Journal articles: 'Don Juan'

1

Alvar, Manuel. "Dos modelos lingüísticos diferentes : Juan Ruiz y Don Juan Manuel." Revista de Filología Española 68, no. 1/2 (1988): 13–32. http://dx.doi.org/10.3989/rfe.1988.v68.i1/2.411.

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Nicholson, Andrew, Bernard Beatty, and Mark Storey. "Byron's Don Juan." Modern Language Review 84, no. 1 (1989): 131. http://dx.doi.org/10.2307/3731968.

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3

Knight, Deborah. "Being Don Juan." Film and Philosophy 5 (2002): 25–34. http://dx.doi.org/10.5840/filmphil20025/64.

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Shaw, David, and David Whitton. "Moliere: 'Don Juan'." Modern Language Review 91, no. 4 (1996): 989. http://dx.doi.org/10.2307/3733557.

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Borgstrom, Henrik. "Don Juan (review)." Theatre Journal 53, no. 2 (2001): 330–31. http://dx.doi.org/10.1353/tj.2001.0033.

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Newman, Mary Ann, Àngels Carabí, and Josep M. Armengol. "Beyond Don Juan." Men and Masculinities 15, no. 4 (2012): 343–45. http://dx.doi.org/10.1177/1097184x12454103.

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7

Jones, Steven E. "Byron's Don Juan and the Don Juan Legend. Moyra Haslett." Wordsworth Circle 29, no. 4 (1998): 213–14. http://dx.doi.org/10.1086/twc24044076.

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8

Jęcz, Jadwiga. "Gdzie jest Komandor? Motyw śmierci w kontekście nieobecności Kamiennego Gościa w utworach Tadeusza Micińskiego „Przy grobie Don Juana Tenorio” i Bolesława Leśmiana [„Zbladła twarz Don Żuana, gdy w ulicznym mroku”]." Prace Literackie 56 (June 29, 2017): 83–101. http://dx.doi.org/10.19195/0079-4767.56.6.

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Where is the Commander? The death motif in the context of nonpresence of the Stone Guest in works by Tadeusz Miciński Przy grobie Don Juana Tenorio [By the grave of Don Juan Tenorio] and Bolesław Leśmian Zbladła twarz Don Żuana, gdy w ulicznym mroku [Don Juan’s face turned pale] The story of don Juan, persistently retold by many poets, seems to be only a pretext for showing the problem of presence/absence of Commander and, as a consequence, death motif in the Tadeusz Miciński and Bolesław Leśmian’ s poems. In the don Juan Tenorio history’s final fragments, the Stone Guest was coming to call for don Juan’s conversion. On the seducer’s incessant refusals and rebelling against the laws set by God and society, the Stone Guest was killing him. Don Juan de Maraña, by contrast, has decided to enter a convent — Commander has reclaimed the sinner. In my article I would like to present the motif of death, love, pride, punishment and conversion in two Young Poland’s poems and I would like to describe these problems considering the époque’s esthetic and cultural dimension.

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9

Goehring, Edmund J. "The Lamentations of Don Juan and Macbeth." PMLA/Publications of the Modern Language Association of America 120, no. 5 (2005): 1524–42. http://dx.doi.org/10.1632/003081205x73371.

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In 1772, Gottlieb Stephanie introduced an adaptation of Macbeth to replace a banned Viennese Don Juan scenario. This essay uses Stephanie's “new stone guest” to uncover broader historical and thematic connections between Macbeth and Don Juan literature. Both tales have roots in anti-Machiavellian theater, which describes the psychic wreckage brought about when one suppresses the conscience in attempting to subdue fortune. Stephanie expresses this shared vision most vividly by folding a lamento into his tragedy. A closing lamentation delivered from hell was a fixture in Don Juan lore, and modern scholarship tends to interpret it as a carnivalesque defiance of temporal and divine stricture. Stephanie, however, draws on a different treatment of the episode: the protagonist's plaint represents a quest for immortality that has turned into a desire for annihilation. Instead of offering defiance, Stephanie's Macbeth follows the course of many Don Juans in despairing over the possibility of grace.

