze 2008: 94). The narrative structure of Cormac McCarthy’s post-apocalyptic novel The Road is shaped by the mytheme of way or road. A father and his son “journey” alone through burned America. The land is covered with ash, it is cold enough to crack stones, the sky is dark. Cannibals, marauders and lawless bands stalk the road. Their destination is the coast, although they do not know what, if anything, awaits them there. The association with Sisyphus comes to mind immediately – all their efforts to escape the same dangers and overcome the same obstacles endlessly seems to be aimless and even if they reach their destination and survive, there is no sense in survival – it is the world in which no hope remains. In this sense, the narrative structure of the “road” is modelled on the myth of Sisyphus. At the same time, the apocalyptic vision of the total devastation is a literal/physical actualization of T. S. Eliot’s metaphoric image of the “waste land”. All characters, but one, are nameless – McCarthy depicts the all-human condition. While the book details the journey, it is not specified what cataclysm has destroyed the industrial civilization and almost all life. One might assume that the protagonists face the results of Anthropocene – a new geological epoch of significant human impact on geology and ecosystems, including, but not limited to, anthropogenic climate change. Anthropocene is inevitably followed by the era of Posthumanism that is not anthropocentric and therefore not centered in Cartesian dualism. It seeks to undermine the traditional boundaries between the human and inhuman (the animal and the technological). However, it does not mean that what McCarthy offers is the totalization of the posthumanist epistemology. The novel is an unflinching meditation on the worst and the best we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness, love and empathy for others that keeps two people alive in the face of total post-apocalyptic devastation.

GAME THEORY IN POLITICAL SCIENCE. THE PLAYFUL NATURE OF THE CULTURE OF POWER

Politics identifies and strengthens the ways of social development, and the law determines, giving them a universal and legal appearance. Such a coincidence of the regulatory possibilities of politics and law makes it possible to free the culture of exercising power from internal antipsychotics, focusing on social coexistence [Margaryan, 2019, 203,204]. All this keeps public policy not only from the cruel extremes of the political game but also forms the strategic thinking of the political elite in relation to radical changes. It is precisely the absence of such thinking that, marginalizing the socio-political order of countries in a democratic transition (including Armenia), and being tempted by the radical transformation of linear liberalization, the political elite ignores its function of social responsibility like Pierre Menard, the hero of Jorge Luis Borges, manages to rewrite Cervantes' novel “Don Quixote”. Being the greatest expert on the development of game logic in the culture of exercising power through a literary text, Borges shows that Pierre Menard, however, makes a lot of effort, but after finishing his essay, discovers that the new novel he created copies the original one. However, 300 years have passed since the publication of Don Quixote, and the same words, images, language thinking and strategy of exercising power are perceived differently, therefore, the new novel could not be equivalent: people have changed over time, and with them the perception of the game politics of the culture of power has changed either.

Эссе И. С. Тургенева «Гамлет и Дон-Кихот», дописанное Ф. М. Достоевским (к истории идей в России)

The article analyzes F. M. Dostoyevsky’s pronouncements in his Diary of a Writer (1877) concerning the essence of the «Russian idea», those that are directly related to the Don Quixote idea. It is established, through the analysis of the creative history of I. S. Turgenev’s speech Hamlet and Don Quixote (1860) and of the context of its perception in the Russian criticism, that Dostoyevsky had derived his thoughts from the essay by Turgenev.

Don Quixote de la Mancha and the description of biphasic sleep in Spanish literature

Biphasic or segmented sleep is the habit of sleeping a first and a second sleep separated by a watching. The historian A Ekirch found that this was how people slept in pre-industrial times before the powerful artificial lighting. He is based on texts in different languages, from Antiquity to the 20th century, but the absence of sources in Spanish is striking. Review the Spanish literature searching references of the biphasic sleep using the keywords 'first sleep' and 'at the first cockcrow'. In the Second Part of Don Quixote de la Mancha (Chapter 68), Cervantes describes biphasic sleep with remarkable success, correlating the biotypes of Quixote and Sancho with their temperaments and sleeping and eating habits. Strangely, Ekirch cites the chapter, but not biphasic sleep. In this review I reproduce eleven texts in Spanish (13th to 19th centuries), mostly classical works, which refer to it by arranging its phases in a way that coincides with the hours in which the night was divided in the pre-industrial era: 20:00-21:00 to 00:00, first sleep, 00:00 to 03:00, wakefulness; 03:00 to 06:00, second sleep. La Celestina provides significant data too. Recent studies proved that this habit is physiological, and it adapts to the lifestyle that requires it. References to biphasic sleep in Spanish literature are identified and cited for the first time, confirming Ekirch's hypothesis. In Don Quixote, Cervantes describes it with great breadth and sharpness.

Quoting as a Reflection Technique in K. D. Vorobyov's Novella “Here Comes the Giant…”

The article analyzes full and transformed quotations, which act as a means of reflecting on the subject of a speaker, indicate his state depending on the situation and interaction with communication partners. When reproducing the original texts in K. Vorobyov's story “Here comes the giant ...”, the following parameters are taken into account: the situation (prepared / unprepared), the state of the speaking subject – the narrator (permanent / temporary / spontaneous; emotional / unemotional), speech environment (official / unofficial). It is established that the analyzed text contains a wide range of quotations, where allusions and reminiscences predominate. So, appearing in the speech of the hero-narrator, they convey his attitude towards others, situations in general and describe his state. It is noted that there are several authors (L. Andreev, A. Blok, S. Yesenin, E. Hemingway) and source texts (“The ingenious hidalgo Don Quixote of La Mancha”, etc.), which cause a ‘special disposition’ of the speaker's subject - their use due to his attitude and understanding of himself in the world. At the same time, the creative nature of the hero – the writer – does not allow him to stop, he is in constant search of himself, future plots and changes his “masks”, which causes the appearance of various citation inclusions.

