The History of Don Quixote of the Munchas

1896 ◽  
Vol s8-IX (235) ◽  
pp. 519-519
Keyword(s):  
Don Quixote ◽  
History Of

scholarly journals Male Postpartum Preface: Cervantes and Lord Byron’s Prefaces to Don Quixote and Childe Harold’s Pilgrimage

Hawliyat ◽  
2018 ◽  
Vol 17 ◽  
pp. 11-32
Author(s):  
May Maalouf
Keyword(s):  
Psychological Symptoms ◽  
Birth Certificate ◽  
Lord Byron ◽  
Don Quixote ◽  
Postpartum Anxiety ◽  
Parental Relationship ◽  
Fictitious Character ◽  
History Of ◽  
Engagement And Disengagement ◽  
Female Power

The purpose of this paper is to attend to the preface as an important element in understanding the symbiotic relationship between author and text, especially when a male author assumes the female power of procreation. In the prefaces to Don Quixote Part I and II and Childe Harold's Pilgrimage, Cervantes and Lord Byron, respectively, identify their main heroes as their 'child of the imagination/brain '. Nevertheless, in many instances we encounter moments of anxiety manifested in a dialectic of engagement and disengagement, owning and disowning, of denying and defending theirfictional personages. To Cervantes, Don Quixote is "child of his brain", the son, and yet hes also the stepson, who eventually ends up no more than a brave knight; to Byron, as well, Childe Harold was initially called Childe Burun, but later on is referred to as just a "fictitious character" from whom Byron tried to disengage throughout the poem. This equivocal and dialectical discourse ofembracement and abandonment could be better understood by extending the birthing metaphor to encompass postpartum anxiety. In the prefaces, both Cervantes and Byron Platonic male spiritual pregnancy is combined with the female physical and psychological symptoms of giving birth and its qftermath. Thus, the preface becomes a birth certificate not only legitimizing the hero, but also problematizing the parental relationship between father/author and son/text or hem, for it involves more than the ontological history Of the hem or the text.

scholarly journals Miguel de Cervantes’s Don Quixote and John Barth’s The Sot-Weed Factor: A Deconstructive Reading

2017 ◽  
Vol 1 (1) ◽  
pp. 333-341
Author(s):  
Javier Martín-Párraga
Keyword(s):  
English Language ◽  
Don Quixote ◽  
Point Of View ◽  
General Point ◽  
John Barth ◽  
Western Literature ◽  
History Of

Abstract Miguel de Cervantes’s Don Quixote is one of the earliest and most influential novels in the history of Western literature. John Barth’s The Sot-Weed Factor, published almost three centuries later, can be considered as one of the most seminal postmodern novels ever written in the English language. The goal of this paper is to examine Cervantes’s influence on John Barth in particular and in American postmodernism from a more general point of view. For the Spanish genius’ footsteps on American postmodernism, a deconstructive reading will be employed. Consequently, concepts such as deconstruction of binary opposites, the role of the subaltern or how the distinction between history and story are paramount to both Cervantes and Barth will be used.

scholarly journals The Much Esteemed History of the Ever-Famous Knight Don Quixote de la Mancha (1699). El éxito editorial de una traducción abreviada inglesa

2009 ◽  
Vol 41 ◽  
pp. 135
Author(s):  
José Manuel Lucía Megías ◽  
J. A. G. Ardila
Keyword(s):  
Don Quixote ◽  
La Mancha ◽  
History Of

Análisis de una poco conocida versión abreviada del Quijote en inglés, publicada en Londres por N. y M. Boddington en 1699, y reeditada en varias ocasiones en los siglos XVIII y XIX. Se editan y analizan los paratextos literarios que acompañan la obra, así como las estampas que la ilustran. En el siglo XVII se publicaron cuatro traducciones abreviadas del Quijote, y, como se demuestra en este artículo, la versión de 1699 fue la que mejor acogida recibió. Se resalta aquí la importancia de esta obra para conocer mejor la primera recepción del Quijote en tierras inglesas.

Konstantin Vysotsky and the Media Revolution in a Siberian Regional Town of the Second Half of the 19th Century

2021 ◽  
pp. 86-102
Author(s):  
Natalya P. Dvortsova ◽  
Keyword(s):  
19Th Century ◽  
Cultural Practice ◽  
Don Quixote ◽  
Book Printing ◽  
Cultural Transformations ◽  
History Of ◽  
The Media ◽  
The 19Th Century ◽  
The City ◽  
Printing House

