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Wiesse, Rebagliati Jorge Raúl. "El Quijote de Coseriu." Pontificia Universidad Católica del Perú, 2018. http://repositorio.pucp.edu.pe/index/handle/123456789/123792.
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En su amplia obra lingüística, Eugenio Coseriu (Mihaileni, 1921 - Tübingen, 2002), acude varias veces a la literatura para ejemplificar conceptos lingüísticos teóricos e incluso para modelarlos. Como ocurre con varios estudiosos del siglo XX (José Ortega y Gasset o Mijaíl Bajtín, por ejemplo), el Quijote es, para Coseriu, incitación para formular reflexiones que no se aplican exclusivamente a él, como sí lo hacen otras obras relevantes del cervantismo del siglo XX, señaladamente los trabajos de Stephen Gilman y Edward C. Riley. El presente artículo busca rastrear las referencias al Quijote y a Cervantes en la obra de Coseriu y, sobre todo, presentar y discutir la corrección hecha por Coseriu al importante trabajo de Leo Spitzer “Perspectivismo lingüístico en el Quijote”.In his extensive linguistic work, Eugenio Coseriu (Mihaileni, 1921 - Tübingen, 2002), uses literature several times to exemplify theoretical linguistic concepts and even to model them. As is the case with several 20th century scholars (José Ortega y Gasset or Mijaíl Bajtín), Don Quixote is, for Coseriu, a touchstone to formulate reflections that do not apply exclusively to it, as other relevant works of 20th century’s Cervantism, such as Stephen Gilman’s or and Edward C. Riley’s, do. This article seeks to trace the references of Don Quixote and Cervantes in Coseriu’s work and, above all, to present and discuss the correction made by Coseriu to Leo Spitzer’s “Perspectivismo lingüístico en el Quijote”.
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Sirias, Silvio Vital. "The quest for meaning in "Don Quijote de la Mancha"." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186351.
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The importance of the act of reading is one of Miguel de Cervantes's central concerns in Don Quijote de la Mancha. The Spanish author recognizes the importance of the reader and the role that he or she plays in the creation of the literary text. The departure point of the novel is based upon the imaginative encounters between chivalric texts and the mind of an obsessed reader--Don Quijote, himself. Don Quijote, however, is not only a book about an aged madman, it is also a book in which a legion of readers and aspiring writers dwell, and whose background knowledge at times clashes and at other times merges with the knight errant's to create a vivid theatrical atmosphere. This dissertation, The Quest for Meaning in Don Quijote de la Mancha, applies reader-centered theories, in particular schema theory, in order to analyse Cervantes's inclusion of characters who are knowledgeable about the chivalresque and how this affects our own quest for meaning. In reading the novel, it becomes easy to observe that the characters, like ourselves, struggle to create meaning out of their encounters with Don Quijote and the literary world that he represents. This study examines the literary codes that inscribe the characters within the system of Don Quijote de la Mancha. It also examines how the inscribed characters, readers and the most significant non-readers, contribute to the readability of the novel. In addition, it observes the codes and conventions, whether aesthetic or cultural, that the characters reveal to us, the external readers, which facilitate, or perhaps complicate, our making sense of Don Quijote. Among the central topics explored are: Don Quijote's chivalric framework and how he employs it to make the world outside of his library walls seem chivalric; Sancho Panza's acquisition of a chivalric framework which helps him to provide meaning to his adventures; how the knight errant and his squire develop the illusion of mastery in their professions; the secondary characters' employment of their background knowledge as readers in their quest to extract meaning from their encounters with Don Quijote; the characters as writers, themselves; and, finally, the texts which Don Quijote de la Mancha incorporates into itself, making them a part of its repertoire, and how this further complicates the creation of meaning for us, the external readers.
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Cabrejo, Cobián José Carlos. "La metaficción: De Don Quijote de la Mancha al cine contemporáneo." Master's thesis, Tesis digitales - UNMSM, 2013. http://cybertesis.unmsm.edu.pe/handle/cybertesis/3454.
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En el cine contemporáneo hay una tendencia en la que filmes son metaficciones, es decir, son ficciones que hacen referencia a otras ficciones o que reflexionan sobre su condición de tales. Algunas películas que poseen esa característica son muy distintas entre sí: un filme paródico de terror como Scream, la máscara de la muerte de Wes Craven (1996), o una película experimental como El Camino de los Sueños (2001) de David Lynch. Incluso un documental como Grizzly man (2005) de Werner Herzog tiene ese rasgo.
En ese sentido, estas películas tienen otro aspecto en común: en términos generales, uno nota que muchos de sus mecanismos metaficcionales son los mismos que estructuran la clásica novela española Don Quijote de la Mancha. ¿El carácter metaficcional de la obra de Miguel de Cervantes ha influido en el devenir narrativo/discursivo del cine contemporáneo o ha llegado a anteceder muchas de sus características más saltantes? Esa es una pregunta que la tesis responde, y afirmativamente.
En este sentido, la presente investigación tuvo como objetivo primordial descubrir si las películas ya referidas (Scream, Grizzly man y El camino de los sueños) emplean los mismos mecanismos metaficcionales que articulan la obra Don Quijote de la Mancha. La trascendencia de esta tesis pasa por el hecho de que aquellas cintas representan tendencias fundamentales del cine contemporáneo. Scream forma parte de aquel tipo de cine ficcional de consumo masivo, que siempre está presente en las multisalas; Grizzly man es un largometraje que aparece en tiempos en que el documental (además del “falso documental”) ha adquirido una atención muy especial; y El camino de los sueños representa a un cine de pretensiones artísticas, “de autor”, que circula en festivales, pero que además es objeto de culto, a través del consumo en formato de video. La condición metaficcional de Don Quijote de la Mancha está presente en estas tres películas, a pesar de sus notorias diferencias.
