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Among the numerous translators into Spanish of the 17th century, the figure of the Italian Lorenzo Franciosini stands out. The production of this grammarian, lexicographer, and author of the first translation into Italian of The Ingenious Gentleman Don Quixote of La Mancha spans from 1620 to 1644 and includes a total of eleven works. In relation to his translation work, this paper aims to compare a small part of the original text of Cervantes’ Don Quixote (specifically the first ten chapters of the first part) with its translation (recall that he translated the first part in 1622 and the second in 1625). In these ten chapters, we have decided to pay attention to three very interesting aspects: “toscanismos” (Tuscanisms), religion, and “germanía” (a type of slang). We have focused on them because they often did not receive the appropriate translation by Franciosini, nor have they enjoyed sufficient interest in terms of linguistic and translator analysis. Likewise, their examination will serve us to have another useful parameter when evaluating the quality of the translation by our Tuscan author. In general terms, his version is reliable, although we have found numerous errors resulting, among other things, from its excessive literalness and the fact that our translator failed to understand certain passages of the original text. [ABSTRACT FROM AUTHOR]

This paper delves into the intricate relationship between translation, authorship, and comparative literature, and analyzes how the postmodern concept of translation redefines the traditional boundaries of authorship. The case of Vibha Maurya's translation of Don Quixote to Hindi is used as a way to problematize these concepts in the context of postcolonialism, intercultural dialogue, and the theory of the "third space of enunciation," which is the specific socio-political locus of enunciation for Maurya's translation. Vibha Maurya's decision to translate Don Quixote directly from Spanish to Hindi posed a double challenge with literary and political consequences. Not only did she have to deal with a rigid, canonical, Indian academy that had been historically controlled by men, but also she made a point to discard all translations from English, which had traditionally been regarded as the "original" source of all renderings of Don Quixote, questioning the fidelity of previous versions and closing the gap with Spain's Golden Age. [ABSTRACT FROM AUTHOR]

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The Comical History of Don Quixote (1694) is one of the first dramatizations of Miguel de Cervantes's novel in English, written in three parts. Starting with the episode of Cardenio and Luscinda in the first part, Thomas D'Urfey takes liberties with the characters and twists the plot, mixing chapters and embellishing it with songs by composer Henry Purcell and music by other contemporary artists. However, this dramatist presents us with a noble and quite sensible Don Quixote, as opposed to a histrionic Sancho, thus inverting the essence of the original characters in Cervantes's novel.This article will analyze – from the perspective of studies on theatrical adaptation, such as Linda Hutcheon's A Theory of Adaptation (2006) and Jane Barnette's ADAPTURGY: The Dramaturg's Art and Theatrical Adaptation (2018) – Thomas D'Urfey's The Comical History of Don Quixote (1694) as an adaptation of Miguel de Cervantes's Quixote. The author will explore the different episodes that D'Urfey chose to rewrite in the three parts of his play, analyzing the differences and similitudes between the original stories in the novel and their adapted version in the play, in order to prove that, on the one hand, Cervantes's novel was already widely known by English audiences when D'Urfey's plays were premiered, on the other, that he adapted the existing material to suit the preferences of English seventeenth-century audiences and, finally, that he created a parody in which Don Quixote is actually a nobler character than that of the preceding seventeenth-century adaptations.1 [ABSTRACT FROM AUTHOR]

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The pastoral sequence on the eventual ill-fated fate of Leandra (I, 51) puts on stage the scandal of those beliefs that govern, unconsciously, the illusionism of the sex-gender division of the villages. All the aforementioned characters, and even the most seasoned critics, discuss about the fugitive’s indirimitable virginal status; nobody, on the contrary, notices to what extent the homosocial harmony of the pleasant meadow forged a posteriori by the affronted suitors conceals, in truth, a mystery more abject than the young woman’s ill-fated hymen: the possibility that, against the dominant, Vicente de la Rosa/Roca does not feel regulated by heteronormativity.For Vicente -in our opinion- is not the figure of the male continent with which the anguish of the suitors is soothed, but rather the image in flight and sacrilegious of the man who does not desire the maiden and reveals himself to the social and unconscious command to deflower her.

