The Homer of Romancy-Writers

2020 ◽  
pp. 177-212
Author(s):  
Helen Moore

This chapter’s title quotes Margaret Cavendish’s description of Amadis and it explores the return to prominence post-1660 of Amadis’s relationship to French, rather than Spanish, literary culture. Don Quixote’s ‘witty abusing’ of chivalric romance is tempered from the 1650s by the importation of heroic romance from French and the development of ‘serious’ romance which defines itself in opposition to its Iberian forebears. Amadis became part of the Restoration refashioning of antebellum literary culture partly thanks to English writers’ experience of exile in France and the Low Countries. After the Restoration, Amadis continued to be a popular reference point in comedies, as the archetypal text of ‘amour and adventure’ and a window onto the lost world of Caroline theatre. Behn’s Luckey Chance (1686) and Farquhar’s The Inconstant (1702) are representative of this refashioning of the literary past, while D’Urfey’s Don Quixote plays of the 1690s look back to Jacobean stage satire.

PMLA ◽  
1923 ◽  
Vol 38 (2) ◽  
pp. 401-411
Author(s):  
Philip Stephan Barto

The Don Quixote of Miguel de Cervantes Saavedra was written (1606-1615) in ridicule of the chivalric romance at that time so overwhelmingly popular. The sickening exaggeration of these latter-day tales of knighthood apparently not only cloyed Cervantes but excited his sense of the ludicrous as well, giving him the idea of turning upon this type of story his powers of subtle satire. Since Cervantes was a man of by no means great academic erudition, what he knew of the background of knightly romance he had doubtless secured in the everyday way of popular reading. Certain high lights must naturally enough have struck his attention in his perusal of current tales of chivalry, and such came in for especial attention in his Don Quixote. Each episode of the book has, indeed, its more serious counterpart in the literary background which inspired Cervantes to his task.


2021 ◽  
Vol 8 ◽  
pp. 33
Author(s):  
Roger Boase

Research on the court ladies who participated in Pinar’s Juego trobado, a card game in verse completed in 1496, led to the discovery that María de Velasco, wife of Juan Velázquez de Cuéllar, and adoptive-mother of Ignatius Loyola, subsequently appears in several literary texts, the first of which is the Carajicomedia, where she is metamorphosed into an old prostitute skilled in the arts of seduction. Surprisingly, I have detected her presence in La novela del licenciado Vidriera, one of Cervantes’ Novelas ejemplares: each of the names of the main character, given or adopted during the course of his life, is linked in some way with this lady; and, furthermore, there are other correspondences, above all the symbolism of the quince. This begs the question whether the tale was intended to convey a coded message, and if so, one wonders what kind of message.  This discovery also seems to add some credence to the theory that in Don Quixote Cervantes wished to parody the life of Ignatius Loyola as well as the heroes of chivalric romance.


Author(s):  
Jane Gilbert ◽  
Simon Gaunt ◽  
William Burgwinkle

This chapter connects northern Italy with networked vectors of transmission encompassing the Low Countries, Britain, France, and the eastern Mediterranean: Arthurian prose romance is a vehicle for, and an instrument of, a pan-European chivalric vision of the past, present, and future. This Christianizing interest in figures like Tristan and Guiron le Courtois connects Italy with the Low Countries and the eastern Mediterranean in particular. A key feature of the transmission of this material, and one that grows in importance by the fourteenth century, is compilation. The famous Arthurian compilation (c. 1270) of Rusticiaus de Pise gathers episodes from different romance traditions. Guiron le Courtois circulates in ever-expanding compilations between the Low Countries and Northern Italy.


2018 ◽  
Vol 3 (2) ◽  
Author(s):  
Kieran Minihane ◽  
Ann Payne

<p>“Photography can only represent the present. Once photographed, the subject becomes part of the past.” Berenice Abbott (July 17, 1898 – December 9, 1991). To me photography is about capturing a moment, a single moment in time, a single image. Most of us these days are amateur photographers with our camera phones. A picture tells a thousand words they say. A bride on her wedding day, a child killed by a bombing, a beautiful mountain range, a riot, boats , hurricanes...anything you take a photo of is a moment in time, a split second… then it is history.</p><p>So what role does photography have in Emergency Medical Services (EMS)? It's about education, history, promoting, documenting, recording. Looking back on old photographs we can see how far we have come in terms of equipment, personnel, and training. Without the photos we would have no reference point. It’s a sobering thought that the photos we take today in good faith may in fact be the warnings of tomorrow. </p><p>Who doesn’t love to look back at photographs when they first started in EMS? Looking to pick out who is still in the job, who has lost the most hair and maybe who has passed away. Sitting around a table, having a cup of coffee with your colleagues, talking about a call you just did, maybe a bad call, someone breaks the tension; “Time for a photo?” Most will smile and join in, some will refuse - each to their own, but a time will come when you look back on these photos remembering not only the bad call but also remembering who had your back that day.</p><p>Formal EMS events provide a means to mingle and connect and a chance for a photographer to capture a moment in time, the atmosphere, the faces, the colour, the pomp. But in fact, this is also recording history of the EMS staff at that moment in time.</p><p>Of course there is a graphic side to EMS photography. Photographers will be held to account to portray individuals and scenes with the utmost respect to the patient and their families.(1) Passers-by can be opportunistic and sometimes thoughtless at crisis scenes.(2) So we ask...is it okay to photograph a person in their last few minutes? Graphic photos taken by EMS personnel can be used as a training tool, a reference point and a visual aid when you get to the emergency department. Like a T- boned car, a bullseye impact in the windscreen… a picture tells a thousand words. But where is the line drawn…or is there a difference?</p><p>The National Press Photographers Association (NPPA) Code of Ethics Summary guide expresses this nicely as: “Photographic and video images can reveal great truths, expose wrongdoing and neglect, inspire hope and understanding and connect people around the globe through the language of visual understanding. Photographs can also cause great harm if they are callously intrusive or are manipulated”.(3)</p>


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.


2018 ◽  
Vol 39 (2) ◽  
pp. 99-106 ◽  
Author(s):  
Michał Białek ◽  
Przemysław Sawicki

Abstract. In this work, we investigated individual differences in cognitive reflection effects on delay discounting – a preference for smaller sooner over larger later payoff. People are claimed to prefer more these alternatives they considered first – so-called reference point – over the alternatives they considered later. Cognitive reflection affects the way individuals process information, with less reflective individuals relying predominantly on the first information they consider, thus, being more susceptible to reference points as compared to more reflective individuals. In Experiment 1, we confirmed that individuals who scored high on the Cognitive Reflection Test discount less strongly than less reflective individuals, but we also show that such individuals are less susceptible to imposed reference points. Experiment 2 replicated these findings additionally providing evidence that cognitive reflection predicts discounting strength and (in)dependency to reference points over and above individual difference in numeracy.


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

PsycCRITIQUES ◽  
2012 ◽  
Vol 57 (50) ◽  
Author(s):  
Nancy Franklin
Keyword(s):  

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