Por ello, el tema de investigación de esta tesis permitirá abrir un enfoque novedoso a las relaciones que hay entre la obra más importante de Cervantes y el cine. Si bien existen investigaciones y una cierta bibliografía sobre las relaciones de Don Quijote de la Mancha con el lenguaje de las imágenes en movimiento, no existe en la actualidad un estudio profundo sobre las estrategias metaficcionales de la novela que habrían sido llevadas a cabo por los filmes en la actualidad.
En consecuencia, se demostrará la vigencia de la obra literaria que, para muchos, es la más importante de la lengua española. Se constatará que Don Quijote de la Mancha no es sólo una obra maestra de la narrativa moderna, sino una de alcances posmodernos y hasta hipermodernos (en palabras de Gilles Lipovetsky y Jean Serroy), al identificarse relatos cinematográficos contemporáneos que recogen muchos de sus procedimientos narrativos/discursivos de vertiente metaficcional.
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Smith, Stevenson George. "Heideggerian Authenticity in La Celestina and Don Quijote de la Mancha." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/8121.
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This study explores the intersection of the philosophy of Martin Heidegger and Spanish literature. The study examines the Heideggerian authenticity and inauthenticity of two characters in the literature: Melibea in La Celestina by Fernando de Rojas and Grisóstomo in Don Quijote de la Mancha by Miguel de Cervantes. Heidegger’s concept of authenticity is the ability of the individual to live in the world according to her own desires, outside of the influence of others. Both die by suicide, but Melibea is an authentic character in Heideggerian terms and Grisóstomo is inauthentic. At the end of her life, Melibea has resolved all anxiety into resoluteness and is determined to live life in her own terms. Grisóstomo, however, dies inauthentically, full of anxiety and subject to the will of Others. He never leaves the influence of others to live a life of his own determination.
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Torres, Francisco de. "La ‘mancha’ de don Quijote, el trasfondo islámico: Representaciones de un trauma cultural." Tesis, Universidad de Chile, 2005. http://repositorio.uchile.cl/handle/2250/110247.
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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura.Seminario de grado: Desde la escritura: imágenes y representaciones del Islam y los musulmanes
En La ‘mancha’ de don Quijote: el trasfondo islámico, se intentará poner de manifiesto una posibilidad de lectura, en donde el texto cervantino se nos presenta como un corpus empapado de tópicos, motivos y problemáticas árabes e islámicas luego de la expulsión de los moros de la Península, además de postular una nueva interpretación basada en la identificación de esos elementos orientales en el juego ficcional interno de la obra. Este ensayo intenta de-velar lo que la crítica tradicional occidental ha omitido, ignorado o negado de El Quijote, respecto a la influencia musulmana y/o árabe que, durante la convivencia con cristianos en España, debió de introducir a la literatura medieval y posterior. Así, en este trabajo veremos cómo, incluso entrado ya el siglo XVII, los residuos de la cultura islámica se dejan ver en la literatura española con una voz más potente y determinante de lo que muchos podrían esperar o querer.
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Santos, Albaniza Alves dos. "Grande Sert?o: Veredas e Don Quijote de la Mancha: melancolia em tr?nsito." Universidade Federal do Rio Grande do Norte, 2009. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16161.
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Previous issue date: 2009-09-18Esta disertaci?n aborda la lectura e interpretaci?n de las obras Grande Sert?o: Veredas, de Jo?o Guimar?es Rosa y Del Ingenioso Hidalgo Don Quijote de la Mancha, de Miguel de Cervantes Y Saavedra, enfocando aspectos relacionados a las acciones de los caballeros andantes Riobaldo, el jagun?o de Rosa y don Quijote, el Caballero de Cervantes, las cuales tuvieron decisiva influencia en su estado de esp?ritu melanc?lico. En la base te?rica de este trabajo, investigamos la noci?n de melancol?a, sistematizada por Kristeva y Freud, as? como los estudios de la melancol?a y de la alegor?a a la luz del pensamiento de Walter Benjamin. Este estudio se concentra, sobre todo, en el aspecto que denominamos de alegor?a de la circularidad, que permea las dos novelas, mientras expresi?n de cosas inacabadas que sugiere la idea de movimientos de espiralamento. Se percibi? que lo retorno es consagrado en ambas las obras, es decir diferente el igual, dicho que consagra la diferencia y cierra las puertas para la repetici?n literal de sentido. En tal comprensi?n, ese movimiento no puede ser concebido como met?fora del mismo, pues sugiere la traves?a que permanece inacabada y tortuosa, su estatuto de repetici?n no se honda en el encuentro de las dos puntas del ovillo, porque gira en el interior de aquello que repite como diferencia y liberaci?n
Esta disserta??o aborda a leitura e interpreta??o das obras Grande Sert?o: Veredas, de Jo?o Guimar?es Rosa e Del Ingenioso Hidalgo Don Quijote de la Mancha, de Miguel de Cervantes Y Saavedra, focalizando certos aspectos ligados ?s a??es dos cavaleiros andantes Riobaldo, o jagun?o de Rosa e don Quijote, o Caballero de Cervantes, as quais tiveram decisiva influ?ncia em seu estado de esp?rito melanc?lico. No embasamento te?rico deste trabalho, valemo-nos da no??o de melancolia, sistematizada por Kristeva e Freud, bem como os estudos da melancolia e da alegoria ? luz do pensamento de Walter Benjamin. Este estudo concentra-se, sobretudo, no aspecto que denominamos de alegoria da circularidade, a qual permeia os dois romances, enquanto express?o de coisas inacabadas que sugere a id?ia de movimentos de espiralamento. Percebeu-se que o retorno ? consagrado em ambas as obras, a dizer diferente o igual, dito que consagra a diferen?a e fecha as portas para a repeti??o literal de sentido. Em tal compreens?o esse movimento n?o pode ser concebido como met?fora do mesmo, pois sugere a travessia permanentemente infinda e tortuosa, o seu estatuto de repeti??o n?o se funda no encontro das duas pontas do novelo, porque gira no interior daquilo que repete como diferen?a e liberta??o
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Duarte, Ana Filipa da Silva. "O herói pícaro em Don Quijote de la Mancha, de Miguel de Cervantes, e na Peregrinação, de Fernão Mendes Pinto." Master's thesis, Universidade da Beira Interior, 2010. http://hdl.handle.net/10400.6/1794.