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10

Tessing Schneider, Magnus. "Don Juan eller Den fordømte vellystning." Peripeti 11, no. 21 (2014): 116–22. http://dx.doi.org/10.7146/peri.v11i21.109423.

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11

Gómez Redondo, Fernando. "Don Juan Manuel, Trastámara." Cahiers de linguistique et de civilisation hispaniques médiévales 25, no. 1 (2002): 163–81. http://dx.doi.org/10.3406/cehm.2002.1235.

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12

Brown, John L., and Jacques de Bourbon Busset. "Confession de Don Juan." World Literature Today 62, no. 3 (1988): 431. http://dx.doi.org/10.2307/40144294.

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13

Rees, Margaret A., Maurice Molho, and Blanca Gonzalez de Escandon. "Mitologias: Don Juan. Segismundo." Modern Language Review 90, no. 2 (1995): 477. http://dx.doi.org/10.2307/3734628.

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14

de Maistre, Henri. "Tristan et Don Juan." Commentaire Numéro 64, no. 4 (1993): 899. http://dx.doi.org/10.3917/comm.064.0899.

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15

Holm, Bent. "Don Juan, Misantropen, Tartuffe." Peripeti 8, no. 15 (2010): 130–37. http://dx.doi.org/10.7146/peri.v8i15.108217.

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Der skyller en mindre bølge af Molière-opsætninger hen over sæsonen: Don Juan på Grønnegårdsteatret, Misantropen på Det Kgl. Teater, Den indbildt syge på Folketeatret, Tartuffe på Århus Teater. De spænder tilsammen over et stort register af komedieskriverens repertoire: tragikomedie, karakterkomedie, farce; vers og prosa. Spørgsmålet er så, hvordan mangfoldigheden i tekst-partiturerne foldes ud på samtidens scenei forhold til den grundlæggende musikalitet, der er et særkende i denne dramatikers sociale, psykologiske og emotionelle instrumenteringer; hvilke kunstneriske strategier anvendes for at få hvilke klange frem?

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16

Zorrilla, José, and Bernard Sesé. "Don Juan Tenorio (extrait)." Sigila N° 24, no. 2 (2009): 67–68. https://doi.org/10.3917/sigila.024.0067.

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17

Novianti, Nita. "The Heroines of Don Juan." ATAVISME 18, no. 2 (2015): 221–31. http://dx.doi.org/10.24257/atavisme.v18i2.117.221-231.

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In spite of the large number of female characters who play the major part in the life of the main character in Byron’s Don Juan, it is still the main character himself, Don Juan, who has garnered great attention from the critics. Hence, the present research will focus on the female characters of Byron’s Don Juan and reveal how their sexuality and femininity are represented. It is found that while there are subversion and challenging of femininity and sexuality, such as female unusual sexual prowess exhibited by Gulbeyaz and some other female characters, it is precisely the challenging of feminine conventions and the inability to suppress their sexuality that lead the female characters to their doom. Meanwhile, the female characters who successfully suppress their sexuality have a better ending, or at least, manage to survive.   Abstrak: Meskipun terdapat banyak karakter perempuan yang berperan penting dalam kehidupan karakter utama Don Juan karya Byron, tetap saja yang selama ini menjadi pusat perhatian para kritikus sastra adalah karakter utamanya, yaitu Don Juan. Oleh karena itu, penelitian ini akan fokus pada karakter-karakter perempuan dalam Don Juan karya Byron dan mengungkap bagaimana femininitas dan seksualitas mereka direpresentasikan. Ditemukan bahwa meskipun ada sub versi dan penentangan terhadap konvensi femininitas dan seksualitas perempuan, seperti yang ditunjukkan oleh kekuatan seksual Gulbeyaz dan beberapa karakter perempuan lainnya, justru sub versi dan penentangan serta ketidakmampuan mereka menahan seksualitasnya yang membawa karakter-karakter perempuan ini pada kesengsaraan. Sementara itu, karakter perempuan yang berhasil menahan seksualitasnya hidupnya berakhir bahagia, atau setidaknya bisa bertahan hidup.   Kata-kata Kunci: Don Juan; feminitas; karakter perempuan; seksualitas

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18

ROSA, G. M. "DON JUAN, 'DON PARDO', AND 'A. IMAGINATION'." French Studies Bulletin 9, no. 33 (1989): 5–9. http://dx.doi.org/10.1093/frebul/9.33.5.

