Ingenioso Hidalgo Don Quijote De Research Articles

Don Quijote de la Mancha, caballero supremo del hábito de Algeciras: ¿el antecedente perdido del Quijote de Miguel de Cervantes?

About the novel El ingenioso hidalgo don Quijote de la Mancha we propose the hypothesis that Miguel de Cervantes had previously published a short story which has since disappeared, which he expanded afterwards to give rise, in 1605, to the long novel that we know today. A marginal note in a notarial protocol from the island of Tenerife, written around 1604, appears to refer to this short story, which would confirm its existence.

Galleguismo y quijotismo: a propósito del tricentenario del Quijote

En 1905 se cumplía el tercer centenario de la publicación de El ingenioso hidalgo don Quijote de la Mancha, compuesto por Miguel de Cervantes Saavedra. Después de las experiencias de otras celebraciones en el último cuarto del siglo XIX, en particular la de Calderón en 1881, algunos intelectuales españoles proponen una conmemoración grandiosa y espectacular para el tercer centenario del Quijote, idea que retoman los políticos de Madrid. En este artículo vamos a explorar el contexto nacionalista, político y cultural de la propuesta de celebración, pero sobre todo vamos a estudiar cómo es recibida esa propuesta en una nacionalidad histórica como Galicia.

Logodaedalus: Word Histories of Ingenuity in Early Modern Europe

Logodaedalus: Word Histories of Ingenuity in Early Modern Europe

“Estaba en el primero cartapacio pintada muy al natural la batalla de don Quijote con el vizcaíno”; movimiento y ambigüedad en un pasaje ecfrástico en El ingenioso hidalgo don Quijote de la Mancha

Uno de los varios pasajes en los que Cervantes utiliza la técnica de la écfrasis en su obra El ingenioso hidalgo don Quijote de la Mancha, es en la descripción de una imagen que logra unir la primera y segunda parte de la publicación de 1610. Se trata de una imagen plasmada en un cartapacio en la que se retrata la célebre batalla entre en caballero manchego y el vizcaíno. En este escrito intento proponer este pasaje como uno de naturaleza ecfrástica y explico, además, las características peculiares que posee, como es el caso de la enárgeia y los juegos de direccionamiento de miradas que propone su autor.

"Confesar o morir": Faith and Ocular Proof in the Silk Merchant Episode (I.4) of El ingenioso hidalgo Don Quijote de la Mancha

The world that Don Quijote attempts to navigate in the Ingenioso hidalgo Don Quijote de la Mancha is one in which vows are flawed, unsustainable, or completely absent, and where the dastardly effects of broken vows become both the cause and the product of violence. Chapter 4, with its incisive portrayal of the protagonist's systematic misunderstanding of promises and antipathy towards ocular proof, offers an early example of the Quijote's continual representation of the fallibility of vows and Don Quijote's attempts to overcome or overlook them. In particular, the silk merchant episode in the second half of the chapter engages questions exploring the foundation of faith. This episode dramatizes Don Quijote's problematic assumption that his chivalric code is one that all others must obey, while charting the etiology of violence associated with demanding visual evidence and exacting pledges of faith in the Quijote.