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O presente relatório de estágio é o produto final, não só destes últimos nove meses de experiência profissional, de pesquisa bibliográfica e de reflexão em torno da temática «O herói pícaro em Don Quijote de la Mancha, de Miguel de Cervantes, e na Peregrinação, de Fernão Mendes Pinto», mas também fruto de uma longa caminhada iniciada na Universidade da Beira Interior, enriquecida na Escola Básica e Secundária Afonso de Albuquerque, Escola Básica com 3º Ciclo Serra da Gardunha e Escola Básica e Secundária Frei Heitor Pinto, e concluída na referida em primeiro lugar. O estágio pedagógico é um momento de fundamental importância no processo da formação profissional. É constituído por um treino que possibilita ao estagiário vivenciar o que foi aprendido durante a licenciatura, tendo como função integrar inúmeras disciplinas que compõem o currículo académico. O estágio deve ser uma passagem natural do “saber sobre” para o “saber como”, ou seja, um momento de validação do aprendido teórico e praticamente em confronto com a realidade. O estágio supervisionado cumpriu de forma eficiente o papel de ligação entre o mundo académico e o mundo profissional. Permite ao estagiário a oportunidade do conhecimento das directrizes e funcionamento da escola e as suas relações com a comunidade. No que diz respeito à estrutura do relatório de estágio, este possui três grandes capítulos: a primeira parte faz parte da componente científica; a segunda da componente lectiva e na terceira parte inclui-se a componente extracurricular. No entanto existiram algumas limitações na elaboração do relatório final umas das mais notárias foi a extensa carga horária na escola em estágio. De qualquer forma, o mesmo foi elaborado com toda a entrega e dedicação.
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Martinho, Ivone Dias Pereira. "O herói pícaro na Peregrinação, de Fernão Mendes Pinto e em Don Quijote de la Mancha, de Miguel de Cervantes." Master's thesis, Universidade da Beira Interior, 2010. http://hdl.handle.net/10400.6/1795.
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Numa época em que as obras de ficção eram povoadas por personagens fantásticas ou heróicas presentes em romances bizantinos, romances de cavalaria, romances mouriscos e tantos outros, La vida de Lazarillo de Tormes de autor desconhecido, publicado em 1554, marca a diferença e dá origem a um novo género que se começou a chamar Romance Picaresco. Um narrador, que é ao mesmo tempo protagonista da história, conta “sus fortunas y adversidades”. A sua narração é marcada por temas recorrentes que constituem a base do romance picaresco: a fome, a representação de certos tipos sociais (o nobre, o eclesiástico, o fidalgo, o louco, o mendigo, entre outros, ou a transgressão de valores sociais da época. A novela Guzmán de Alfarache3, publicada em 1599, ou seja, quarenta e cinco anos depois da publicação de La vida de Lazarillo de Tormes, definiu e deu as características ao romance picaresco, apresentando uma narração de um anti-herói. Assim, o pícaro apresentou-se como um mendigo de baixa condição social e com vontade de mudar e subir de condição social. Para o conseguir, o herói pícaro não hesita em recorrer à fraude e ao engano para tentar escapar à fome e à pobreza. Retomando o modelo epistolar, o romance picaresco apresenta-se como um romance autobiográfico cuja leitura é ditada pelos acontecimentos. Contado na primeira pessoa, o romance picaresco abre geralmente com a narração das origens, onde o mendigo apresenta a sua genealogia. O seu nascimento e a sua infância situam-se no oposto do cavaleiro ou do herói. Ao mesmo tempo narrador e protagonista, o pícaro revela-nos o seu passado e o seu presente, inspirando-se em escritos, autobiografias de personagens ilustres e de soldados, querendo deixar um testemunho das suas aventuras para a prosperidade. O carácter moralizador parece ser indissociável do género picaresco. Ao contrário dos livros de contos medievais e dos sermões, onde podemos ver exemplos de comportamentos censurados, o romance picaresco aparece como uma sucessão de episódios que conduzem o protagonista a uma mudança e a um enriquecimento pessoal.
Neste tipo de romances, podemos ver uma crítica aos costumes da época, mas os elementos sociais ou morais são ultrapassados por elementos estéticos que caracterizam o romance picaresco. O protagonista é um pícaro de baixa condição social, um marginal, um bastardo, um órfão ou um delinquente. Este género tem uma estrutura, pressupostamente autobiográfica, visto que o romance é em primeira pessoa, como se a personagem estivesse a contar as suas próprias aventuras, começando, por vezes, com a sua genealogia e narrando todas as suas peripécias com o objectivo de lutar por uma vida melhor. No entanto, um pícaro será sempre um pícaro e o estatuto social que parece querer alcançar acaba por ser uma miragem. Este herói pícaro, vamos encontrá-lo em dois romances ibéricos: Peregrinação, de Fernão Mendes Pinto e El ingenioso hidalgo Don Quijote de la Mancha, de Miguel de Cervantes. São ambos referências no mundo das letras e da cultura em Portugal e em Espanha. Um aluno de Português e de Espanhol não pode passar a sua escolaridade sem ter lido e analisado alguns extractos destas obras por serem importantíssimas e fazerem parte do património cultural universal. Neste trabalho, propomo-nos abordar o capítulo CLXXIX de Peregrinação e o Capítulo I de El Quijote de la Mancha. Deparar-nos-emos com uma descrição picaresca do herói em ambos os casos e teremos como objectivo elaborar duas planificações de aulas para as disciplinas de Português e de Espanhol, destinadas aos alunos de 9º Ano de Escolaridade.