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This article aims at analysing a group of nine possible motivations that may have led Cervantes to build the Quixote. We have adopted a conceptual difference between goals and motivations, following a personal proposal that is a result of our study of this work under two convergent perspectives: the literary exercise and the ideological presuppositions. In order to achieve this goal, we shall review some chapters and some episodes that are representative of what we intend to demonstrate and we will also present a general evaluation of the Quixote as an invention text. [ABSTRACT FROM AUTHOR]

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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The work that we have the honour to present here in its first Italian translation is a short essay published by Carl Schmitt in the first half of the ‘10s in the German Journal Die Rheinlande and titled Don Quixote and the public (1912). A very brief but at the same time dense piece of literary criticism in which the future Kronjurist of the Third Reich, in those years still engaged in his legal practice, offers to the readers a juvenile proof of his vastly and heterogeneous interests, trying to determine which is the proper interpretation of the renowned masterpiece of Miguel de Cervantes: Don Quixote of the Mancha. A juvenile work, therefore, in which Schmitt, as we will try to highlight in the introduction that accompanies the translation, offers an interpretation of the novel and particularly of its main character focusing on the contraposition between the level of the simple reading and that of erudite valorisation, applying a methodology similar to that he used in the coeval Law and Judgement (1912) that in some ways anticipate the critique of Romanticism that he will develop just a few years later in Political Romanticism (1919).

The present essay proposes to rethink the logic that moves the work of Miguel de Cervantes El ingenioso hidalgo don Quijote de la Mancha. The initial proposition that Cervantes and Don Quixote are the same thinker, will bring to what is considered the beginning of the generation of this novel, that is the notion of the occurrence of the inherited mother tongue through the elaboration of linguistic acts and composite thinking. Cervantes' work is presented in this essay as a philosophical proposal to rethink what is commonly understood regarding the nature of the language and the thought.

Recensione: AOQU (Achilles Orlando Quixote Ulisses) rivista digitale ------- Review: AOQU (Achilles Orlando Quixote Ulisses) digital scientific journal

A classic character brought to myth rank, Cervantes’s Quixote was tackled philosophically, by Miguel de Unamuno in his essay Vida de Don Quixote y Sancho, 1905 on the realm of Spanish literature; we have been recently amazed from a postmodern, even postcolonial perspective, by Salman Rushie (Quichotte, 2019) and dramatically on the stage of the National Theatre of Iași by Carmen Dominte who initially proposed The Quixote Syndrome (2021) as a theatrical performance meant to be read. Without dealing with the adaptations in various arts (Minkus’s ballet), we will study the resilience of a character with reference to the above texts and what was left of it on stage with insights into adaptation theory and theatrical interpretation in the context of pandemic distancing. [ABSTRACT FROM AUTHOR]

Este trabajo es una revisión crítica de la indicación de Jerónimo de Pasamonte como posible autor del Quijote de Avellaneda. Para ello examinamos tanto los argumentos ratificadores, que son los más extensos y detallados, como los refutadores, más remisivos y puntuales. De inicio, nos reportamos a sus impulsores más destacados, Riquer (2003), Frago (2005) y, con mayor acento, a los trabajos de Martín Jiménez (2005, 2007, 2014). A continuación, nos detenemos en las detracciones de Suárez Figaredo (2004) y Blasco (2005), que niegan o relativizan la candidatura con fundamentos concretos. Consiguientemente, presentamos una reflexión crítica tanto de la postulación misma de Pasamonte como del tipo y grado de conocimiento del contexto artístico de los siglos áureos que es posible alcanzar tomando como punto de partida la búsqueda de la identidad de Avellaneda. [ABSTRACT FROM AUTHOR]