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19

Sun Choi. "Don Giovanni/Don Juan/Don Guan rufen “Donna Anna!”." 러시아연구 20, no. 1 (2010): 105–38. http://dx.doi.org/10.22414/rusins.2010.20.1.105.

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20

Redmond, William Valentine. "Byron's Don Juan: source and imitation." Estudos Germânicos 10, no. 1 (1989): 85. http://dx.doi.org/10.17851/0101-837x.10.1.85-91.

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Byron's Don Juan tells of the adventures and conquests of the hero. But, although there are some elements in common with the original play on the subject of Don Juan, El Burlador de Sevilla by Tirso de Molina, there is no direct imitation of the original in Byron O Don Juan de Byron conta as aventuras e conquistas do herói. Mas, apesar de ter alguns elementos em comum com a peça original sobre Don Juan, El Burlador de Sevilla de Tirso de Molina, não parece ser uma imitação direta desta peça.

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21

Pereira, André Cesar. "Percusos de Don Juan nas Américas." Língua e Literatura, no. 27 (October 15, 2003): 245. http://dx.doi.org/10.11606/issn.2594-5963.lilit.2003.105467.

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Esse trabalho analisa o mito de Don Juan em duas obras das Américas (Le Don Juan chrétien - 1966, do autor quebequense Jacques Ferron, e Don Juan acorrentado -1999, da autora brasileira Wanda Fabian) a partir da análise de Jean Rousset (O mito de Don Juan - 1981), que estuda o mito através de três pontos fundamentais: o ser inconstante, o grupo feminino e a figura do morto. Inicialmente apresenta-se o percurso histórico do mito de Don Juan na literatura escrita da Europa, observando as suas características. Em um segundo momento, desenvolve-se a análise de Jean Rousset e em seguida, estuda-se a migração do mito para o imaginário americano, no Quebec, com a obra de Jacques Ferron e no Brasil, com a obra de Wanda Fabian, tratando-o através dos três pontos fundamentais levantados por Jean Rousset. Por fim, busca-se observar as transformações do mito de Don Juan ao encontrar-se em um novo contexto social e literário, ao migrar para um novo imaginário cultural. Busca-se ainda estudar quais características do mito inicial serão mantidas nessas recorrências americanas e quais o ressemantizarão.

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22

Díaz Freire, José Javier. "On Don Juan and Beyond: Masculinity Studies in Modern Spain." European History Quarterly 53, no. 2 (2023): 254–76. http://dx.doi.org/10.1177/02656914231165435.

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The prominence of the figure of Don Juan marks the Spanish literature on masculinities which will be analyzed in this article. This distinctive trait, obvious when comparing it to English-speaking masculinity studies, is responsible for the highest achievements of masculinity studies in Spain. Those studies benefit from the fact that the figure of Don Juan is a stylization of modern masculinity. Other historiographies could also benefit from it, but for that to happen, Spanish scholars must intensify their dialogue with those historiographies. A critical thinking on masculinities based on Don Juan will not be beneficial, however, if Don Juan is taken as a description of a specific territory, whether it be Castile, Spain or Latin America. Beyond Don Juan, the relation between masculinity and nation and with other phenomena on the process of modernization has concentrated a good deal of effort among Spanish scholars; this article contends that the figure of Don Juan could shed new light on that field of research.

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23

Pogrebnaya, Yana Vsevolodovna. "Anatomy of the sonnet "Don Juan" by N. S. Gumilev." Philology. Issues of Theory and Practice 17, no. 7 (2024): 2422–32. http://dx.doi.org/10.30853/phil20240345.