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Scalese, Marika. "Il bilinguismo negli Stati Uniti: il fenomeno dello spanglish e il Don Quijote di Ilan Stavans." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/11388/.
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L'elaborato ha come oggetto lo Spanglish, lingua ibrida nata in seguito al bilinguismo negli Stati Uniti. L'elaborato, in particolare, propone un'analisi di tale fenomeno a partire dalle origini fino a giungere alla discussa traduzione del Don Quijote de La Mancha per mano di Ilan Stavans.
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Cruz, Ana Aparecida Teixeira da. "Dimensões da loucura nas obras de Miguel de Cervantes e Lima Barreto: Don Quijote de la Mancha e Triste fim de Policarpo Quaresma." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-02022010-170141/.
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Este trabalho tem como ponto de partida as relações entre os protagonistas do Quixote, do escritor espanhol Miguel de Cervantes, e Triste fim de Policarpo Quaresma do romancista carioca Lima Barreto observadas pela fortuna crítica barretiana. De acordo com esses estudos, Policarpo Quaresma seria um Dom Quixote brasileiro, por apresentar uma série de traços quixotescos. A partir dessa consideração, o objetivo desta dissertação é o de realizar um estudo comparativo entre o Cavaleiro da Triste Figura e o Major Quaresma, de modo a buscar, mais do que as semelhanças, as diferenças que delineiam suas singularidades. Para efetuar tal comparação, escolheu-se como parâmetro de análise a temática da loucura. Sendo assim, o exame das duas obras tem como preocupação central o modo como Cervantes e Lima Barreto se apropriam do referido tema na construção de suas respectivas personagens.This work presents as its starting point the relations between the main characters of Don Quijote de la Mancha (Don Quixote), by the Spanish writer Miguel de Cervantes, and of Triste Fim de Policarpo Quaresma (Tragic Death of Policarpo Quaresma), by the Brazilian writer Lima Barreto, noted by the critics of Barreto´s book. According to them, Policarpo Quaresma is a kind of Brazilian Don Quixote, because the character presents a series of quixotic traits. Taking it into consideration, this dissertation aims to carry out a comparative study between the Knight of the Sad Countenance and Major Quaresma in order to search the differences in this case, more significant than the similitudes which delineate both characters´ singularities. The madness theme has been chosen as the analysis approach to carry out such comparison. Therefore, the examination of the two works has as its central theme the way both writers, Cervantes and Barreto, borrow from the madness theme in the creation of their characters.
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Chiappe, Johansson Inés. "Una mujer libre en Don Quijote de la Mancha : Libertad, opresión y rebelión en la historia de Marcela y Grisóstomo - un análisis del feminismo." Thesis, Högskolan Dalarna, Spanska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-22475.
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Esta tesina tiene como objetivo considerar la historia de Marcela y Grisóstomo desde una perspectiva feminista en la obra de Miguel de Cervantes El ingenioso hidalgo don Quijote de la Mancha. La investigación se enfocará en la situación de Marcela y su voluntad de poder decidir sobre su propia vida y su destino. Como ayuda a nuestra investigación nos apoyaremos en reconocidos teóricos literarios feministas que nos ayudarán a analizar la imagen estereotipada de la mujer, entre ellos Simone de Beauvoir. El objetivo de nuestro estudio ha sido investigar el personaje de Marcela y la visión estereotipada de la mujer en ese momento concreto, y buscar la respuesta al porqué de su manera de actuar. En el trabajo también hemos querido investigar si Marcela fue una víctima de la visión patriarcal existente y si se deja regir por las normas y expectativas de la sociedad de su época. Como resultado de nuestra investigación podremos afirmar que Marcela sí fue una víctima del sistema patriarcal y, pese a no ser un ejemplo representativo de la imagen de la mujer en aquel momento, fue juzgada por los hombres y por la sociedad. También hemos podido demostrar cómo los hombres y la sociedad reaccionaron durante esa época a la elección de Marcela
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Labère, Claude. "Don Quichotte théâtralisé au XXème siècle." Toulouse 2, 1998. http://www.theses.fr/1998TOU20079.