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In this paper I discuss the ways in which Bruce Baillie’s Mass for the Dakota Sioux (1964) and Quixote (1965) evoke Native American Indian heritage and western-hero road poems by challenging the concept of the American landscape and incorporating conventions traditionally associated with cinéma pur, cinéma vérité, and the city symphony. Both pictures, seen as largely ambiguous and ironic travelogue forms, expose their audiences to “the sheer beauty of the phenomenal world” (Sitney 2002: 182) and nurture nostalgic feelings for the lost indigenous civilizations, while simultaneously reinforcing the image of an American conquistador, hence creating a strong sense of dialectical tension. Moreover, albeit differing in a specific use of imagery and editing, the films rely on dense, collage-like and often superimposed images, which clearly contribute to the complexity of mood conveyed on screen and emphasize the striking conceptual contrast between white American and Indian culture. Taking such an assumption, I argue that although frequently referred to as epic road poems obliquely critical of the U.S. westward expansion and manifest destiny, the analyzed works’ use of plot reduction, observational and documentary style as well as kinaesthetic visual modes and rhythmic editing derive primarily from the cinéma pur’s camerawork, the cinéma vérité’s superstructure, and the city symphony’s spatial arrangement of urban environments. Such multifaceted inspirations do not only diversify Mass’ and Quixote’s non-narrative aesthetics, but also help document an intriguing psychogeography of the 1960s American landscapes, thus making a valuable contribution to the history of experimental filmmaking dealing with Native American Indian heritage.

The intellectual formation of an architect and his work are characterized by the cultural training he has received. The literature placed at the service of architecture enhances this formation and therefore its own existence. In every architectural project can be found abundant literary figures that are prior to its formal conception. Literature increases the richness and complexity of the aesthetic and social language of architecture in its ultimate end, at the service of man. Quixote seen from architecture is a powerful creative tool. It teaches you to read the environment and converts the areas in which man lives in a clear and simple humanistic teaching. The architect must understand man as a prior step to artistic creation. Don Quixote de la Mancha recreates a complete picture of life. It is a book that, like architecture, teaches, instructs and gives reality to the imaginary. / La formación intelectual de un arquitecto y su obra construida es, en cierta manera, un reflejo de su itinerario cultural. La literatura puesta al servicio de la arquitectura engrandece esta formación y su propia existencia. En todo proyecto arquitectónico se pueden encontrar abundantes figuras literarias que son previas a su concepción formal. La literatura incrementa la riqueza y complejidad del lenguaje estético y social de la arquitectura en su fin último, al servicio del hombre. El Quijote visto desde la arquitectura es una poderosa herramienta creativa. Enseña a leer el entorno y convierte los ámbitos en los que el hombre vive en una enseñanza humanística, clara y sencilla. El arquitecto debe entender al hombre como paso previo a la creación artística. Don Quijote de la Mancha recrea un cuadro completo de la vida, en un libro que, al igual que la arquitectura, forma, instruye y da realidad a lo imaginario.

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Copyright of Lemir is the property of Universitat de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Nuestro objetivo es analizar comparativa y críticamente los distintos métodos que se han venido aplicando hasta los días de hoy en la elucidación de la autoría del Quijote de Avellaneda. Presentamos los datos fehacientes que se conocen de su autor, de quien es posible establecer un registro identitario a partir de ciertas evidencias y subterfugios personales que recorren su novela. Cotejaremos los aportes y limitaciones de métodos de búsqueda tan dispares como los de base intuitiva, que pretenden validar meras intuiciones y suposiciones, hasta los modernos rastreos informáticos basados en las configuraciones formales de estilo. Asimismo, reflexionaremos sobre las divergentes lecturas que se pueden extraer de un mismo episodio dependiendo de la procedencia del vector de análisis. Nuestras conclusiones se centrarán en el grado de conocimiento de la literatura áurea a que es posible aspirar tomando como arranque la defensa de una determinada candidatura. Como ejemplo de postulación basada en las líneas de investigación más actuales, citaremos las aportaciones del profesor Rodríguez López-Vásquez, que recientemente ha propuesto a José de Villaviciosa como fidedigno autor del segundo Quijote. [ABSTRACT FROM AUTHOR]

