The Spanish Baroque Novel

2018 ◽  
pp. 496-515
Author(s):  
Enrique García Santo-Tomás
Keyword(s):  
Early Modern ◽  
Short Story ◽  
Golden Age ◽  
Don Quixote ◽  
The Novel ◽  
Miguel De Cervantes ◽  
Modern Culture ◽  
European Tradition ◽  
Spanish Baroque ◽  
Novela Cortesana

Don Quixote’s immediate success in Spain and abroad provides us with many tools to analyze the development of the novel in early modern culture not only from aesthetic and political perspectives, but from social and financial ones as well. This novel is also a pioneer for other reasons: the publication of its first part in 1605 coincides with what traditional historiography has considered the “Spanish Baroque,” a period covering a century of unparalleled artistic achievements but also of relentless historical decay. In masterpiece after masterpiece, through genres like the picaresque and the novela cortesana and formats like the short story and the comedia novelada, authors from Miguel de Cervantes (1547–1616) to Francisco Santos (1623–1698) elevate the novel where their Renaissance fathers had taken poetry a century earlier, to a veritable “Golden Age.” Framing the analysis in the wider European tradition, this chapter examines some of the greatest achievements of this era in Spain, taking into account those same parameters cited above that made Cervantes’s creation such a successful one.

The Diabolical Adventures of Don Quixote, or Self-Exorcism and the Rise of the Novel

2002 ◽  
Vol 55 (1) ◽  
pp. 192-223 ◽  
Author(s):  
Hllaire Kallendorf
Keyword(s):  
Religious Belief ◽  
Golden Age ◽  
Don Quixote ◽  
The Novel ◽  
Spanish Golden Age ◽  
Autonomous Action

This study explores Cervantes’ appropriations of the terminology and imagery of Catholic exorcists and demonologists in the Spanish Golden Age. The “lucid intervals” of Don Quixote, his constant sense that someone pursues him, and his explicit voicing of the words of the exorcism ritual can only be understood fully in relation to contemporaneous religious belief. This essay also argues that the devilishly-described Don Quixote exorcized himself. This action anticipated self-exorcism as preached by the Franciscan Diego Gómez Lodosa. In Cervantes studies, Don Quixote's selfexorcism will become paradigmatic of the autonomous action of this first novelistic character.

scholarly journals Cervantes and Don Quixote de la Mancha

2016 ◽  
Vol 22 (6) ◽  
pp. 397-401
Author(s):  
Femi Oyebode
Keyword(s):  
Spanish Literature ◽  
Don Quixote ◽  
Fictional Characters ◽  
The Novel ◽  
Miguel De Cervantes ◽  
Modern Novel ◽  
La Mancha ◽  
Sancho Panza

SummaryMiguel de Cervantes, the most influential writer in Spanish literature, created two of the most recognisable fictional characters, Don Quixote de la Mancha and Sancho Panza, in 1605. His novel The Ingenious Hidalgo Don Quixote de la Mancha is regarded as the first modern novel and first international best seller. This article, in the 400th anniversary year of Cervantes' death, introduces Cervantes' biography, discusses the enduring features of his classic novel and explores the value and importance of the novel for psychiatry.

scholarly journals Las ninfas de los ríos: Echo(s) zwischen Miguel de Cervantes, Paul Valéry und Jorge Luis Borges als Grundlegung einer Theorie literarischer Resonanz

2021 ◽  
Vol 56 (1) ◽  
pp. 44-64
Author(s):  
Anita Traninger
Keyword(s):  
Early Modern ◽  
Short Story ◽  
Jorge Luis Borges ◽  
Literary Texts ◽  
First Passage ◽  
Miguel De Cervantes ◽  
Don Quijote ◽  
Patron Saint ◽  
Starting Point ◽  
The Voice

Abstract The article takes as its starting point a reading of Jorge Luis Borges’ short story Pierre Menard, autor del Quijote, focusing on the first passage from Cervantes’ Quijote that is quoted verbatim in the text. An invocation of the river nymphs and the nymph Echo („las ninfas de los ríos, la húmida y dolorosa Eco“), it is singled out by the narrator as bearing the voice of Pierre Menard despite having never been attempted by him in his project of writing Don Quijote again. I argue that the invocation of Echo does not point to a duplication of the text. Rather, Echo’s early modern acceptation, that of a dialogue partner that not only answers, but answers back and says different things with the same words, encapsulates Menard’s project as such and, beyond that, a theory of literary resonance. Paul Valery’s poems and essays, to which Borges’ story variously alludes, underpin this reading of Echo as the patron saint of a theory of resonance that accounts for the necessary openness of literary texts to deviant interpretations, in particular those that could not have been foreseen or desired by their authors.