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The purpose of the study is to establish the concept of the image of Don Juan in the works of N. S. Gumilev through the prism of affirming and clarifying the aesthetics of acmeism and the dynamics of the poet's axiology and ontology. The scientific novelty of this research lies in two main aspects: firstly, we identify the image of Don Juan in N. S. Gumilev's work and place it in the context of various interpretations of the eternal image; secondly, we apply the methodology of level analysis of a poem, which was proposed by Gumilev himself in his article "Anatomy of a Poem," to our interpretation of the eternal image in the sonnet "Don Juan." This approach serves as a starting point for further readings of the image in other forms of literature, such as lyrics, drama (in the case of "Don Juan in Egypt"), and journalism (as seen in "The Reader"). The mythological genesis of the image of Don Juan actualizes the diachronic decoding of archaic meanings in the interpretation of N. S. Gumilev, which are harmoniously embedded in the architecture of the classical sonnet. At the same time, Don Juan, in accordance with the role concept of the collection "Pearls", acts as one of the hypostases of a person in general, which dictates the need for an ethical assessment of the hero's life path. As a result of the study, it was found that the grammatical structure and poetic language of the sonnet "Don Juan" form the concept of an image polemically opposed to both the romantic rehabilitation of Don Juan and his acmeistic interpretation in the one-act drama in verse "Don Juan in Egypt".

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24

Mańkowska, Joanna. "LAS MUJERES TOMAN EL PODER (O UNA MIRADA A LOS DON JUANES Y LAS DOÑA JUANAS DE LOS SIGLOS XX Y XXI)." Acotaciones. Revista de Investigación y Creación Teatral 2, no. 53 (2024): 369–90. https://doi.org/10.32621/acotaciones.2024.53.13.

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El presente artículo se centra en los Don Juanes y las Doña Juanas que nos ofrece el teatro de los siglos XX y XXI. Se men-cionarán asimismo algunas curiosas reinterpretaciones del personaje donjuanesco que aparecen en la novela de esa época. La idea principal de este estudio es pues acercar al lector y la lectora dos problemas conec-tados con el tema donjuanesco, sin duda representivos para la situación en que se encuentran en nuestro tiempo tanto el mito como el personaje donjuanesco en sí. A saber, el personaje de Don Juan convertido en mito de un amante ideal cuyo rol es satisfacer los deseos y las necesidades vi-tales de las mujeres, darles placer y hacer su vida más agradable y Don Juan que es mujer, o sea la Doña Juana que se presenta como una digna heredera de los Don Juanes barrocos: insolentes, irreverentes, llenos de energía y poco sentimentales

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25

Hoagwood, Terence Allan, and Peter W. Graham. ""Don Juan" and Regency England." South Atlantic Review 56, no. 4 (1991): 111. http://dx.doi.org/10.2307/3200532.

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26

SOLÀ-SOLÉ, JOSEP M. "DON JUAN IN CATALAN THEATER." Catalan Review: Volume 1, Issue 2 1, no. 2 (1986): 115–24. http://dx.doi.org/10.3828/catr.1.2.7.

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27

Arambourou-Mélèse, Miren. "Les héritiers de Don Juan." La lettre de l'enfance et de l'adolescence 50, no. 4 (2002): 23. http://dx.doi.org/10.3917/lett.050.0023.

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28

Potter, Gordon. "Byron's Numerology Revisited: Don Juan." Byron Journal 34, no. 2 (2006): 115–25. http://dx.doi.org/10.3828/bj.34.2.3.

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29

Fernández, Esther. "Las burladas por don Juan." Comedia Performance 13, no. 1 (2016): 230–35. http://dx.doi.org/10.5325/comeperf.13.1.0230.

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30

Wolf, Gregory H., and Hanns-Josef Ortheil. "Die Nacht des Don Juan." World Literature Today 75, no. 2 (2001): 366. http://dx.doi.org/10.2307/40156660.

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31

Mendes, Magaly. "Quem sonha com Don Juan?" Revista Leitura, no. 27 (2001): 43–53. http://dx.doi.org/10.28998/0103-6858.2001n27p43-53.

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32

Wolfson, S. J. ""Don Juan" and Regency England." Modern Language Quarterly 52, no. 1 (1991): 108–11. http://dx.doi.org/10.1215/00267929-52-1-108.

