Search

Co-founder of the "Panic Movement" Fernando Arrabal created in 2005 a new cosmogony of his theatrical universe in a text, Pingüinas, that merges and mixes space and time, in an alchemic experiment that combines extracts from the works of Miguel de Cervantes with references that go beyond postmodernity. Hybridity and plurality, fiction and fantasy are all essential elements in the artistic vision of this playwright; in this essay, we aim to probe the theatrical modalities with which Arrabal translates, more than forty years after the "Panic Manifesto", his universe, with the intention not only of studying the possible worlds he proposes through his art, but also trying to investigate the concept proposed by Bauman of "retrotopia". [ABSTRACT FROM AUTHOR]

Borges je pri pisanju svojih izmišljij, ki pomenijo začetek postmodernistične pripovedi v svetovni književnosti, eden najbolj originalnih bralcev in interpretov Cervantesovega Don Kihota, ki predstavlja začetek sodobnega romana v književnosti zahodnoevropskega duhovnega kroga. Članek obravnava nekatere literarne povezave med Cervantesom in Borgesom, ki sta vsak v svojem času in na svoji strani Atlantika pomenila začetek velikih sprememb v razumevanju svetovne književnosti. Tako Cervantesov kot Borgesov referencialni svet ni neposredna realnost temveč bodisi ironična primerjava resničnega z literarnim svetom bodisi fikcija, ki je nastala na podlagi ustvarjalnega branja že prej napisanih literarnih del. Pri obeh avtorjih ni jasne razmejitve med realnostjo in fikcijo, saj sta v njunih besedilih prepleteni. Cervantes prebira antične, renesančne in baročne avtorje, pripovedni junak don Kihot oziroma njegov drugi jaz, Alonso Kihano, se izgublja v izmišljenih svetovih viteških romanov, ki jih ima skrbno spravljene v svoji knjižnici. Borges si svojega življenja brez književnosti in knjižnice ne zna predstavljati. Na primeru analize dveh Borgesovih kratkih pripovedi – Pierre Menard, avtor Kihota (1939) in Delovanje knjige (1981) – se pokaže njuna neverjetna ustvarjalna prepletenost. Borges je znal literarno materijo renesančno-baročnega avtorja mojstrsko vgraditi v vsebino svojega lastnega ustvarjanja in nadaljevati literarno raziskovanje z metafikcijskimi literarnimi postopki. Zato izbrani Borgesov epigraf na začetku članka iz kratke pripovedi Utopija moža, ki je utrujen, da je potrebno predvsem vedno znova brati, potrjuje njegovo predanost dejanju branja, ki je neskončno in vedno ponavljajoče se dejanje – regressus ad infinitum. Bralci pa moramo biti v procesu branja aktivno udeleženi kot soustvarjalci in odprti za vse možnosti recepcije.

The celebration of the fourth centenary of Michael of Cervantes Saavedra’s death offers to us the opportunity to announce the whole photographic corpus generated concerning the diverse facets reached by Cervantine iconography. His study has allowed us to identify correctly some of the images that are the classic one in the History of Spanish Photography.

Borges is one of the most original readers and interpreters of Cervantes' novel Don Quixote, which marks the beginning of the modern novel in the literature of the Western European spiritual circle and of the postmodern narrative. The article discusses some of the literary connections between Cervantes and Borges, each of which marked the beginning of great changes in the understanding of world literature in their own time and on their own side of the Atlantic. Their referential world is not a direct reality, but either an ironic comparison of the real with the literary world or a fiction created on the basis of a creative reading of literary works. There is no clear demarcation between reality and fiction, which are strongly entangled. Cervantes reads ancient, Renaissance and baroque authors, Don Quixote (or Alonso Kihano) gets lost in the fictional worlds of chivalric novels, which he has carefully stored in his library. Borges cannot imagine his life without literature and the library. The analysis of two Borges' short stories - Pierre Menard, author of the Quixote (1939) and The Book Act (1981) - shows their incredible creative entanglement. Borges was able to masterfully incorporate Cervantes' literary material into the content of his own work, and to continue literary research with metafictional procedures. Therefore, the selected Borges' epigraph confirms his commitment to the act of reading, which is an infinite and recurring act. Readers, however, must be actively involved in the reading process as literary co-creators, open to all possibilities of reception. [ABSTRACT FROM AUTHOR]

