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2016, Cervantes ilimitado: cuatrocientos años del Quijote. Ed. Nuria Morgado
This paper deals with Cervantes’s Don Quijote and Kathy Acker’s punk, postmodern Don Quixote as two “aesthetic objects” that connect with each other across time and textual space in rhizomatic, non-linear fashion, in enriching and challenging ways. It presents an immanent view of these texts, through an engagement with some of the philosophical concepts of Ortega y Gasset, Deleuze & Guattari, and objected-oriented ontology philosophers, Graham Harman, and Levi R. Bryant.
Don Quijote y la narrativa posmoderna.
DON QUIXOTE IN THE AMERICAN IMAGINATION: THE REAPPROPRIATION OF THE ICON IN AUSTER’S THE CITY OF GLASS.2010 •
Phantoms and Embodiments: El Quixote a time traveler
Phantoms and Embodiments: El Quixote a time traveler2016 •
Miguel de Cervantes passed on April 1616. The two cultural pillars of the Spanish and Anglo culture, Miguel de Cervantes and William Shakespeare shared the same times, and almost, the same day of death, April 23, 1616. Both, lived fully, as we do today, in tumultuous and tempestuous times and shared it in the tragedies and comedies coming out of their imagination. We, their heirs have adopted, used, and transformed their legacy -our language. Also, we do share that history, one of imperial dreams and nightmares and the expansion of a global Eurocentric culture that transformed the globe during what we called modernity. They foresaw such forces, those that unleashed our own wild and turbulent times. Art still creates out of Cervantes Don Quitoxe. This paper was commissioned for the first of a number of exhibits produced by the Artists Studio Project (ASP) for the annual Quixote Festiva, a nine month cultural adventure that takes place every year since 2015.
Blending and the Study of Narrative: Approaches and Applications. Narratologia. Ed. Ralf Schneider and Marcus Hartner
"Blending in a baciyelmo: Don Quixote’s Genre Blending and the Invention of the Novel."2012 •
Mixing and hybridization among genres is a central issue in genre theory and literary history. Critics as diverse as Bakhtin, Cohen, Colie, Derrida, Duff, Fowler, Todorov, and Frow have recognized the significance of the phenomenon, but they lack conceptual instruments for rigorous analysis. I take Don Quixote as a test case to illustrate and assess the potential of Conceptual Blending Theory as a framework for the phenomenon. The significance of individual texts and writers is naturally phrased in terms of their roles in processes of intra-generic “evolution”, and inter-generic “mixture” that are definitive of modern genre theory (Duff). Thus the individual work that ushers in a new genre by combining existing genres epitomizes the nature of creativity in generic literary history (Todorov). It has long been agreed that Cervantes’s Don Quixote created the modern novel by blending romantic quests for supernatural adventures with picaresque cynical drifting among low-life. To do this, Cervantes subtly manipulated mental representations of the genres of “romance” and “picaresque” narratives. Turner and Fauconnier’s “blending” is a conceptual operation occurring under uniform principles at all semantic levels, from word-formation to grammar, metaphor, analogy, fictional characters and scenes, etc. Briefly, a conceptual blend projects selected elements from various mental “input spaces” into a “blend space” where a new construct is developed through processes of composition (matching of elements from different spaces), completion (filling out details of elements from existing knowledge), and elaboration (“running” the blend according to its own new logic). I show how blending’s constitutive principles figure in Cervantes’ invention. I focus on characterizing Cervantes’ mental spaces for romance and picaresque, and on how they are blended by composition, completion, and elaboration, within a template of narrative elements of character, setting, plot, and style. Genres are large schematic arrays of narrative and rhetorical conventions, but are also embodied in prototypical texts such as Orlando Furioso and Lazarillo de Tormes. We can examine the relations between specific sources and schematic features in the details of how certain scenes play out. I will also review briefly how a range of other genres is evoked and integrated. When it comes to generic literary histories, the blending framework can overcome the weaknesses of existing studies—which usually focus on single genres, not many interacting complexly; are largely couched in terms of the influence of specific texts, not genre features; are approximate rather than precise; and make little effort to name and analyze forms and principles of combination and transformation. But we must also consider the challenges posed to blending theory by the difficulties of genre blending analyses. As inputs, genre concepts are highly complex, specific as well as schematic, and variable over individuals. In the mixed-genre text, it may not be obvious which elements are generic, or how “compression” and other governing principles of blending operate; moreover, non-blending processes of transformation may be at work. I explore how far the case of Don Quixote can clarify these matters.
Revista Texto Digital
The Virtual Canon: Don Quixote in the Spanish Cyberland2019 •
Open Cultural Studies
Miguel de Cervantes’s Don Quixote and John Barth’s The Sot-Weed Factor: A Deconstructive Reading2017 •
Miguel de Cervantes's Don Quixote is one of the earliest and most influential novels in the history of Western literature. John Barth's The Sot-Weed Factor, published almost three centuries later, can be considered as one of the most seminal postmodern novels ever written in the English language. The goal of this paper is to examine Cervantes's influence on John Barth in particular and in American postmodernism from a more general point of view. For the Spanish genius' footsteps on American postmodernism, a deconstructive reading will be employed. Consequently, concepts such as deconstruction of binary opposites, the role of the subaltern or how the distinction between history and story are paramount to both Cervantes and Barth will be used.
This essay explores how two of Spain’s leading intellectuals, in the aftermath of the “Disaster” of 1898 (the defeat in the so-called Spanish-American war with the US and the subsequent loss of Spain’s last major colonies), conceived a form of “quixotism” as both a poetic and a national project. Although setting out from the same premise, holding that the solution for the “problem of Spain” is to be found in Cervantes’ work, Miguel de Unamuno (Vida de Don Quijote y Sancho, 1905) and José Ortega y Gasset (Meditaciones del Quijote, 1914) engage in two fundamentally different readings of Don Quixote, which in turn inspire their own writing: whereas Unamuno idolizes the mythical figure of Don Quixote and the form of fiction, Ortega proposes the hybrid and self-conscious reality of Cervantes’ art as an artistic model and a remedy for the problem of the nation.
2018 •
2016 •
Supplement 6 (doctoral level): genres, structures, and originality of _Don Quijote_.
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2015 •
Journal of Pharmaceutical Research International
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