Editor's Note

Editor's Note Bruce R. Burningham The Spring 2017 issue of Cervantes brings a couple of significant changes to the journal's staff. First, after many years on our editorial board as one of our esteemed Associate Editors, George Shipley has retired from this position. Second, William Clamurro has also stepped down as our Book Review Editor following his recent retirement as a faculty member at Emporia State University. I would like to thank both George and Bill for their many years of conscientious service to the journal, to the Cervantes Society of America, and to the profession. With regard to our book reviews, I would like to extend a warm welcome to Ana Laguna, who has agreed to serve as the journal's new Book Review Editor. Congratulations, Ana! I look forward to working with you. We begin this Spring issue with an article by Aurora Hermida-Ruiz on Professor James March's pioneering use of "Don Quixote" in the pedagogy of economics, business management, and leadership training. Hermida-Ruiz's essay is followed by two articles that focus on the Novelas ejemplares. Amy Sheeran explores issues related to the significance of blood in "La fuerza de la sangre" in order to productively read this novela's primary genres—the miracle story and the romance—against each other. Sarah Gretter, for her part, examines "El celoso extremeño" within the context of Jerome Bruner's work in cognitive psychology and argues that this particlular novela ejemplar can be read as a paradigm of constructivism. Following these two essays on the Novelas ejemplares, we return to several more articles that focus on Don Quixote. Conxita Domènech examines the "Roque Guinart" episode in part two of the novel and its connection to the Moriscos of Cataluña. William Daniel Holcombe [End Page 7] explores Salvador Dalí's artistic representation of Don Quixote in a mid-twentieth-century US edition of Cervantes's masterpiece. Gabriele Eckart, meanwhile, analyzes the Japanese and German cultural contexts that underpin Yoko Tawada's 2000 play Sancho Pansa. And finally, Stephen Hessel provides a Cervantine reading of the US television program Homeland, exploring the extent to which Cervantes's experience as a captive in the bagnos of Algiers possibly colored his views on Islam and its relationship to the early modern Spanish state. Following this second cluster of Quixote-related articles, we are pleased to publish the script of Edward H. Friedman's solo-performer play Desocupado lector, which premiered in Nashville, Tennessee on 29 September 2014. As always, we end with several book reviews. For the Spring 2017 issue, these consist of a review article by James Iffland on Alonso Fernández de Avellaneda's unauthorized sequel, Segundo tomo del ingenioso hidalgo don Quijote de la Mancha, and four other traditional book reviews: Tatiana Alvarado Teodorika on Ruth Fine's Reescrituras bíblicas cervantinas, Miguel Martínez on Isabel Lozano-Renieblas's Cervantes y los retos del Persiles, Brian Phillips on Valentín Núñez Rivera's Cervantes y los géneros de la ficción, and William Clamurro on Michael Harney's new English translation of the Novelas ejemplares. Finally, many thanks to our anonymous peer reviewers, to my Editorial Assistant, John Beusterien, and to our various Associate Editors for all their hard work and support. And a special thanks to Cristina González Martín. [End Page 8] Copyright © 2017 Cervantes Society of America

Personajes y escenarios: motivos compartidos en "Don Quijote" y "La pícara Justina"

Fecha de recepción: 31 de enero de 2014.Fecha de aceptación: 10 de noviembre de 2015.Este artículo es una comparación entre algunos motivos y tópicos de El ingenioso hidalgo don Quijote de la Mancha y La pícara Justina, obras publicadas en 1605, en el ámbito académico de la época –entendido el término “academia” como tertulia: una incipiente forma de organización intelectual alrededor de intereses culturales comunes. El propósito es mostrar los personajes, las situaciones y los escenarios compartidos. Se propone una reflexión sobre la intertextualidad, así como las coincidencias y discrepancias entre dos obras publicadas en un mismo contexto social y geográfico, pero principalmente literario y académico.

Don Quixote as Inspiration for Anti-Nazi Resistance: Introduction to A. J. Greimas’s “Cervantes and His Don Quixote” (1943)