“The Village of Stepanchikovo and its inhabitants”and “The Raid on Barsukovka”: parody-satirical modein the image of the estate by F.M. Dostoevsky and M.A. Kuzmin

2020 ◽  
pp. 85-98
Author(s):  
Elena Yu. Safronova ◽  
Keyword(s):  
Short Story ◽  
Golden Age ◽  
Russian Literature ◽  
Point Of View ◽  
The Novel ◽  
Silver Age ◽  
Xix Century ◽  
The Village

The article explores the dynamics of comic depiction of the “estate topos” in Russian literature since the mid-XIX century to early XX century. The article is based on the novel “The Village of Stepanchikovo and its inhabitants. From the notes of the unknown” (1859) by F.M. Dostoevsky and the short story “The Raid on Barsukovka” (1914) by M.A. Kuzmin. It is shown that already in the time of Dostoevsky’s mature creativity in Russian literature there were recognizable stamps of the so-called “estate story”, which the author of “Village Stepanchikovo” parodies in a satirical way. In the Silver age, when Kuzmin created his story, the passeistic ideal of the Golden age of the Russian “estate culture” had been already formed with its sublime aestheticized perfection, which was considered by the author of the beginning of the XX century in a humorous way. Thus, the criticism of the extremes and distortions of the “estate culture” in Dostoevsky’s novel was of a more serious and radical, socio-psychological nature in comparison with its denial by a number of writers of the turn of the XIX– XX centuries from the point of view of “pan-aestheticism” of the Silver age.

Thine and Mine: The Spanish “Golden Age” and Early Modern Studies

PMLA ◽  
2011 ◽  
Vol 126 (1) ◽  
pp. 217-224 ◽  
Author(s):  
Margaret R. Greer
Keyword(s):  
Early Modern ◽  
Golden Age ◽  
Don Quixote ◽  
Spanish Golden Age ◽  
The Earth ◽  
Definition Of

Don Quixote, having shared the goatherds' rustic meal on his second sally, takes up a handful of acorns and launches into his lecture on the Golden Age: “Dichosa edad y siglos dichosos aquellos a quien los antiguos pusieron nombre de dorados, y no porque en ellos el oro, que en esta nuestra edad de hierro tanto se estima, se alcanzase en aquella venturosa sin fatiga alguna, sino porque entonces los que en ella vivían ignoraban estas dos palabras de tuyo y mío” ‘Blessed the time, and blessed the centuries, called by the ancients the Golden Age—and not because, then, the gold which we in our age of iron so value came to men's hands without effort, but because those who walked the earth in that time knew nothing of those two words, thine and mine.’ Bewildering as his harangue was for the listening goatherds, Don Quixote's introduction invites consideration of the location, ownership, and definition of the Spanish “Golden Age.” These aspects illuminate the challenge the period presents to early modern studies and vice versa.

Humor in der Therapie. Lachend auf Distanz gehen, Ängste lachend besiegen

2003 ◽  
Vol 14 (3) ◽  
pp. 139-157
Author(s):  
Gudrun Hofmann
Keyword(s):  
Don Quixote ◽  
Miguel De Cervantes ◽  
Don Quijote ◽  
Richard Strauss ◽  
Sancho Panza

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.

Crumbling into Dust

2017 ◽  
Author(s):  
John Levi Barnard
Keyword(s):  
Short Story ◽  
Literary History ◽  
Richard Wright ◽  
The Novel ◽  
Unfinished Business ◽  
Black Newspapers ◽  
American Literary History ◽  
Antebellum Period ◽  
David Walker ◽  
Historical Times

This chapter situates Chesnutt’s writing within a tradition of black classicism as political engagement and historical critique extending from the antebellum period to the twentieth century and beyond. Reading Chesnutt as a figure at the crossroads of multiple historical times and cultural forms, the chapter examines his manipulation of multiple mythic traditions into a cohesive and unsettling vision of history as unfinished business. In the novel The Marrow of Tradition and the late short story “The Marked Tree,” Chesnutt echoes a nineteenth-century tradition that included David Walker, Henry Highland Garnet, and writers and editors for antebellum black newspapers, while at the same time anticipating a later anti-imperial discourse generated by writers such as Richard Wright and Toni Morrison. Chesnutt provides a fulcrum for a collective African American literary history that has emerged as a prophetic counterpoint to the prevailing historical consciousness in America.

The Progresses, Processions, and Royal Entries of King Charles I, 1625-1642

2020 ◽  
Author(s):  
Siobhan Keenan
Keyword(s):  
Early Modern ◽  
Case Studies ◽  
Civil Wars ◽  
The Political ◽  
Cultural Significance ◽  
Archival Research ◽  
Public Display ◽  
Modern Culture ◽  
Charles I ◽  
King Charles I

The Progresses, Processions, and Royal Entries of King Charles I, 1625–1642 is the first book-length study of the history, and the political and cultural significance, of the progresses, public processions, and royal entries of Charles I. As well as offering a much fuller account of the king’s progresses and progress entertainments than currently exists, this study throws new light on one of the most vexed topics in early Stuart historiography—the question of Charles I’s accessibility to his subjects and their concerns, and the part that this may, or may not, have played in the conflicts which culminated in the English civil wars and Charles’s overthrow. Drawing on extensive archival research, the book opens with an introduction to the early modern culture of royal progresses and public ceremonial as inherited and practised by Charles I. Part I explores the question of the king’s accessibility and engagement with his subjects further through case studies of Charles’s ‘great’ progresses in 1633, 1634, and 1636. Part II turns attention to royal public ceremonial culture in Caroline London, focusing on Charles’s royal entry on 25 November 1641. More widely travelled than his ancestors, Progresses reveals a monarch who was only too well aware of the value of public ceremonial and who did not eschew it, even if he was not always willing to engage in ceremonial dialogue with his people or able to deploy the power of public display to curry support for his policies as successfully as his Tudor and Stuart predecessors.

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