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Abstract: Sadly, this fall 2022 issue of the journal begins with yet another homage essay for a departed colleague. James A. Parr—President of the Cervantes Society of America from 2004–2006, and long-time Editor of the Bulletin of the Comediantes—passed away on 19 July 2022. To say that Jim will be greatly missed is an understatement. As a student, I first became aware of Jim through his influential book, don QUIXOTE: Anatomy of Subversive Discourse. Later, as a postdoctoral fellow and faculty member in the Department of Spanish and Portuguese at the University of Southern California, I was ever-conscious of the fact that my position there as the department’s “Golden Age” scholar was one that had been previously held by Jim ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: In my first doctoral class with Jim, he didn’t bring a prepared syllabus. Instead he consulted with the seven of eight of us gathered in the seminar room: which comedias had we read recently or often, which did we want to brush up on, what topics did we want to explore when looking at lesser-known authors and plays' The resulting syllabus required us to prepare two plays and two critical essays each week, but no one complained because of this collaborative approach to designing the syllabus. In particular, we enjoyed that the carefully chosen texts and essays often contradicted each other, and provided a springboard for intense debates. The next semester, in the Don Quixote seminar, he assigned his own recently ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: “Para mi sola nació don Quijote, y yo para él; él supo obrar y yo escribir; solos los dos somos para en uno...”Don quixote has inspired authors and artists—from Sterne to Salman Rushdie, Doré to Picasso, Telemann to Falla—in countless works that take up its themes.1 The novel has also inspired numerous theoreticians who use it to explore their interests in narrative, linguistics, and philosophy, among them Michel Foucault, who in his “archaeology” of ways of knowing identifies the knight as a liminal figure embodying two figures central to subsequent literature: the madman and poet. In this essay, I use Foucault’s reading of Don Quixote to examine Paul Auster’s celebrated 1985 novel, City of Glass. My essay, thus ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: In the second part of Don Quijote, the eponymous protagonist is beguiled by a bust that can respond to any question posed to it (2.62). The knight accepts the sculpture’s apparently magical abilities and does not seek a rational explanation for how the inanimate object can speak. He never learns that the artifact was constructed in a way that allows an unseen party to hear and respond to questions while hidden in another room, nor that the Inquisition demands that the bust be destroyed. His lack of critical inquiry leaves him oblivious to the fact that he is spied on through an object the Holy Office deems a danger to the public. To date, studies of the enchanted head scene have not considered the sculpture’s ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: —¡Defiéndete, cautiva criatura, o entriégame de tu voluntad lo que con tanta razón se me debe!Desde la edición de 1618 de François de Rosset hasta el musical de 1965 Man of La Mancha de Dale Wasserman, Joe Darion y Mitch Leigh, no cabe duda de que el célebre baciyelmo es el accesorio más ubicuo de la imagen de don Quijote. Tal icono nace con la captura de la bacía de barbero en el capítulo 21 de la primera parte de Don Quijote. Al mismo tiempo, tanto para Sancho Panza como para el mismo lector de la novela, la actitud del famoso hidalgo hacia las pertenencias del dueño de la bacía crea una paradoja: ¿por qué la ansiedad por apoderarse del supuesto yelmo de Mambrino mientras ignora la montura y los aparejos'El ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: En Don Quijote de la Mancha la “felicemente acabada aventura de los leones” (2.17:829–41) representa un momento fundamental en la trayectoria del personaje principal: Don Quijote abandona su título de Caballero de la Triste Figura (adoptado en la primera parte de 1605) en favor de Caballero de los Leones, imitando a los héroes de sus queridas lecturas:—Pues si acaso Su Majestad preguntare quién la hizo, diréisle que el Caballero de los Leones, que de aquí adelante quiero que en este se trueque, cambie, vuelva y mude el que hasta aquí he tenido del Caballero de la Triste Figura; y en esto sigo la antigua usanza de los andantes caballeros, que se mudaban los nombres cuando querían o cuando les venía a cuento.Atento ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: After hearing Don Quixote read aloud the letter he has written to Dulcinea, Sancho cannot help but praise the eloquence and intelligence of his master. He first exclaims: “es la más alta cosa que jamás he oído,” and then adds: “[d]igo de verdad que es vuestra merced el mismo diablo y que no hay cosa que no sepa” (1.15:287). Cervantes’s protagonist does indeed prove himself knowledgeable regarding a great number