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.

Cervantes, Anti-Romance, and the Novella

2018 ◽  
Author(s):  
Brean Hammond
Keyword(s):  
Early Modern ◽  
Diplomatic Relations ◽  
Spanish Golden Age ◽  
Miguel De Cervantes ◽  
Novelas Ejemplares ◽  
Don Quijote ◽  
English Novel ◽  
La Mancha ◽  
The Creation ◽  
Modern Sense

This chapter looks at how Miguel de Cervantes' writing influenced the genesis and development of the English novel. His most influential writings, Don Quijote and the Novelas ejemplares of 1613, were published at a time of exceptional English interest in Spanish culture — a country reopened to diplomatic relations in 1604 after nearly half a century of continuous rivalry and warfare. In destroying the enchantment of romance, Cervantes Saavedra's El ingenioso hidalgo don Quijote de la Mancha (1605–15) fatally undermined those values upon which the glory of the Spanish Golden Age rested, and ushered in an era of decadence and decline. However, he was not the first writer to parody knight-errantry. Nevertheless, a persuasive case can be made that the publication of Don Quijote was one crucial factor in the creation of an early modern sense of what medievalism was.

scholarly journals “Ningún lugar sagrado” de Rodrigo Rey Rosa: una ficción paranoica desde la diáspora centroamericana

Neophilologus ◽  
2020 ◽  
Author(s):  
Marileen La Haije
Keyword(s):  
American Literature ◽  
Short Story ◽  
Central American ◽  
Literary Texts ◽  
General Tendency ◽  
Unreliable Narrator ◽  
Central American Literature ◽  
Social Discourses ◽  
Narrative Techniques ◽  
The Voice

AbstractThis paper analyzes “Ningún lugar sagrado” (1998) by the Guatemalan writer Rodrigo Rey Rosa as a ‘ficción paranoica’ (“La ficción paranoica”, Clarín, 10 de octubre de 1991; Blanco nocturno, Anagrama, Barcelona, 2010). I will explain that Rey Rosa’s short story does not include univocal clues to identify the protagonist as an unreliable narrator whose overinterpretations give rise to a misrepresentation of the facts. According to my reading of “Ningún lugar sagrado”, the paranoiac features of the main character contribute to the ambiguity of the text that, in fact, never explicitly confirms or discredits his persecutory ideas. Following this line of argument, I suggest that Rey Rosa’s short story narrates an “imaginario de amenaza” (“La ficción paranoica”, Clarín, 10 de octubre de 1991) that, alluding to the climate of repression, intrigues and complicities in postwar Guatemala, generates paranoia –including that of the reader. “Ningún lugar sagrado” points to a more general tendency in recent Central American literature that, from the realm of fiction, highlights the widespread nature of paranoia in the region. Unlike social discourses that discuss the topic, these literary texts make use of narrative techniques that do not necessarily respond to a referential notion of truth (including hyperboles, digressions, irony and narrative ambiguity), when constructing the voice of a paranoiac character. According to my perspective, such narrative techniques lend themselves especially to capturing the alienating dimensions of violence in Central America where paranoia, rather than being a question of truth or exaggeration, constitutes a survival strategy.

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.

scholarly journals Videojuegos y literatura: Estudio de tres casos de intertextos hispanoamericanos

2019 ◽  
Vol 31 (3) ◽  
pp. 527-542
Author(s):  
Rosa Núñez-Pacheco ◽  
Daniel Castillo-Torres ◽  
Luis Navarrete-Cardero
Keyword(s):  
Miguel De Cervantes Saavedra ◽  
Jorge Luis Borges ◽  
Miguel De Cervantes ◽  
Don Quijote ◽  
La Mancha