For the first time, La Entretenida offers a digital scholarly edition of a theatrical text written by Miguel de Cervantes. From a scholarly perspective, the edition has a considerable value offering a brief contextualization of the play, a clear set of editorial criteria, and an edited text that provides different views, including an English translation. From the digital perspective, it represents a solid model that could be exportable to other similar works; nonetheless, some improvements could be performed, such as making the underlying encoded textual data available and adding technical documentation.

The clash between these two dimensions of human condition – but also their complementary nature – make utopia and melancholy specially compelling as they address us today from Don Quixote’s text, providing an accurate standing from which both the author and his protagonist become our contemporaries. Taking an ethic point of departure, we shall consider the aim of the fantasies of Don Quixote is to modify the reality in a certain moral sense, despite of his ridiculously and impractical goals. At the same time The Quixote’s utopia is interrelated with the melancholic Quixote’s character. The melancholy arises from the ethic conscience which is leaded by the moral duty of the justice. This article shows clearly the double melancholic and utopian nature of Don Quixote’s character, which is chaired by a modern ethic conscience.

This paper analyses two interludes that share a number of folk motifs in order to highlight Cervantes’ tendency to explore forbidden areas, beyond sacred and social ties, and his inclination to demystify institutions apparently untouchable. At the same time it is underlined how Calderón, despite his inflexible aesthetic and moral principles, manages to represent, by breaking down the essential conflicts of his time, the irresolvable ambivalence between a profound pessimism and a burlesque, playful vision of the world.

Inteso quale omaggio a Emilio Bigi, sia pure indiretto, lo studio prende spunto da un’intervista, tuttora inedita, rilasciata nel 1984 dallo scrittore argentino Jorge Luis Borges, in cui aveva citato, credendoli ariosteschi, dei versi che per lui, giunto in età ormai avanzata, erano diventati, più che un motto, una metafora di vita. Poco importa che, come verrà chiarito vagliando la loro storia e le relative fonti, quei versi, facenti capo alla misteriosa figura di un personaggio saraceno, Alibante di Toledo, in realtà appartenessero all’officina poetica di Francesco Berni: essi vengono ciò nondimeno assunti quale filo conduttore per un percorso esplorativo all’interno dell’Orlando furioso che ne vaglia la valenza per così dire “ariostesca”, giusta la reminiscenza borgesiana. Approdata infine a Cervantes, la discussione si conclude facendo ritorno a Borges e misurando l’impatto che quei medesimi versi hanno avuto sulla sua propria opera poetica.Intended as a heartfelt tribute to Emilio Bigi, albeit an indirect one, this essay draws on an interview, still unpublished, given by Argentine writer Jorge Luis Borges in 1984, in which he quoted a couple of lines of poetry which he firmly believed to be by Ariosto, and which for him, by then an old man, had become, more than a motto, a metaphor of life. It does not really matter that, as will become apparent retracing their history as well as their sources, these lines, centring on the mysterious figure of a Saracen character called Alibante of Toledo, actually belonged to Francesco Berni: they are here assumed as the main motif to be explored within Orlando furioso, in order to ascertain to what extent their nature may be regarded to be Ariostan, just as Borges thought. Having finally reached Cervantes, the discussion concludes by returning once more to Borges and considering the impact that these lines, which had remained engrained in his memory throughout his life, had on his own poetry.

Crítica ao espectáculo: D.Quixote (de Coimbra), de Miguel Cervantes, encenação de Isabel Craveiro, O Teatrão, Oficina Municipal do Teatro [Coimbra], 2009.