The article describes the activities of Konstantin Vysotsky (1836-1886), who was first to open a photographic studio (1866), a lithographic studio (1867), a printing house (1869), and a newspaper (1879) in Tyumen. The first consideration of Vysotsky in the context of the history of the media and their transformations/revolutions contributes to the novelty of the research. It allows for a description of his experience of media transformations in a Siberian regional town of the second half of the 19th century in a systematic way, as opposed to the local and fragmentary descriptions which existed in science until now. The research methodology is integrative in nature: the study of book printing as a cultural practice in connection with economic, social and cultural transformations within the boundaries of cultural history (F. Barbier) is combined with contextual and intertextual approaches, bibliological and structural-typological analysis. The research material contains Vysotsky’s book, photographic, lithographic, and newspaper heritage stored in the Russian National Library, Tobolsk Historical and Architectural Museum-Reserve, I.Ya. Slovtsov Museum Complex (Tyumen), and the Digital Collection of the University of Tyumen entitled K.N. Vysotsky and the Media Culture of Tyumen. Vysotsky is presented both as an object and a subject of the economic, technological, social, and cultural transformations of the city. He was actively and creatively changing it. Based on the analysis of Vysotsky’s journalistic and publishing activities, his role in the history of the Tyumen shipping company and railway is revealed. The connection between Vysotsky and the landscape transformations of the city is shown. The idea that Vysotsky’s figure can be interpreted in the context of the phenomenon of new people in Russia in the 1860s-1870s is introduced. It is shown that the Tyumen generation of new people (N.M. Chukmaldin, K.N. Vysotsky, I. A. Kalganov, etc.) with their daily practices (reading, self-education, movement towards “light and will”, a new order in servant-master relations) was being formed largely under the influence of Nikolay Chernyshevsky’s novel What Is to Be Done? Tales of New People (1863), Nikolai Yadrintsev’s ideas of Siberian renovation, Ivan Turgenev’s interpretation of the image of Don Quixote (Hamlet and Don Quixote, 1860). Intertextual connections of the system of motifs revealing the image of new people in Nikolai Chukmaldin’s memoirs Notes on My Life (1902) and Chernyshevsky’s novel are presented. It is established that the first book published by Vysotsky, Charter of the Estate Manager Club in Tyumen, actually became a message about a new life of the city which Vysotsky and Chukmaldin addressed to the people of Tyumen. Another finding is the logic of Vysotsky’s professional development from photography to book printing. The author discusses the structure of the Vysotsky printing house repertoire dominated by documentary and non-fiction genres (road books, statutes, reports, calendars, catalogs, etc.). The complementarity of the book and visual (photographic and lithographic associated with the graphosphere) portraits of Tyumen created by Vysotsky contributed to a new hyper-reality which appeared in the city.

scholarly journals The casting of Sancho in Durfey’s The Comical History of Don Quixote, Parts I-II (1694)

Sederi ◽  
2015 ◽  
pp. 155-167
Author(s):  
María José Mora
Keyword(s):  
Don Quixote ◽  
Textual Evidence ◽  
History Of ◽  
Central Characters

Thomas Durfey’s The Comical History of Don Quixote, Part I and Part II were produced by the United Company in May/June, 1694. As was customary practice, the central characters were taken by the same actors in both plays. The signal exception was the character of Sancho, which in Part I was given to Thomas Doggett, a junior but already popular comedian, and in Part II to old Cave Underhill, who had been acting since the reopening of the theatres in 1660. The reasons for this change seem to be related to the disputes between the managers and actors on the matter of salaries. Textual evidence suggests that, as he was writing the second part, Durfey may not have been certain who would finally play Sancho. Meta-theatrical allusions show that at one point he had Doggett in mind, but eventually revised the dialogue to introduce jokes that were specifically targeted for the older comedian.

Receiving Romance

2020 ◽  
pp. 24-42
Author(s):  
Helen Moore
Keyword(s):  
Social Contexts ◽  
Don Quixote ◽  
The Political ◽  
History Of Reading ◽  
Cultural Conditions ◽  
History Of ◽  
And Function ◽  
Historical Periods

This chapter explains the book’s methodologies in the history of reading and elaborates its theory of ‘removed’ reading. ‘Removed’ reading describes the acquisition of familiarity with an anterior text through the reading of a posterior text in which it is embedded, as Amadis is in Don Quixote. The political and cultural conditions that determined and inflected Anglo-Spanish relations across the relevant centuries are outlined, and their implications for the reading of romance explored, as is the long-standing function of French as an intermediary for translated Spanish works in English. The second half of the chapter addresses the act and function of allusion-making, and outlines the modes and strategies of reading romance that are deployed or advocated in different historical periods and social contexts, with a particular focus on gender and reading.

scholarly journals Experiencing the limits

2020 ◽  
Vol 29 ◽  
Author(s):  
Carles Magrinyà
Keyword(s):  
Don Quixote ◽  
Transitional Space ◽  
Literary Works ◽  
The Real ◽  
Literary Forms ◽  
History Of Religions ◽  
History Of ◽  
Chivalric Romances ◽  
Greek Novel

The meaning of the cave is ancestral. It is a transitional space that functions as a threshold between the real, the mystical, and the imaginary. Experiences in caves are highly important in the history of religions and literature, and have been adopted transculturally by mystics, esoteric organizations, alchemical treatises, and many literary forms, such as the Greek novel, Dante’s Commedia, and chivalric romances. In my paper, I will first give an interdisciplinary overview of representations of this space in different traditions and literary works up to the Renaissance. I will then focus on how Miguel de Cervantes’s Don Quixote updates these representations, and study how the visions and experiences of the knight in a cave are crucial in his recovery from insanity.

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