Esta investigación establece relaciones entre distintas producciones videolúdicas y obras literarias representativas del ámbito hispanoamericano. El vínculo entre el mundo de los videojuegos y la literatura es un tema aún poco explorado, pero adquiere relevancia en el actual dominio de las narrativas transmedia de la cultura contemporánea. Se analiza desde una perspectiva ludoficcional, narratológica y sociocultural un conjunto de remediaciones videolúdicas sobre la novela El ingenioso hidalgo Don Quijote de la Mancha (1615) de Miguel de Cervantes Saavedra; el videojuego Intimate, infinite (Robert Yang, 2014) basado en el cuento “El jardín de senderos que se bifurcan” (1941) de Jorge Luis Borges; y el videojuego Space invaders (Taito, 1978) que inspiró la novela homónima de la escritora chilena Nona Fernández (2013). Se sostiene que la significación de estos artefactos culturales adquiere mayor sentido cuando se establecen los vínculos con otros intertextos y cuando se los examina desde la configuración de los mundos ludoficcionales.

Vernacular Story in and as Archives: (Re)Making Xingshi yan Stories in Early Modern China and Korea

2019 ◽  
Vol 24 (2) ◽  
pp. 373-392
Author(s):  
Yuan Ye
Keyword(s):  
Early Modern ◽  
Short Story ◽  
Historical Narrative ◽  
Literary Texts ◽  
Modern China ◽  
Intended Audience ◽  
Cultural Sites ◽  
Unofficial History ◽  
The Two Cultures ◽  
Literary Archive

Abstract This article examines literary texts both as records transmitted through archives and as cultural sites recording preferred knowledge. It focuses on the late Ming-era (1368–1644) Chinese vernacular short story anthology Xingshi yan 型世言 (Exemplary Words for the World, ca. 1632)—the only extant copy preserved in the Kyujanggak Archives in South Korea—and its Chosŏn (1392–1910) rendition in the Korean alphabet, Hyŏngse ŏn, housed in the Jangseogak Archives. Xingshi yan, taking seriously the Chinese vernacular literature’s claim of being “unofficial history,” provides its own historical narrative of the Ming at the end of the dynasty when it was threatened by the Manchus. Recording the notable Ming figures and affairs, this anthology creates a literary archive furnishing materials for Ming history. In addition, this article points out the significance of the Kyujanggak Xingshi yan in solving the ambiguous textual origins of several Chinese vernacular story anthologies that were previously associated with the famous Second Amazement. Eventually, it traces the trajectory of how Xingshi yan was preserved in the Korean royal archives and appreciated by royal family members, and how its stories were rendered into the Korean alphabet for reasons of cultural and literary preference as well as to address the intended audience of Chosŏn. The making and remaking of Xingshi yan stories in both China and Korea, this article argues, illuminate the varied knowledge preferences and selections in the forming of the two cultures’ respective literary archives.

Miguel de Cervantes, Early Modern Spain, and the Challenges to the Meaning of Islam

2011 ◽  
Vol 4 (1) ◽  
pp. 7-22 ◽  
Author(s):  
Keyword(s):  
Early Modern ◽  
Muslim Identity ◽  
Early Modern Spain ◽  
Miguel De Cervantes ◽  
Western Literature ◽  
Don Quijote

AbstractMiguel de Cervantes (1547–1616) wrote a number of texts, among them Don Quijote and El amante liberal [The generous lover], that critique the narrow optics and false binaries that govern the description of both Christian and Muslim identity. In this essay I show how the strategies of dismantling binaries work in the case of El amante liberal in particular, and how the current scholarship on early modern Spain's (and especially Cervantes') engagement with Islam is a fruitful place to challenge the monolithic visions that command depictions of Islam. Given Cervantes' role as a pioneer for modernity in fiction, his complex portrayals of Islam also relate to the advent of modernity in Western literature.

scholarly journals Aballay, el hombre sin miedo: Um Western Borgeano

2014 ◽  
Vol 1 (2) ◽  
pp. 73-88
Author(s):  
Rosângela Fachel de Medeiros
Keyword(s):  
Short Story ◽  
Jorge Luis Borges ◽  
Starting Point