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33

Beaty, Frederick L. "Byron's "Don Juan". Bernard Beatty." Wordsworth Circle 19, no. 4 (1988): 186–87. http://dx.doi.org/10.1086/twc24042661.

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34

Arias, Judith H. "Don Juan, Cupid, the Devil." Hispania 75, no. 5 (1992): 1108. http://dx.doi.org/10.2307/344340.

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35

Ávila, Thiago Pierobom de, and Gabriel Santana Granja. "O golpe de Don Juan." Revista Opinião Jurídica (Fortaleza) 22, no. 41 (2024): 115–46. https://doi.org/10.12662/2447-6641oj.v22i41.p115-146.2024.

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Objetivo: Compreender a fenomenologia e as respostas oferecidas pelo sistema de justiça criminal ao denominado estelionato sentimental, praticado contra a mulher em relações íntimas de afeto. Metodologia: Análise documental quanti-qualitativa de 39 procedimentos do crime de estelionato praticado por parceiro íntimo contra mulher, no Distrito Federal, em 2019 e 2020. Resultados: Há um perfil específico de mulheres vitimadas: brancas (53,8%), de meia idade (maioria entre 25 e 44 anos), moradoras de bairros de classe média-alta ou alta (61,9%), com renda econômica acima de 3 salários-mínimos (59%) e profissões estabelecidas; 38,5% dos ofensores tinham outras ocorrências policiais. Em 35,9%, a relação era de até 6 meses. Em 5,1%, o crime foi integralmente praticado pela internet, e, em 20,5%, iniciou-se pela internet. Verificaram-se três gêneros de golpes: indução à entrega de bens (48,7%), gerência abusiva do patrimônio (66,7%) e falsificações (23,1%). As estratégias foram o abuso da relação afetiva (41%), a falsa identidade (35,9%), a imposição de medo/intimidação (35,9%), a simulação de emergência (30,7%), a exigência de cuidado (25,6%) e a falsa oportunidade (15,4%). O valor dos golpes soma a quantia de R$ 2,7 milhões. Em 23,1%, houve exclusão de aplicação da Lei Maria da Penha. Houve pouca proteção pessoal (33,3%) ou patrimonial (7,7%). Em 23,1%, houve denúncia e, em 10,3%, condenação à pena média de um ano e meio. A análise qualitativa revela a existência de relações de gênero neste crime e deficiências na investigação criminal. Conclusão: O sistema de justiça precisa melhor incorporar a perspectiva de gênero para a investigação, o processamento e o julgamento do crime de estelionato sentimental.

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36

Szczepaniak, Monika. "Don Juan und kalte Liebe." Studia Germanica Posnaniensia, no. 36 (July 4, 2015): 73. http://dx.doi.org/10.14746/sgp.2015.36.06.

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37

Wilkes, G. A. "Don Juan, IV. 52–53." Notes and Queries 42, no. 2 (1995): 184–85. http://dx.doi.org/10.1093/notesj/42.2.184.

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38

Heugas, Pierre. "Revenir au Don Juan espagnol." Bulletin Hispanique 92, no. 1 (1990): 333–53. http://dx.doi.org/10.3406/hispa.1990.4703.

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39

Moura Junior, João. "Velhice de Don Juan / Sabedoria." Remate de Males 26, no. 2 (2012): 241–42. http://dx.doi.org/10.20396/remate.v26i2.8636037.

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40

Zatlin, Phyllis. "Interlingual Metatheatricalism: Manet'sL'Autre Don Juan." Symposium: A Quarterly Journal in Modern Literatures 45, no. 4 (1991): 303–15. http://dx.doi.org/10.1080/00397709.1992.10733754.

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41

Wolfson, Susan J. "Don Juan in New York." Romanticism 10, no. 2 (2004): 131–43. http://dx.doi.org/10.3366/rom.2004.10.2.131.

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42

Castro Leal, Antonio. "Don Juan Ruiz de Alarcón." Anales del Instituto de Investigaciones Estéticas 2, no. 4 (2012): 23. http://dx.doi.org/10.22201/iie.18703062e.1939.4.169.

