Allen, John J., Don Quixote: Hero or Fool? A Study in Narrative Technique. Parts 1 and 2. Gainesville, Florida: University Presses of Florida, 1979. (Part I published separately in 1969).Allen, John J., Don Quixote: Hero or Fool? A Study in Narrative Technique. Parts 1 and 2. Gainesville, Florida: University Presses of Florida, 1979. (Part I published separately in 1969). Pp. 90; vii, 118. $12.00

1981 ◽  
Vol 37 (4) ◽  
pp. 761-762
Author(s):  
Geoffrey Stagg
Keyword(s):  
Don Quixote ◽  
Narrative Technique ◽  
University Presses

Distance and Control in "Don Quixote": A Study in Narrative Technique.

MLN ◽  
1977 ◽  
Vol 92 (2) ◽  
pp. 373
Author(s):  
Diane F. Urey ◽  
Ruth El Saffar
Keyword(s):  
Don Quixote ◽  
Narrative Technique ◽  
And Control

Don Quixote: Hero or Fool? A Study in Narrative Technique

1972 ◽  
Vol 37 (2) ◽  
pp. 75
Author(s):  
Victor R. B. Oelschlager ◽  
John J. Allen
Keyword(s):  
Don Quixote ◽  
Narrative Technique

Don Quixote: Hero or Fool? A Study in Narrative Technique

1971 ◽  
Vol 39 (4) ◽  
pp. 450
Author(s):  
E. C. Riley ◽  
John J. Allen
Keyword(s):  
Don Quixote ◽  
Narrative Technique

Distance and Control in "Don Quixote": A Study in Narrative Technique

1978 ◽  
Vol 46 (2) ◽  
pp. 261
Author(s):  
James A. Parr ◽  
Ruth El Saffar
Keyword(s):  
Don Quixote ◽  
Narrative Technique ◽  
And Control

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.

Szasz on Drugs: Don Quixote in the Pharmacy.

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

Don Quixote or Don Quijote.

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

Literature in Our Time, or, Loving Literature to Bits

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 232-269 ◽  
Author(s):  
Ivan Callus
Keyword(s):  
Literary Criticism ◽  
Jacques Derrida ◽  
Anthony Trollope ◽  
Don Quixote ◽  
Time Machine ◽  
Paul Auster ◽  
Anne Michaels

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.

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