Aballay, el hombre sin miedo (2010), de Fernando Spiner, tradução cinematográfica do conto “Aballay”, de Antonio Di Benedetto (escrito entre 1975 e 1976), parte do texto para rearticular elementos da Gauchesca argentina, presentes na literatura e no  cinema, a elementos do Western, clássico e spaghetti, em um jogo de transculturação. Este artigo apresenta as duas versões de Aballay, conto e filme, para analisar as relações que essas obras estabelecem com as tradições que são revisitadas pelo cineasta no processo de realização do filme. E, sendo esta análise norteada pela percepção de que o fazer cinematográfico de Spiner é borgeano na forma e no conteúdo, a obra Jorge Luis Borges surge como intertexto teórico e narrativo.AbstractSix Shooters (2010), by Fernando Spiner, a cinematic translation of the short story "Aballay" by Antonio Di Benedetto (written between 1975 and 1976), uses the text as a starting point for articulating elements of the Argentine gauchesque, in literature and in cinema, with elements of Western, classic and Spaghetti, in a game of transculturation. This paper presents the two versions of Aballay, short story and film, in order to analyze the relationships that are established between these works and the traditions revisited by the filmmaker in the process of making the film. Considering that my analysis is guided by an understanding that Spiner’s filmmaking is Borgian in form and in content, the work of Jorge Luis Borges emerges as theoretical and narrative intertext. DOI: http://dx.doi.org/10.14195/2182-8830_1-2_5

‘A Yes without a No’

2018 ◽  
Author(s):  
Derek Attridge
Keyword(s):  
Decision Making ◽  
Short Story ◽  
Literary Texts ◽  
Starting Point ◽  
Literary Experience

Derek Attridge’s chapter takes Coetzee’s short story, ‘The Old Woman and the Cats’ (2013), as the starting point for an exploration of the divergence between rational accounts of the good, and the ways in which literary experience can expose the reader to non-rational forms of evaluation and decision-making, which are more akin to conversion experiences. Attridge shows that Coetzee does not shy away from the unsettling implication that Socrates also feared: namely, the potential of literary texts to be morally harmful. In exploring this non-rational attunement to alterity as ‘the ethical’ in itself, and examining the kinds of conversion it can involve, Attridge’s chapter positions Coetzee’s fiction as radically at odds with normative ways of understanding of the good and the true.

“God is dreaming you”

Janus Head ◽  
2004 ◽  
Vol 7 (2) ◽  
pp. 453-467
Author(s):  
Costica Bradatan ◽  
Keyword(s):  
Human Condition ◽  
History Of Ideas ◽  
The Self ◽  
Miguel De Unamuno ◽  
Miguel De Cervantes ◽  
Don Quijote ◽  
Starting Point ◽  
History Of ◽  
Literary Device ◽  
The Relationship

The starting point of my essay is a paradoxical claim that the Spanish philosopher, poet and novelist Miguel de Unamuno (1864-1936) makes—in his essay “Vida de Don Quijote y Sancho” (1905)—that Don Quixote, Cervantes’ character, is more real and authentic than Miguel de Cervantes himself. Then, after discussing this claim and analyzing the implications of an ingenious literary device that Unamuno employed in his fiction “Niebla” (1914), I will sketch some of the possible philosophical consequences that Unamuno’s literary concepts might have on understanding the ultimate identity of the self, and of the nature of human condition in general. The paper is in three parts: 1) the first part is dedicated to discussing the above mentioned paradoxical claim in “Vida de Don Quijote y Sancho”; 2) the second part deals mainly with Chapter XXXI of Unamuno’s “Niebla”; and 3) in the final part I will deal with Unamuno’s insight that the relationship between the self and God is, properly speaking, of the same nature as the relationship between a literary author and the fictional beings he creates. In addition, I will be trying to place Unamuno’s insight within a broader context of history of ideas, and to point to some of its far-reaching philosophical implications.

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.

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