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L'écriture et la composition du Quichotte portent témoignage de l'homme de théâtre déçu que fut Cervantes. La masse dialoguée, la structure, l'oralité caractéristique et l'aura dont bénéficient les personnages construisent une spirale incitative qui favorise la transposition du roman. Trois techniques essentielles, l'ellipse, la condensation et l'invention, président au processus d'adaptation qui a donné naissance à six créations théâtrales récentes, désormais émancipées de leur hypotexte. Ce travail de réécriture ne saurait consister en un collage de fragments jugés particulièrement théâtraux. Au contraire, chaque auteur a dégagé, une vision préférentielle autour de laquelle il a bâti une véritable dramaturgie. Invoquer alors les notions de fidélité ou de trahison ne paraît pas opératoire ; théâtraliser Don Quichotte ne consiste pas à faire vivre le livre sur la scène, mais à recréer des figures autonomes dans un univers différent qui possède ses exigences, ses codes et ses lois. La réactualisation thématique s'ordonne autour de deux éléments constitutifs de l'œuvre : la folie et le comique. Aucun des dramaturges de notre étude ne se hasarde à nier la démence de l'hidalgo, mais son importance et sa signification suscitent bien des divergences. Selon les versions, elle se révèle sans espoir ou bien source d'étranges pouvoirs qui matérialisent les chimères. Sous son couvert, le vieux gentilhomme hypertrophie la verve critique que manifeste son homologue romanesque, utilisant pleinement les pouvoirs de la marotte. L'un des principaux mérites des auteurs que nous étudions demeure la mise en valeur de l'élément comique. Notre travail fait apparaître la pérennité des techniques susceptibles de provoquer le rire, et les conditions requises pour son épanouissement. Ainsi, par le biais du processus de transposition, Don Quichotte, œuvre de divertissement instructif, gaie et noble, drôle et profonde, recouvre sa substance originelle. Apres avoir emprunté sa quintessence au roman, le théâtre lui apporte en retour, sa vision moderne et sa vigueur nouvelle, engageant son public à (re)découvrir l'immense richesse du texteThe style and composition of Quixote evince how disappointed Cervantes was as a man of the stage. The massive dialogue forms, the structure, the characteristic oral aspect, and the aura the characters benefit from contribute to create an appealing spiral which favours the transposition of the novel. Three main literary devices: the ellipsis, the condensation and the invention predominate in the adaptation forms thus giving birth to six recent stage productions, from now liberated their text. The rewriting task doesn't consist in a collage of particularly dramatic fragments. On the contrary, each author has selected a preferential vision on which a real dramatic art has been composed. Thus putting forward notions of fidelity or misinterpretation does not seem to operate ; a dramatization of Don Quixote does not consist in making the novel lively on stage but in recreating autonomous characters in a different universe which has its particularity, codes and laws. The up-to-date thematic organizes itself around two elements which constitute the novel: madness and comedy. None of the dramatists in our study venture to deny the hidalgo's insanity, but its importance and significance give rise to many divergences. According to the different versions, madness reveals itself as being hopeless or at the root of strange powers materializing chimaeras. Under this cover the old gentleman hypertrophies the critical verve shown by his romantic counterpart, thus making fully use of the power of craziness. One of the main quality the authors we are studying, is to hightlight the comic aspect. Our work brings to light the durability of technics capable of rousing laughter, and the conditions required to its blossoming. Thus, by means of the transposition process, Don Quixote, which is a deep and amusing, noble and cheerful instructive entertainment, regains its original gist. First borrowing its quintessence from the novel, the theatre gives it, its modern vision and its new strength involving the public to (re)discover the huge richness of the text
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Villalobos, Lara Raquel. "La primera edición del Quijote en Chile (1863): reescritura, recepción crítica y reinterpretación en Chile desde 1863 a 1947." Tesis, Universidad de Chile, 2013. http://repositorio.uchile.cl/handle/2250/117209.
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Tesis para optar al grado de Doctora en Literatura, mención Literatura Chilena e HispanoamericanaNo autorizada su publicación a texto completo, según petición de su autor.
En términos generales, esta investigación propone, en primera instancia, interpretar y revelar analíticamente los aspectos culturales, literarios y sociales que rodearon la publicación de la primera edición del Quijote publicada en Chile, además de entregar los datos materiales y prácticos de ésta; y, en segunda instancia, se pretende analizar la recepción e interpretación del Quijote de Miguel de Cervantes en Chile entre los años 1863 y 1947. Se hará especial hincapié en el análisis de los textos críticos que tienen a la obra cervantina como el motivo principal de análisis. Sin embargo, no se dejará de mencionar algunos textos, escritos, poemas y publicaciones varias que abordan tanto al escritor, Cervantes, y al personaje, don Quijote.
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Gustafsson, Erik. "Sobre la modernización de una obra clásica. : Un estudio comparativo de la novela Don Quijote de la Mancha y dos traducciones al sueco de distintas épocas." Thesis, Stockholms universitet, Institutionen för spanska, portugisiska och latinamerikastudier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-32206.
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El presente estudio parte de un análisis comparativo de la obra Don Quijote de la Mancha y dos traducciones suecas de esta novela; la primera de ellas realizada por Edvard Lidforss en 1888-1892 y la segunda elaborada por Jens Nordenhök en 2001. Se investiga cuáles son las diferencias más destacadas entre las obras y qué consecuencias conllevan las mismas en la percepción de los textos. Asimismo, se pretende identificar en qué consiste la modernización de una obra clásica como la que es objeto de este estudio. La hipótesis de esta monografía sostiene que la traducción de Lidforss privilegia la equivalencia formal, mientras que la de Nordenhök da prioridad a la equivalencia dinámica. Los resultados del análisis señalan que la traducción de Lidforss tiende a mantenerse cercana al original, en cuanto al léxico y a la sintaxis. La traducción de Nordenhök, por su parte, es, en muchos aspectos, adaptada a la lengua meta, aunque se aparta del sueco en el empleo de frases largas. El análisis muestra, además, que las estrategias empleadas generan distintos efectos en las dos traducciones. Así es que el texto de Lidforss requiere un mayor esfuerzo de interpretación del lector actual que el de Nordenhök, a la vez que la traducción de Nordenhök se distancia en gran medida del original por momentos.
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Mathieu, Florent. "La désillusion romanesque : romantisme et métalittérature." Grenoble 3, 2006. http://www.theses.fr/2006GRE39043.
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Ce travail a pour objectif de traiter la notion de désillusion romanesque au sein d'un certain nombre d'ouvrages romantiques. Par désillusion romanesque, nous entendons un mouvement littéraire tendant à contrer les principes et techniques de l'illusion romanesque, mais aussi les autres méthodes romanesques plus classiques, afin de dénoncer le caractère arbitraire et fictif, en somme la littérarité, du roman même. Ce désir de métalittérature démonstrative semble motivé au sein de la période romantique par une volonté de moquer et de contrer le donquichottisme qui s'est emparé de toute une génération de jeunes gens fascinés par la lecture des grands standards du romantisme européen. De fait, Don Quichotte demeure un modèle important pour grand nombre des auteurs pratiquant la désillusion romanesque, et ce avec d'autant plus de force que la désillusion romanesque s'inscrit dans une longue tradition de l'anti-roman ou du récit excentrique, dont le texte de Cervantès est sans conteste l'un des principaux initiateurs. En jouant sur le registre de la parodie ou de la satire, en détournant les outils conventionnels de la narration, en impliquant moralement le lecteur dans la découverte de l'objet romanesque ou en se livrant à une subversion véritable du langage, nombre d’auteurs romantiques veulent contrer la crédulité supposée d'un lecteur, et ne mettre en avant que le caractère fictif et artistique de leurs œuvres, revendiquant le roman comme genre faux mais néanmoins respectable. Par là même, la désillusion romanesque illustre l'accession de la littérature à la modernité par le biais du mouvement et de la sensibilité romantique.