El plural concepto del buen carácter

Support for character education has been gaining momentum in recent years, invariably in educational circles across the Anglosphere. This paper distinguishes between good charac- ter and buen carácter and highlights the distinc- tive features of the two meanings attributed to good character, particularly in Spanish. It un- dertakes a philological, philosophical and psy- cho-pedagogical analysis to this end. Moreover, it draws a distinction between temperament and good character and stresses the importance of developing a higher standard for good character, both for oneself and for those in whose hands educational responsibilities are placed. For this purpose, it considers the main human qualities at the heart of of good character based on a tras- cended reading of one of the most prominent representations of Spanish culture, The Ingenious Gentleman Don Quixote of La Mancha.

Fragile Ties: Spanish Themes in Soviet Porcelain

The article is devoted to the study of the so-called Spanish theme in Soviet porcelain. The author analyzes the reflection of the stereotypical perception of Spain in small porcelain sculptures of the Soviet period produced by a variety of manufactures. Among the components of the Spanish theme the author highlights the images of flamenco (Spanish dance), bullfighting, most recognizable heroes of Cervantes such as Don Quixote and Sancho Panza, and fiery Carmen who was created by Prosper Mérimée and has become the stereotypical Spanish woman of the 19th century in the popular imagination thanks to the similarly named music and dance pieces. These traditional components of the perception of Spain in the 20th century were supplemented by the interpretation in propaganda porcelain of the turning point in the Spanish history — the civil war of 1936-1939. The article proposes another perspective on the Spanish theme in Soviet porcelain and considers the formation of the images of Spaniards, men and women. Such images are reflected in all the plots presented herein. Most of the sculptural works by different generations of Soviet porcelain masters are devoted to dance. The author concludes that dance scenes, including the ones that refer to Carmen are fundamental for the Spanish theme in Soviet porcelain.

Un clandestin espagnol en Espagne : le personnage du morisque Ricote dans le Don Quichotte de Miguel de Cervantès (1615)

1492 est une année clé pour l’Espagne : c’est celle de la fin de la Reconquista, avec la prise de Grenade, de l’expulsion des Juifs de la Péninsule, et du premier voyage de Christophe Colomb en Amérique. Tout au long du siècle suivant, l’Espagne fait face à une multitude de reconfigurations et cherche à se définir, avant tout, comme un royaume chrétien ; après la minorité juive, l’autre grande minorité religieuse du pays, celle des musulmans, doit alors choisir entre la conversion ou l’exil. A l’orée du XVIIe siècle, cependant, c'est un processus encore inédit qui se met en route : la monarchie décide d’expulser du territoire espagnol tous les morisques, c’est-à-dire les descendants des derniers musulmans du royaume grenadin qui se sont convertis au Christianisme de manière plus ou moins volontaire selon les cas et les régions. La mesure fait polémique : ce sont des Espagnols chrétiens que l’on prétend bannir. Selon des estimations récentes, ce sont 275 000 morisques qui prennent alors le chemin de l’exil. Pourtant, de ceux-là, beaucoup vont revenir en Espagne, malgré les décrets d’interdiction et les risques de sanctions : ils sont obligés de se cacher, de se faire discrets, et ils deviennent ainsi des clandestins dans leur propre patrie. Le phénomène des retours clandestins des morisques est amplement documenté par la critique ; nous en avons aussi des témoignages significatifs dans les textes législatifs de l’époque, ainsi que dans des œuvres littéraires. L’un des romanciers les plus connus de cette période, Miguel de Cervantès, s’empare de ce problème d’actualité dans la seconde partie, très attendue par le public, de son Don Quichotte. Au chapitre 54, en effet, l’un des personnages principaux, Sancho Panza, rencontre sur la route aragonaise un ancien voisin, Ricote, un morisque qui a dû quitter l’Espagne et qui est revenu clandestinement, à la recherche d’un trésor qu’il a laissé enterré et de sa famille. Ce travail cherchera tout d’abord à approfondir la figure de Ricote (de quelles façons les stigmates de l’exil et de la clandestinité se révèlent-ils en lui ? Comment, et à partir de quels éléments, son identité diffractée se reconfigure-t-elle ?), mais aussi à déterminer les enjeux de la mise en scène de la clandestinité par Cervantès, dans cette oeuvre de grande diffusion et de grand succès public : est-elle en mesure de proposer une autre vision de l’altérité morisque ? En quoi le personnage de Ricote se singularise-t-il par rapport à ses homologues littéraires, et qu’apporte cette vision du clandestin à la problématique morisque ? Enfin, dans quelle mesure cet épisode, qui fait de la question de la clandestinité sa pierre de touche, se constitue-t-il, paradoxalement, en une matrice au sein de laquelle se cristallise une nouvelle conception de la fiction, celle qui fera son chemin, après le Don Quichotte, sous la forme du roman moderne ?

A Clubbable Man: Essays on Eighteenth-Century Literature and Culture in Honor of Greg Clingham

A Clubbable Man: Essays on Eighteenth-Century Literature and Culture in Honor of Greg Clingham