of subjects throughout both parts of the novel. Given that Alonso Quijano’s transformation into Don Quixote was caused by an excess of reading, it is not surprising that the protagonist’s favorite topics for discussion are knight errantry and all sorts of literature.1 Another matter on which the knight ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: In “Pierre Menard, autor del Quijote,” Jorge Luis Borges leaves a memorable note to the fated comparison between Cervantes and Shakespeare. He links an evocation of Narcissus’s doomed lover in Don Quixote, “las ninfas de los ríos, la dolorosa y húmida Eco,” to a verse from the final scene of Othello, “where a malignant and a turbaned Turk…,” on account of their vivid pairing of both a psychological and a physical attribute (Borges 53–54). Borges claimed that, unlike his stolid Menard, he did not care to read Cervantes’s plays, and it probably never occurred to him that this Shakespearian image brought to mind the folkloric roots of El retablo de las maravillas. Compiled at the Ottoman court of Mustafa I, following ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: La historia, la poesía y la pintura simbolizan entre sí y se parecen tanto, que cuando escribes historia, pintas, y cuando pintas, compones. No siempre va en un mismo peso la historia, ni la pintura pinta cosas grandes y magníficas, ni la poesía conversa siempre por los cielos. Bajezas admite la historia; la pintura, hierbas y retamas en sus cuadros; y la poesía, tal vez se realza cantando cosas humildes—Miguel de Cervantes[…] me conocéis por lo escrito, mas no por la vista—María de ZayasIn his seminal study Paratexts: Thresholds of Interpretation, which touches briefly on Cervantes’s prologues, Gérard Genette explains that the paratext serves as a “zone between text and off-text, a zone not only of transition but ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: Desde las dos últimas décadas del siglo XX, las recreaciones cervantinas, y en particular la de la novela Don Quijote, son motivo de disciplinado estudio por parte del hispanismo argentino, español, francés, italiano y mexicano. En los congresos organizados tanto por la Asociación de Cervantistas (AC) como por la Asociación Internacional de Hispanistas (AIH), por ejemplo, cada vez son más las comunicaciones que dan noticia de diferentes adaptaciones y refundiciones de los textos cervantinos. Sin duda, toda esta actividad ha logrado convertir la recreación cervantina en un campo de estudio no solo bastante fértil y sostenible sino también en expansión. Así, en los dos congresos que GRISO le dedicó a las recreaciones ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: Although the title of this book references a farewell to Eros, my discernment leans more toward an invocation of the alluring, omnipresent deity that we find in art and literature throughout the ages. The initial impression that comes to mind for readers of Goodbye Eros: Recasting Forms and Norms of Love in the Age of Cervantes might well be originality, eminence, and rigor. Furthermore, the articles in this collection share these traits while offering new approaches to canonical and lesser-known texts focusing on the thorny subject of love, where we find the contributors exploring the complexity of the universal topos while, at the same time, shifting into little explored and unconventional terrains where we find ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: El libro, a grandes rasgos, explora el diálogo entre las artes y las ciencias. Estos ámbitos son espacios de fronteras dúctiles y maleables. Fronteras compartidas, solapadas y a veces invisibles. El eslabón que, en este caso, sirve como punto de articulación del estudio es todo lo que rodea los partos, que son, a su vez, material recurrente para la construcción de metáforas sobre el propio proceso de creación literaria, como bien explica el autor. La novedad principal del libro es su alcance, ya que no se limita a investigar las características de uno u otro personaje-tipo según los parámetros de un género en particular, sino que a través de las figuras de la matrona y la nodriza (en contraposición con las del ... Read More PubDate: 2022-12-21T00:00:00-05:00
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Abstract: This is a beautiful book. It is also a big book: over 500 pages, measuring 8.5” x 10,” 2” thick, and weighing 4.5 pounds. It is lavishly illustrated; in fact, it is divided equally between text and image, about half the pages devoted to each. The body of the work is followed by a Cuadro genealógico de los Cervantes, a Cronología, and (an incomplete and uneven) list of Obras de referencia (all occupying a total of 12+ pages). The images include reproductions of works of art (paintings, drawings, engravings, etchings, lithographs, posters, tapestries, and more); texts (letters, documents, manuscripts); photographs of persons and places; and various other things (maps, photographs, music scores, movie stills, comics ... Read More PubDate: 2022-12-21T00:00:00-05:00
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