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Campan, Hélène. "Formes et figures du labyrinthe dans la littérature espagnole du Siècle d'Or : la figure de Méduse dans le Don Quichotte de Miguel de Cervantès." Paris 4, 1993. http://www.theses.fr/1993PA040042.
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Le labyrinthe est un motif mythologique complexe mis en œuvre dans la littérature classique espagnole. A la fois mythe, symbole et métaphore, il est récurrent dans le Don Quichotte de Cervantès où il se développe en étroite relation avec le mythe de Méduse. L'analyse de personnages et d'épisodes fondamentaux dévoile, occulté sous un récit apparemment fait pour divertir, un processus constant de quête et de sidération qui convoque les figures mythologiques de Dédale et de Méduse, image spéculaire du minotaure. Par sa construction même, le Don Quichotte se révèle être un labyrinthe où la figure de Méduse, comme masque et miroir, met en jeu une interrogation sur la mimesis conçue comme stricte imitation. Corrélative de cette interrogation, se développe une problématique de l'identité qui, dévoilant des modes de fonctionnements psychiques, présente Don Quichotte comme une projection spéculaire du fonctionnement même de l'espritThe labyrinth is an intricate mythological figure inserted into the Spanish classical literature. At once myth, symbol and metaphor, it is recurrent in the Don Quixote by Cervantes, in which work it develops into a close relation with the myth of medusa. The analysis of personages and fundamental episodes reveals, occulted under a relation apparently made in order to amuse the reader, a constant process of quest and sideration, which convokes the mythological figures of Daedalus and Medusa, as a mask and a mirror, sets an interrogation about through its very construction, the Don Quixote proves to be a labyrinth in which the figure of medusa, as a mask and a mirror, sets an interrogation about the mimesis understood as a strict imitating. Correlative of this interrogation, a self-identity question appears, revealing ways of psychical functionings, and presents the Don Quixote as a specular projection of the very functioning of the human mind
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Pichová, Dagmar. "La communication ironique dans "Le Roman comique" de Scarron : étude comparative avec "Don Quichotte" de Cervantes." Paris 12, 2006. http://doxa.u-pec.fr:80/theses/th0245475.pdf.
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Une brève présentation du fonctionnement linguistique général de l'ironie nous permet d'établir un réseau conceptuel de base et de décrire ses correspondances dans le domaine littéraire, à savoir dans le genre romanesque. Nous insistons sur la conception de l'ironie romanesque comme un type de communication littéraire dans laquelle le rôle actif du lecteur est accentué. Dans la deuxième partie de la thèse, nous étudions les manifestations de l'ironie romanesque dans le contexte littéraire du XVIIe siècle et décrivons les conditions de sa production. La formation de l'ironie romanesque est liée au changement radical de la conception du langage et de la représentation de la réalité. Nous questionnons le rapport entre ce changement esthétique et la formation de l'ironie romanesque dans les textes de l'époque. La troisième partie de notre thèse est consacrée à l'étude comparée des éléments de l'ironie romanesque dans Le Roman comique et Don Quichotte de Cervantès. La lecture parallèle de l'installation de la communication ironique dans les deux ouvrages permet de suivre un parcours de lecture qui enrichit notre interprétation du Roman comique et de Don QuichotteIn the first part of the dissertation, there is a short presentation of general linguistic functioning of irony that enables us to formulate a basic conceptual scheme and to state its correspondences in literature, especially in the genre of the novel. The accent is placed on the characteristic of irony as a type of communication in literature where the activity of reader is emphasized. The second part of the dissertation deals with the use and conditions of the production of irony in the 17th century literature. The uprise of irony in the novel is related to radical changes in the conception of language and representation of reality. The relations between this aesthetic transformation and the emergence of irony in the novel can be observed in 17th century literary works. In the third part, irony is studied in two 17th century novels, Paul Scarron's Roman comique and Cervantes' Don Quixote. The parallel comparative analysis examines the installation of ironic communication in the texts and offers a new interpretation of the two novels
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Fontana, i. Tous Joan. "Algo va de Stan a Pedro. Parèmies populars a les traduccions romaneses integrals del Quijote." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/279265.
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En aquesta tesi, pretenem analitzar com s’ha traduït una selecció significativa (el 52%) de les parèmies populars (també anomenades clàssiques) del Quijote a les dues versions romaneses integrals que, a dia d’avui, n’existeixen (Ion FRUNZETTI / Edgar PAPU, 1965; Sorin MĂRCULESCU, 2007 [2005]). Per a això, ens basem en el corpus fraseològic de l’obra cervantina establert pels reputats paremiòlegs Jesús CANTERA ORTIZ DE URBINA, Julia SEVILLA MUÑOZ i Manuel SEVILLA MUÑOZ (2005).
Després de confessar la magdalena proustiana del treball (“3. A l’ombra de les parèmies en flor”), una breu introducció (“4. Algo va de Paremia a Paremia”) justifica la tria del corpus entre els nombrosos estudis centrats en les unitats fraseològiques. A continuació, abans d’esbossar a grans trets els objectius de l’estudi (“6. Objectius”), comentem la metodologia emprada (“5. Estructura de les fitxes”) en el nucli de la tesi, és a dir, en la redacció de 146 fitxes quixotesques (“7. Fitxes de les parèmies populars del Quijote”), que, entre variants de la parèmia de referència i/o repeticions d’algun refrany al text quixotesc, contempla un total de 202 parèmies populars. A cada fitxa, es procura, en primer lloc, ubicar la parèmia cervantina en els reculls hispànics, així com buscar-li, quan escau, referents romànics, i, àdhuc, anglesos, però, sobretot, l’objectiu principal rau en analitzar ambdues traduccions al romanès en base a les dades espigolades als diversos reculls paremiològics d’aquesta llengua.