This paper aims to analyse the representation of the Church as an ideological system that can be found in the end of the only novel written by the Equadorian writer Juan Montalvo - Capítulos que se le olvidaron a Cervantes - considering that this part of the book summarizes, in a brief and synthetic way, the main orientations of his social beliefs about the constitution of the Catholic church and its members. The analysis will be based on a contextualization of the origin of the novel and on Montalvo's main ideological premises, according to some of his essays. Likewise, I will comment the effects that these ideological foundations carried to the conformation of the central characters of the novel. The study is based on the concept of Ideological Systems of the State conceived by Althusser (2013) and the idea of Ideology and Social Representations designed by van Djik (1991). [ABSTRACT FROM AUTHOR]

The aim of this article is to (re)tell the legal discourse of human rights across the emancipatory lens of literature through Miguel de Cervantes' The Ingenious Nobleman Don Quixote de La Mancha. The objective is to draw a parallel between Quixote's struggle and the battle for human rights in the present day, showing his points of approach, with no intention to exhaust them. From this opening of Law to literature, the legal discourse of human rights will be explored based on the literary narrative of Cervantes. The quixotic vocation of fighting injustices, the focus on the vulnerable, the dimension of dialogical alterity - all marked by the tension between reality and ideality - that stand out in the chosen work are points of communication with the paradoxes and dilemmas of the realization of rights in contemporary times. The challenge that arises is, from a different posture of - and before – the law, from the dialogues with Quixote, to give possible concreteness to human rights, thus unveiling the horizon of a possible utopia to transform them into a tangible dimension of reality.

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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The reception of Don Quixote in Britain has become one of the main (if not the main) research strand in the field of the comparatist analysis of Spanish and English literatures. Scholars have oftentimes discussed the differing approaches to Don Quixote taken by its translators across the centuries depending on the interpretation of Cervantes’s that pervaded in their respective times. This article points at two new consequential factors to consider in this debate. Firstly, it foregrounds the critical introductions and notes written by translators and included in the preliminaries of their translations, wherein they expressed their interpretations of Don Quixote. Secondly, it argues that some authors read Cervantes’s novel in the Spanish original instead of in translation. This article discusses the case of Smollett, but most importantly, it discusses an anonymous piece by “a learned” and “well known” author included in the preliminaries of Jarvis’s translation, where this unidentified author disagrees with Jarvis’s views of Don Quixote.

Este artigo compara diversas traduções da fala do fidalgo biscaínho, no capítulo oito de Don Quijote de la Mancha, de Cervantes, a qual era um recurso cómico utilizado no teatro da época. Tal fala, escrita em dialeto literário, obriga o tradutor a escolher entre a língua padrão, e assim omitir conotações culturais relevantes, e algum dialeto não padrão, real ou inventado, a fim de preservar, pelo menos em parte, aquelas conotações .

The Banco de Imágenes del Quijote: 1605-1915 (Image Database of the Quixote: 1605-1915) is an iconographic corpus that makes known the majority of the quixotic iconography from the first referential representations of 1605, to the editions printed in 1915, three hundred years after the publication of the second part of Don Quixote. The present article describes its essential characteristics and working method, which makes it one of the essential digital instruments for all those who would like to plunge into or pursue further this field of study.

Since the beginning of Twitter in 2006, we have attended to the born of a new way of writing according to the parameters imposed by the social network. Many studies have stated the existence of a new literary form known as twitterature in its most popular entry. In this article, we have tried to compile the most significant projects related to the role played by Don Quixote, the main work in the literature written in Spanish, in Twitter.

The article analyzes the editions, translations and adaptations of Don Quixote, available for iPad. It pursues to catalogue the resources from Cervantes’ work, as well as study its technical characteristics, its scientific value and its innovations. The degree of hypertextuality, hypermediacy and interactivity will be evaluated in these resources. Another keypoint for this assessment is its relevance regarding the exploration of new ways of production and reception of objects integrating our literacy heritage, specially designed for new technological support.

The study analyzes the design of the Cervantes Theater in Punta Arenas (Magallanes, Chile) as a symptomatic example of several fronts: the name of the cinematographer, its atmospheric typology, the history of the "movie theaters", the transformations of a sports fronton, the decorative painting inspired by Doré and the literary survival, where continent and content are complementary: the paintings of Don Quixote are revealed as a series of stills on the condition of entelechy that the Seventh Art possesses. [ABSTRACT FROM AUTHOR]

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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)