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Canuel, Mark. "Race, Writing, and Don Juan." Studies in Romanticism 54, no. 3 (2015): 303–28. http://dx.doi.org/10.1353/srm.2015.0010.

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Bretas, Aléxia. "Don Juan, herói da modernidade." Rapsódia, no. 4 (December 13, 2008): 141–54. http://dx.doi.org/10.11606/issn.2447-9772.i4p141-154.

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If Benjamin is right when he assures that to live Modernity it is required an heroic constitution, the figure of Don Juan is perfectly apt to that. From Tirso de Molina to José Saramago, passing by Molière, Mozart, Hoffmann, Balzac, Baudelaire and Camus, this serial lover condemned to hell has crossed the centuries without losing his breath or not being modern. As dandy, libertine, dissolute, conqueror, reflexive seducer, absurd man or simply Giovanni, his attitude is usually based on the law which gives him the reputation of trickster from Sevilla: the refusal in accepting the Ecclesiasts moral teachings as life conduct.

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45

Mendes, Magaly. "Quem sonha com Don Juan?" Revista Leitura, no. 27 (April 1, 2019): 43–53. http://dx.doi.org/10.28998/2317-9945.200127.43-53.

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46

Otero Luque, Frank. "Portrait in Don Juan: Individualization of Myth and Redemption from Sin." Studium, no. 26 (September 1, 2020): 121–38. http://dx.doi.org/10.26754/ojs_studium/stud.2020264558.

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Abstract. There are many types of artistic representations (theatre, music, opera, ballet, literature, cinema, television, painting, sculpture, etc.) of the legend of Don Juan, i.e. the universal archetype of the seducer who, through deception, conquers a woman and, once she succumbs to his charms, he boasts of his triumph, despises her, and shifts his interest towards another lady. In this work, I compare three of the most famous versions don Juan: The Trickster of Seville and the Stone Guest (1630) by Tirso de Molina, Don Giovanni (1787) by Wolfgang Amadeus Mozart and Lorenzo Da Ponte, and Don Juan Tenorio (1844) by José Zorrilla. The first and third are theatrical pieces, while the second is an opera. The myth of Don Juan is essentially the same in all three, but the message and the moral vary according to the cultural movement the works belong to, namely the Baroque, the Enlightenment and the Romanticism, respectively. Key words: The Trickster of Seville and the Stone Guest, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, sin, redemption, sociopath. Resumen. Son muchos los tipos de representación artística —teatro, música, ópera, ballet, literatura, cine, televisión, pintura, escultura, etc.— de la leyenda de Don Juan, el arquetipo universal del seductor que, mediante engaños, conquista a una mujer y, una vez que ella sucumbe a sus encantos, se jacta de su triunfo, las desprecia y reenfoca su interés en otras damas. En este trabajo, comparo a tres de los don Juanes más famosos: El burlador de Sevilla y convidado de piedra (1630) de Tirso de Molina, Don Giovanni (1787) de Wolfgang Amadeus Mozart y Lorenzo Da Ponte, y Don Juan Tenorio (1844) de José Zorrilla. La primera y la tercera son piezas teatrales, en tanto que la segunda es una ópera. El mito de Don Juan es, esencialmente, el mismo en estas tres obras, aunque varían el mensaje y la moraleja según el movimiento cultural al que pertenecen: Barroco, Ilustración y Romanticismo, respectivamente. Palabras clave: Burlador de Sevilla, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, pecado, redención, sociópata.

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47

Yermolenko, Volodymyr. "Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master." Filosofska dumka (Philosophical Thought) -, no. 2 (2021): 49–79. http://dx.doi.org/10.15407/fd2021.02.049.

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The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.

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García-Serrano, Francisco. "Don Juan Manuel and his connection with the Order of Preachers." Anuario de Estudios Medievales 23, no. 1 (2020): 151. http://dx.doi.org/10.3989/aem.1993.v23.1046.