En la darrera part del treball, gràcies a la informació acumulada al llarg de les fitxes, elaborem una proposta personal de criteris per a una traducció paremiològica ad hoc amb el corpus estudiat (“8. Per a una traducció paremiològica”); i, finalment, en base a aquesta anàlisi, mirem d’escatir (“9. Conclusions”) quin d’aquests criteris va seguir cada traductor a l’hora de traslladar al romanès les parèmies del millor refranyer literari de la literatura hispànica, el Quijote.The purpose of this thesis is to analyse a significant selection (52%) of popular (or 'classical') proverbs contained in the only two complete Romanian translations of Cervantes' Don Quixote (Ion FRUNZETTI / Edgar PAPU, 1965; Sorin MĂRCULESCU, 2007 [2005]). The present research is based on the phraseologic study of Cervantes’ masterpiece (2005) by acknowledged paremiologists Jesús CANTERA ORTIZ DE URBINA, Julia SEVILLA MUÑOZ and Manuel SEVILLA MUÑOZ. After reading the two complete translations, 146 files were created which contain 202 popular proverbs found in Don Quixote, including their variations and repetitions. The criteria for choosing the files to be examined are discussed in the introduction to the thesis; there are in fact a number of phraseologic studies already in existence. In each of the files, there is reference to the origin of the Romanian proverbs; it is interesting to note that some hail from Hispanic, Romance and even English paremiological collections. However, the main purpose of the thesis is to ascertain why the translators chose these particular Romanian proverbs and not others, when translating Don Quixote. In the last part of the thesis, after examining the 146 files, personal suggestions are put forward for the translation of proverbs according to given criteria. The thesis also definitively identifies the criteria FRUNZETTI / PAPU / MĂRCULESCU followed when translating the proverbs for Don Quixote, the paremiological treasure of Hispanic culture.
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Châtel-Gaultier, du Marache Aurore. "Littérature et institutions : Regards croisés entre l'Espagne et la France." Cergy-Pontoise, 2006. http://biblioweb.u-cergy.fr/theses/06CERG0297.pdf.
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Préoccupée par la transmission du patrimoine littéraire, l’auteure donne à la fois un aperçu des recherches universitaires sur les influences franco espagnoles réciproques et le résultat de sa recherche d’images croisées (françaises en Espagne et espagnoles en France) dans un corpus constitué de manuels scolaires, d’anthologies dont Mémoires d’Europe (Biet/Brighelli), de La Bibliothèque idéale et du Petit Larousse illustré – étudiés dans leurs versions française et espagnole –, complété par des titres de littérature de jeunesse (romans et BD). La thèse s’achève sur l’étude spécifique du traitement du roman de Cervantès, Don Quichotte, à la fois par la recherche (Joly, García Calderón, Canavaggio, etc. ) et par l’édition scolaire (école primaire en France, secondaire en France et en Espagne) et de jeunesse (France et Espagne). L’étude de la littérature, française ou étrangère à tous les niveaux de l’enseignement est possible pourvu qu’on respecte les textes et qu’on n’en fasse pas un objet dont les lecteurs ne voudraient plus s’approcherPreoccupied with transmitting literary heritage, the author gives an insight into both university research on reciprocal Franco/Spanish influence and the result of her search for crossed imagery (French in Spain and Spanish in France) in a corpus constituted of school manuals, anthologies including “Mémoires d’Europe” (Biet/Brighelli), “La Bibliothèque idéale” and the illustrated “Petit Larousse” – studied in their French and Spanish versions – completed by titles from youth literature (novels and strip cartoons). The thesis closes with the specific study of the treatment of Don Quichotte by Cervantès, both by research (Joly, Garcia Calderon, Canavaggio, etc. ) and by school editions (primary in France, secondary in France and in Spain) and by youth literature (France and Spain) as well. The study of literature, French or foreign, at all levels of the education system, is possible providing that the texts are respected and that they are not made into an object which the readers no longer wish to approach
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Sevilla, Llisterri Inés. "El Retablo de Maese Pedro de Manuel de Falla : un diálogo entre música, literatura y política." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0011.