Don Quixote as Inspiration for Anti-Nazi Resistance:Introduction to A. J. Greimas’s “Cervantes and His Don Quixote” (1943) Thomas F. Broden (bio) The following essay, “Cervantes and His Don Quixote,” makes available to English speakers the first text that A. J. Greimas (1917-92) published, in 1943, at the height of World War II.1 Developed in 16 monographs and some 150 scholarly articles, the research that Greimas produced in French on language, cultural theory, and semiotics earned him international recognition as of the 1960s. He collaborated closely with other prominent intellectuals of his day, including Roland Barthes, Claude Lévi-Strauss, Roman Jakobson, Paul Ricoeur, Michel de Certeau, and Jurij Lotman. For two decades, his seminar at the prestigious École des Hautes Études en Sciences Sociales in Paris annually attracted over a hundred colleagues and students from around the world, including several who went on to become renowned scholars, such as Gérard Genette, Fredric Jameson, Julia Kristeva, Christian Metz, and Tzvetan Todorov. Yet in spite of the author’s brilliant career, his first article has never been republished, nor translated in any language. The neglect stems at least in part from the language in which it was written, Lithuanian, the native language of Algirdas J. Greimas, an ethnic Lithuanian who lived most of his first thirty years in his homeland. “Servantesas ir jo Don Kichotas” celebrates the 1942 publication of the first complete [End Page 159] Lithuanian version of El ingenioso hidalgo Don Quijote de la Mancha, with illustrations by Gustave Doré. Greimas’s friend Aleksys Churginas had collaborated on the project and would go on to produce authoritative translations of Horace, Dante, Shakespeare, Molière, and Goethe. Greimas himself had studied law, earned an undergraduate degree in French philology and medieval studies in Grenoble, and taught Lithuanian literature and French in gymnasium (high school). In 1943, twenty-six-year-old Greimas held a government job in the capital, Kaunas, working as a library expert in the Department of Cultural Affairs. Rather than reviewing or analyzing Don Quixote, the 1943 article steps back to reflect on Cervantes and his hero, on their relation to history, and on what they mean for contemporary Lithuanians. The essay reflects, at times explicitly and at times obliquely, on both the connections and the incommensurability between the writer, his work, and his era, the meditation often resembling a dialogue between the determinism of Hippolyte Taine and the Romantics’ conception of genius. “Cervantes and His Don Quixote” situates author, hero, and readers in their historical and ideological contexts, but also emphasizes that the actions of all three instances can seem to defy logic and causality. Greimas’s essay articulates a humanism which brings together nations and emphasizes their commonality. The first paragraph also observes that Don Quixote possesses specific signification for Lithuanians thanks to the geopolitical situation in which they find themselves in 1943: “The noble hidalgo […]. comes at a time when we require his assistance and advice perhaps the most. In the terrible collision of the giants of this world, our small and dear country desperately needs just such naïve belief in its human cultural mission.” Like all East Central Europeans, Lithuanians stood between two deadly titans in particular: Stalin’s USSR, which had absorbed Lithuania in 1940, and Hitler’s Third Reich, which had invaded and occupied the land in 1941. In early 1942, Greimas joined one of his country’s main anti-Nazi resistance organizations, the Lithuanian Freedom Fighters Alliance (Lietuvos Laisvės Kovotojų Sąjunga), collaborating on its underground newspaper Freedom Fighter (Laisvės Kovotojas). In February 1943, the Third Reich ordered Lithuania to provide a hundred thousand laborers and [End Page 160] to create an SS Legion (Gaidis 167-173; Bubnys 162-170). Combatting these and subsequent similar initiatives became the primary focus of Greimas’s underground activities, including his writings. “Servantesas ir jo Don Kichotas” came out not in a clandestine publication but in an almanac which Greimas helped establish in Šiauliai, a city far enough away from the capital and Vilnius that the German censors approved the project (Jankauskas 15). Beyond the particular significance that Greimas avowedly assigns the hidalgo, much of...

«El ingenioso hidalgo don Quijote» (1605), satire ménippéenne (Prosas nuevas -V- : cartas, relaciones, «Lazarillos», «Guzmanes» y «Quijotes»)

Using categories such as “novel” or “parody of tale of chivalry” is such a common thing that we rarely consider the narrative tradition within which El ingenioso hidalgo don Quijote de la Mancha fell. This article comes back to the jocoseria inspiration and those among Lucien’s fundamental texts which made it possible for Cervantes’s fiction to emerge. Without locking his 1605 text in the Menippean satire genre, Cervantes defines it as a Menippean book. Cervantes could not be satisfied with the adaptation by Mateo Aleman (Primera parte de Guzman de Alfarache) of the old Lucianesque formula (Historia verdadera, El sueno) nor of the short story (Segunda parte del Lazarillo, Crotalon). Envisaged from such a perspective of literary history, the Quijote becomes an alternative to the narrative proposition of Menippean prose.

Assessing Literary Adaptations and Translations for Children: Don Quixote in English

Adaptations and translations of children’s books contribute to modifying and consolidating the literary canon. This article aims to discuss the main theoretical concepts related to the assessment of adaptations for children to analyze certain literary adaptations into English of the Spanish novel El ingenioso hidalgo don Quijote de la Mancha. Target texts must be engaging enough to introduce the children to the novel and maintain their interest when they become adults, which results in deviations from the source text to fit the reader’s expectation and abilities. The reasons affecting the adaptor’s decisions are studied and evaluated.