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Cet article tente de démontrer comment les intérêts sociaux de l'Ordre dominicain ont spectaculairement changé pendant la première moitié du quatorzième siècle. Après avoir été un Ordre engagé dans la pauvreté et prêchant avant tout pour le peuple, les Dominicains s'attacheront plus tard à la noblesse et à leur source de pouvoir et de richesse. L'exemple de Don Juan Manuel, un noble puissant, et ses attaches avec les Dominicains aide à illustrer le fait. Les Prédicateurs fournissent à Don Juan les sources intellectuelles, les conseils politiques, la guidance religieuse qui l'aideront à maintenir son statut social. En retour, les moines jouirent de splendides donations et de la haute estime de Don Juan Manuel. L'engagement de Don Juan envers l'Ordre des Prêcheurs n'est pas seulement visible dans la fondation d'un couvent dominicain dans son village de Peñafiel mais apparaît aussi dans ses écrits. L’influence dominicaine fait souvent jour dans les histoires et les exemples employés par Don Juan. La vision que les moines Prédicateurs possédaient du monde l'induisent à concevoir la société comme un ordre traditionnel divisé en trois états et dominé par les nobles et le clergé. Toutefois cette idée de la société était difficile à imposer car le quatorzième siècle était un siècle de défit et de bouleversement pour ceux qui traditionnellement dominaient la société. En conséquence, les Dominicains et Don Juan Manuel se considéraient mutuellement comme des alliés dan leurs intérêts réciproques et s’aidaient à maintenir la société dans un statu quo.

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Marion, G. M. "A theoretical evaluation of mineral stability in Don Juan Pond, Wright Valley, Victoria Land." Antarctic Science 9, no. 1 (1997): 92–99. http://dx.doi.org/10.1017/s0954102097000114.

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Don Juan Pond, located in the Wright Valley, Victoria Land, is unique for several reasons. It is the most saline of the Antarctic lakes, being a near-saturated CaCl2 solution. As a consequence of this high salinity, Don Juan Pond generally remains unfrozen in winter, even at temperatures below -50°C. Don Juan Pond is the site where antarcticite (CaCl2·6H2O) was first identified forming naturally. The objective of this paper is to demonstrate the utility of a chemical thermodynamic model (FREZCHEM) by developing theoretical stability diagrams for ice, halite (NaCl), hydrohalite (NaCl·2H2O), and antarcticite in Don Juan Pond, using experimental data collected on 34 days between 1961 and 1983. The composition of Don Juan Pond at the calculated eutectic temperature (-51.8°C) was CaCl2 = 3.72 mol kg−1 and NaCl = 0.50 mol kg−1, which is similar but not identical to a pure NaCl–CaCl2–H2O system. The low eutectic temperature and high CaCl2 concentrations of Don Juan Pond account for lack of freezing during winter. The model is compatible with the experimental data, and predicts the formation of ice during rare high water periods, halite, and antarcticite. These solid phases have all been reported from Don Juan Pond. The model also predicts the formation of hydrohalite at subzero temperatures; hydrohalite has never been observed at Don Juan Pond, but this may simply reflect that most sampling was done during the summer when halite is thermodynamically more stable than hydrohalite. The FREZCHEM model may prove useful in elucidating the physicochemical behaviour, the origin of salinity, and the evolution of Antarctic lakes.

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Llored, Yannick. "«Don Julian» de Juan Goytisolo, después de la «reivindicacion»." CAUCE (Revista Internacional de Filología, Comunicación y sus Didácticas), no. 44 (2021): 279–96. https://doi.org/10.12795/cauce.2021.i44.12.

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La novela de Juan Goytisolo (1931-2017) centrada en la «destrucción creadora», Reivindicación del conde Don Julián, y publicada por primera vez en México, en 1970, fue objeto de una edición definitiva a principios de 2001 con motivo de la cual el escritor modificó el título original de la obra para abreviarlo en Don Julián. Este hecho induce a interrogarnos sobre la mirada y la (re)lectura que Juan Goytisolo pudo proyectar sobre su novela de ruptura unos treinta años después de su publicación inicial, y ello a la luz de la evolución de su figura de escritor considerada como «heterodoxa», y de su relación con su propia creación literaria posterior y con España.

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Journal articles on the topic 'Don Juan'

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