The Legacy of Don Quixote

2020 ◽  
pp. 109-176
Author(s):  
Helen Moore

Reading Amadis in Jacobean England was conditioned by two publishing events: the appearance of the first part of Cervantes’s Don Quixote in 1605, and Munday’s 1618–19 edition of the first four books of Amadis. The revived Jacobean currency of the romance, alongside its association with Ovid and Sidney’s Arcadia as ‘arts of the heart’, explains its appearance in plays by Jacobean and Caroline dramatists including Jonson, Dekker, Massinger, Beaumont, Shirley, Brome, and Davenant. The second half of the chapter examines Amadis as the palimpsest upon which Don Quixote was written and highlights the theme of ‘ravery’ that links Amadis and Don Quixote, drawing examples from the satirical modes in which this topic is played out. This chapter therefore opens up a rich seam of literary allusion and parody that has not previously been studied, as well as shedding new light on the mechanics of reading Don Quixote in England.

2003 ◽  
Vol 14 (3) ◽  
pp. 139-157
Author(s):  
Gudrun Hofmann

Zusammenfassung. Don Quijote und Sancho Panza, von Miguel de Cervantes Saavedras 1605/1612 geschaffene Romanhelden, erfreuen sich auch im Jahre 2003 eines großen Bekanntheitsgrades und sind als komisches Paar berühmt geworden. Beide verstricken sich in Abenteuer, die einzig ihrer Fantasie erwachsen. Im folgenden steht das Komische - aus nicht der Norm entsprechendem Verhalten oder aus wahnhaften Imaginationen erwachsend - in der literarischen Vorgabe wie auch in dem sinfonischen Tongedicht “Don Quixote“ von Richard Strauss im Mittelpunkt. Daran schließen sich Überlegungen zu einer tänzerischen Umsetzung im Rahmen eines therapeutischen Settings an. Es wird analysiert, wie sich Menschen mit unterschiedlichen Persönlichkeitszügen (resp. -störungen) darin wiederfinden können und wie die Charaktere von Don Quijote und Sancho Panza im Sinne einer eigenen Interpretation weiterentwickelt werden können. Aspekte der von Helmut Plessner vertretenen anthropologischen Betrachtungsweise des Lachens beleuchten die nur dem Menschen eigene Fähigkeit komisch zu sein und Komisches wahrzunehmen.


1976 ◽  
Vol 21 (10) ◽  
pp. 679-680
Author(s):  
RONALD K. SIEGEL
Keyword(s):  

2012 ◽  
Author(s):  
Anne-Marie Labbate ◽  
Cilantro ◽  
Cervantes
Keyword(s):  

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 232-269 ◽  
Author(s):  
Ivan Callus

In this essay Ivan Callus provides some reflections on literature in the present. He considers the tenability of the post-literary label and looks at works that might be posited as having some degree of countertextual affinity. The essay, while not setting itself up as a creative piece, deliberately structures itself unconventionally. It frames its argument within twenty-one sections that are self-contained but that also echo each other in their attempt to develop an overarching argument which draws out some of the challenges that lie before the countertextual and the post-literary. Punctuating the essay and contributing to its unconventional take on the practice of literary criticism is a series of exercises for the reader to complete, if so wished; the essay makes no attempt, however, to suggest that a countertextual criticism ought to make a routine of such devices. The separate sections contain reflections on a number of texts and writers, among them, and in order of appearance, Hamlet, Anthony Trollope, Jacques Derrida, The Time Machine, Don Quixote, Mark Z. Danielewski, Mark B. N. Hansen, Gunter Kress, Scott's Reliquiae Trotcosienses, W. B. Yeats, Kate Tempest, David Jones, Anne Michaels, Bernice Eisenstein, Paul Auster, J. M. Coetzee, Billy Collins, Deidre Shauna Lynch, Tim Parks, Tom McCarthy – and Hamlet again. The essay's length fulfils a performative function but also facilitates as extensive a catalogue of aspects of the countertextual in literature and elsewhere as is feasible or as might be dared at this stage.


2011 ◽  
Author(s):  
Frederick A. de Armas
Keyword(s):  

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