La intertextualidad en los textos audiovisuales: el caso de Donkey Xote

Este trabajo analiza los elementos de intertextualidad y sus funciones en la película Donkey Xote (2007, José Pozo), adaptación audiovisual para un doble receptor adulto-niño de El ingenioso hidalgo don Quijote de la Mancha (Cervantes, 1604). Dichos elementos existen en casi todas las tipologías textuales e implican un papel activo por parte del receptor al poner a prueba su bagaje cultural. El análisis demuestra que la inclusión de referencias intertextuales contribuye a la construcción del discurso pero tiene también un propósito didáctico al facilitarle un contexto familiar (muchos intertextos son quenotipos, es decir, referencias a la modernidad presentes en textos anclados en épocas anteriores) que le permita acercarse de forma lúdica a una obra clásica de la literatura universal. Al mismo tiempo, la película contiene numerosas referencias intertextuales, la mayoría con una función humorística, que por su complejidad apelan directamente a un público adulto.

Why You Can/’t Believe the Arabian Historian Cide Hamete Benengeli: Islam and the Arabian Cultural Heritage in Don Quixote

Why You Can/’t Believe the Arabian Historian Cide Hamete BenengeliIslam and the Arabian Cultural Heritage in Don Quixote1 Nizar F. Hermes In Don Quixote: A Touchstone for Literary Criticism (2005), distinguished Cervantine scholar James A. Parr does not seem to go too far when he hails Miguel de Cervantes Saavedra’s El ingenioso hidalgo don Quijote de la Mancha (1605–1615)—hereafter Don Quixote—as the perfect model of a “pivotal text,” that is “prescient in its formulation of the strategies of the self-conscious, self-questioning, and other experimental and historical texts of our time” (6). Indeed, in addition to its superlative literary merit and fictional uniqueness, Don Quixote is historically and culturally rich. This is very much true, for example, of the text’s distinctively complex dramatization of the early modern encounter between Europe and Islam. This encounter, of course historically speaking, was primarily embodied in the conflict between Habsburg Spain and the Ottoman Empire, then Europe’s and the Islamic world’s two leading powers.2 Although the Spanish-Ottoman rivalry was performed in different territorial and, mainly, maritime battlegrounds—the Battle of Lepanto (1571) looms large in this regard—the textual ones were not less significant and Don Quixote is a compelling textual illustration.3 In growing numbers, scholars are arguing that the “contact zone,” between Europe and Islam is textually and contextually very detectable throughout the works of Cervantes.4 “Islam,” to quote Frederick Quinn’s The Sum of All Heresies: The Image of Islam in Western Thought (2008), “was a topic not only in French and English political, religious, and cultural writings but also was the focus of a major seventeenth-century Spanish writer, Miguel de Cervantes” (83). While a fair amount of ink has been spilled on the Islamic theme, and that of Algiers in particular, in works such as Los Bagnos de Argel (The Bagnios of Algiers), Los Tratos de Alger (The Traffic of Algiers), El Galardo Español (The Gallant Spaniard) and La Gran Sultana (The Grand Sultana), there still exits a lacuna when it comes to exploring Cervantes’ complex representation of Islam and his attitude towards the Arabo-Islamic cultural heritage in his magnum opus. Through addressing what I see as Cervantes’ reference to the medieval propaganda myth of “the idol Mahomet,” his literary transfiguration of the early modern subversive phenomenon of the conversion to Islam, and his ambiguous feelings [End Page 206] towards the Arabian historian Cide Hamete Benengeli, I will re-visit Cervantes’ views of Islam and Muslims. I will, further, explore—again, what I see as—the not yet duly studied possible Arabic influence on Don Quixote. I will do so by comparing, for the first time in Cervantine scholarship, the Moorish tale (i.e., “The Captive’s Tale”) to the Arabian Alf Layla wa-Layla’s Frankish tale known alternatively as “Princess Miriam the Girdle-girl, Daughter of the King of France” and “The Love Tale of ʿAli Nur al-Din the Cairene and Princess Mariam, Daughter of the King of France.” I will finally, albeit briefly, draw attention to the Arabic maqāma genre whose features and motifs bear some striking similarities to some of the salient narratological and structural aspects of Don Quixote. The hope is to stir further interest and future research on the possible (in)direct influence of the Arabic maqāma genre on Don Quixote.5 It is “universally acknowledged” that Don Quixote is introduced at the beginning of the narrative as an obsessive reader of romances of chivalry and a zealous admirer of Christian knights. “In short,” we are told, “our gentleman became so caught up in reading that he spent his nights from dusk till dawn and his days reading from sunrise to sunset” (21). In his seemingly never-ending disputes with his entourage, specifically the learned curate of the parish and the connoisseur Master Nicholas, barber of La Mancha, he prides himself on fervently defending the valor of his favorite knights Amadís de Gaula, El Cid Ruy Díaz, Bernardo del Carpio,6 giant Morgante, and Reinaldos de Montalban.7 We need to keep in mind that most, if not all, of the aforementioned...

¿Por qué Villanueva de los Infantes es el “lugar de La Mancha” en El Quijote?

Se parte del hecho de que El Ingenioso Hidalgo don Quijote de La Mancha es solo una novela. Se trata sí, de una historia, de un relato ficticio, pero también en tanto que representativa de las primeras novelas realistas, describe sitios, épocas y personajes que correspondían a los siglos XVI y XVII cuando fue concebida o escrita. La Mancha, El Toboso, Barcelona, la expulsión de los moriscos por Felipe III o la mención al bandido Roque Guinart en Cataluña, demuestran que Cervantes estaba describiendo sitios, personajes y épocas reales. ¿Por qué no intentar conocer el “lugar de La Mancha” de donde salió don Quijote? En el presente trabajo, y a partir de diferentes metodologías utilizadas por el autor en trabajos anteriores, se va a pre-verificar que dicho lugar fue Villanueva de los Infantes, en la parte sureste de la provincia de Ciudad Real.

‘El curioso impertinente’ as Empiricism's Folly

This article proposes a new model for interpreting ‘El curioso impertinente’, the interpolated novela in El ingenioso hidalgo Don Quijote de la Mancha (1605). After underscoring the difficulties of relating the Quijote to sixteenth-century scepticism, I show how the ‘Curioso’ is ideal for a treatment of epistemological questions. I argue that the novela gives fictional life to an epistemology of experimentation similar to what Francis Bacon presents in The Advancement of Learning (1605). In The Advancement of Learning, Bacon warns against the dangers of applying his empirical methods to questions of faith. ‘El curioso impertinente’ shows that these concerns are justified.

Magia terapéutica en el Segundo tomo del ingenioso hidalgo don Quijote de la Mancha de Alonso Fernández de Avellaneda: el romance del conde Peranzules y una réplica a Cervantes

Miguel de Cervantes included several ballads in his Don Quixote of 1605. Alonso Fernández de Avellaneda imitated this practice in his sequel to Cervantes's novel. One of the ballads of Avellaneda's Segundo tomo del ingenioso hidalgo don Quijote de la Mancha is the “ballad of Count Peranzules,” which was mentioned by Sancho Panza during the episode of the melons. Avellaneda, a defender of both religious orthodoxy and immobility within social structures, used this ballad to criticize the presence of magical incantation in some passages of Cervantes's first Don Quixote . The ballad of Count Peranzules has not yet been identified but it might be related to the ballad of Count Pero Vélez.

Postscript to Don Quijote: Hero or Fool? Remixed

9 Postscript to Don Quijote: Hero or Fool? Remixed _____________________________________________John Jay Allen For Ana Rueda I n one of her poems, Marianne Moore says that poetry presents us with “imaginary gardens with real toads in them” (135). Don Quixote invents an alternative reality that requires him to show his bravery by attacking evil. The descent into the Cave of Montesinos is one of a number of attempts to demonstrate the strength of his spirit. Deep into part two, he makes a pact with Sancho: “Sancho, pues vos queréis que se os crea lo que habéis visto en el cielo, yo quiero que vos me creáis a mí lo que vi en la cueva de Montesinos. Y no os digo más” (2.41:373). His performance throughout has given us a mock epic. Once, though, he is presented with what looks to him like a serious threat: the batanes. Dumbstruck by the discovery that the terrifying noise is made by fulling mills, he is stunned and embarrassed. When Sancho bursts out laughing, Don Quixote has to laugh himself. It is only when Sancho launches into an elaborate parody of Quixotic bombast, kicking the usual archaism up a notch, that his master strikes him with his lance and asks for a real test: “Haced vos que estos seis mazos se vuelvan en seis jayanes, y echádmelos a las barbas uno a uno, o todos juntos, y cuando yo no diere con todos patas arriba, haced de mí la burla que quisiéredes” (1.20:289). Much later, Sansón Carrasco, disguised as The Knight of the White Moon, attacks and defeats Don Quixote, threatening him with death 10 Cervantes John Jay Allen if he denies the supremacy of Casildea de Vandalia. Don Quixote has no idea who it is that has a sword at his throat. He has finally elicited a real toad for his imaginary garden, and his reaction is heroic: “Aprieta, caballero, la lanza, y quítame la vida, pues me has quitado la honra” (2.64:572). jjallen@kih.net University of Kentucky (Emeritus) Works Cited Cervantes, Miguel de. El ingenioso hidalgo Don Quijote de la Mancha. Ed. John Jay Allen. 2 vols. Madrid: Cátedra, 2005. Moore, Marianne. The Poems of Marianne Moore. Ed. Grace Schulman. New York: Viking, 2003. ...

Avtorja Veleumnega plemiča Don Kihota iz Manče

Avtorja Veleumnega plemiča Don Kihota iz Manče

“Famoso [y valiente] hidalgo”: sobre conjeturas y deturpaciones textuales

Las manipulaciones textuales a las que ha sido sometido recientemente el epígrafe del capítulo primero de El ingenioso hidalgo don Quijote de la Mancha ofrecen un ejemplo palmario de los peligros críticos que entraña la Bibliografía Material manejada a la ligera. Si bien es cierto que los “retoques” textuales espurios, provocados por la “cuenta del original” que exigía la “impresión por formas”, estaban a la orden del día en las imprentas manuales de los Siglos de Oro, no es menos evidente el riesgo de deturpación que acecha a su enmienda indocumentada. En este caso, se pretende restituir una supuesta omisión involuntaria de cajista, famoso [y valiente] hidalgo, cometida contra el texto original del epígrafe del capítulo primero del Quijote, al amparo de que así consta en la “Tabla de los capítulos” de la edición príncipe. Sin embargo, abundan las evidencias tipográficas para concluir exactamente lo contrario: más bien se trata de una adenda apócrifa, introducida por el componedor de la “Tabla” a partir de un original famoso y valiente, y encaminada tan sólo a solucionar el espacio en blanco sobrante en el último cuaderno del libro. La enmienda, pues, lejos de restituir original alguno, lo que hace es deturpar la redacción cervantina suplantándola por un evidente trampantojo tipográfico. Convendría no olvidar nunca que el único texto cervantino del primer Quijote con autoridad crítica salió de las prensas de Juan de la Cuesta allá por las Navidades de 1604-1605...

Una lectura del Quijote. Avellaneda y el Conde Peranzules

Este trabajo está dedicado a un aspecto de la desatinada lectura de Avelladena que dio lugar a la pretendida continuación de la “genial invectiva contra los libros de caballería” de Miguel de Cervantes. Se centra en la utilización que hace Avellaneda de romances relacionados con el cerco de Zamora para componer su espuria continuación de El Ingenioso Hidalgo don Quijote de la Mancha y su posible influencia en la segunda parte del Quijote cervantino.

Don Quijote on the Plains: Harnessing Enthusiasm for the "Quijote" at the Undergraduate Level

Teaching Miguel de Cervantes's El ingenioso hidalgo don Quijote de la Mancha in the undergraduate class room can pose a myriad of linguistic and contextual challenges for students distanced from the text by the space of four hundred years. This paper details teaching strategies that incorporate linguistic activities, film, references to visual culture, and discussion to encourage deep learning on the part of undergraduate readers of Cervantes's classic novel.