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Dans ce projet de recherche, nous avons développé l'analyse de l'opéra Les Tréteaux de maître Pierre (1923) de Manuel de Falla comme interprétation du Quichotte (1605 et 1615) de Cervantes, à partir des relations établies par le compositeur, entre la musique, la littérature et la politique. Il s'agit d'une étude comparative entre les deux œuvres, bien que centrée sur la définition du dialogue établi par le compositeur avec Miguel de Cervantes. Dans ce but, nous analyserons l'importance et les connotations du Quichotte (et particulièrement de l'épisode des tréteaux) dans l'Espagne du début du XXe siècle. Quelle est la signification, tant du point de vue de la composition de l'œuvre que de sa réception, de choisir Don Quichotte comme sujet? Qu'est-ce que l'épisode des tréteaux représente? De cette perspective analytique, nous avons avancé, développé et vérifié trois hypothèses : en premier lieu, nous affirmons que dans ses Tréteaux Falla mène à bien une reconstitution de l'imaginaire musical dans l'œuvre de Cervantes ; deuxièmement, nous interprétons que sur la base du concept des Tréteaux comme hommage à Cervantes, dont Falla admire le travail et le style d'écriture, la musique transfère et reproduit plusieurs des caractéristiques stylistiques de la prose de Cervantes ; en troisième lieu, nous signalons que dans Les Tréteaux Falla affiche sa vision idéale de l'Espagne (et son opéra peut donc être lu comme un postulat politique) en tant que nation catholique, sous l'angle d'un nationalisme espagnol centré en Castille, mais respectueux de la diversité culturelle et linguistique des régions comme la Catalogne, accompagné d'une position pro-européenne et partisane des AlliésIn this research project, we analyzed Manuel de Falla's opera Master Peter's Puppet Show (1923) as an interpretation of Cervantes' Don Quixote (1605 and 1615), focusing on the relations established by the composer between music, literature and politics. Our project is, therefore, a comparative study between both works, even if it focuses on defining the dialogus established by the composer with Miguel de Cervantes. To this end, we consider Don Quixote's importance and connotations (specially in the episode of Master Peter's puppet show) in Spain in the early 20th century. What is the significance of the composition and its reception, of choosing Don Quixote as the subject of the opera? What does Master Peter's episode represent? From this perspective, we have proposed, developed and put to the test the following three hypotheses : First, we claim that in Master Peter's Puppet Show Falla carries out a reconstruction of the musical imaginary of Cervantes' work. Second, based on Falla's conception of Master Peter's Puppet Show as a tribute to Cervantes, we interpret that Falla's music succeeds in imitating and conveying many of Cervantes' stylistic features. Third, we consider that in Master Peter's Puppet Show Falla develops his ideal vision of Spain (thus advancing a politics proposal), which he sees as a Catholic nation from the angle of a Castile-centered Spanish nationalism, nonetheless respectful of cultural and linguistic diversity of regions such as Catalonia, aligned in Europe with the Allies and from a Europeanist stance
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Oubali, Ahmed. "Les avatars du sens dans la traduction française du Quichotte." Rennes 2, 1990. http://www.theses.fr/1990REN20010.
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Cette thèse est une critique des traductions françaises du Quichotte de Cervantès. Les points essentiels sont : ces traductions sont-elles fidèles à l'original ? Sur quelles théories linguistiques se sont elles fondées ? Réponses : si la traduction française est correcte du point de vue syntagmatique, elle présente, en revanche des lacunes flagrantes sur le plan paradigmatique à cause d'une théorie appelée traduction contrastive fondée sur la comparaison littérale de deux codes linguistiques différents ; étant donné la structure sémiotique du Quichotte, un seul modèle de traduction s'impose : le modèle herméneutique, fondé sur la traduction des idées et des contextes culturels. Vérification : par les contraintes méthodologiques, théoriques et pragmatiques, le modèle herméneutique offre une méthode efficace de traduction. Grâce a lui, les intraduits du Quichotte (anagrammes et jeux de mots) ont pu être interprètés fidèlement ; ainsi formulée, cette thèse est définie comme un ensemble de stratégies pragmatiques visant à réaliser une recherche traductologique originale et à fonder une nouvelle pratique de la traduction littéraireThis work deals with the past French translations of Don Quixote of Cervantes and its main points are: the questions: are these translations faithful to the original? What linguistic theories has the translator worked out? The hypothesis: if the French translations are correct from the syntagmatic point of view, they present flagrant gaps from the paradigmatic point of view. These gaps are caused by the contrastive translation theory that deals only with linguistic codes. The answers: since the nature of the linguistic structures of Don Quixote is more semiotic than semantic, they need another model of translation: the hermeneutic one that is based on the interpretation of the ideas of the text. Verification : thanks to this model and its methodology, the untranslated items of Don Quixote have been faithfully interpretated, conclusion : formulated in this way, the present thesis is defined as a whole of pragmatic strategies aiming to realize an interpretation search on a new linguistic field unexplored in don Quixote, called here the inter-said. Through this model we aim to found a new practice of translation
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Crowe, Tracy. "Authorized carnival in Don Quijote." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28555.pdf.
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Pollarolo, Giovanna. "Don Quijote, el escribidor y el escritor." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/102689.
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En sus diversos estudios críticos, Mario Vargas Llosa ha mostrado un especial interés en reflexionar sobre la teoría novelística de Miguel de Cervantes en función de sus propias preocupaciones como estudioso y novelista. Basta leer el ensayo “Una novela para el siglo XXI” que escribió en 2005 como introducción para la edición del Quijote con motivo de la celebración del IV Centenario, para constatar que Vargas Llosa “lee” a Cervantes en función de sus propias reflexiones sobre la teoría de la novela, el fanatismo o la “locura” de los personajes, la ficción y sus relaciones con la “realidad”, las voces narrativas o el problema del narrador. Pero la relación de Mario Vargas Llosa con Cervantes va más allá del ámbito teó-rico o reflexivo y se manifiesta en la propia creación novelística tal como ocurre, específicamente, en La tía Julia y el escribidor. En ese sentido, el objetivo principal de este trabajo es analizar el “diálogo” que se establece en La tía Julia y el escribidor con el Quijote a partir de la “locura” de Pedro Camacho, el escribidor de radionovelas creado por Vargas Llosa, y sus semejanzas con la del caballero andante.In his diverse critical studies, Mario Vargas Llosa has shown particular interest in reflecting on Miguel de Cervantes’s novelistic theory in accordance with his own concerns as a scholar and novelist. Suffice it to read the essay “Una novela para el siglo XXI” that he wrote in 2005 as an introduction to the edition of Don Quijote prepared to celebrate the IV Centenario, to make sure that Vargas Llosa “reads” Cervantes in accordance with his own reflections on the theory of the novel, fanaticism or the “insanity” of the characters, the fiction and its relationship with “reality”, the narrative voices or the problem of the narrator. But the Cervantes – Vargas Llosa relationship goes beyond the theoretical level or reflective and is manifested in his own novelistic creation such as ocurrs, specifically, in La tía Julia y el escribidor. In that sense, the main goal of this study is to analyze the “dialogue” that is set between La tía Julia y el escribidor and the Quijotefrom the point of view of the “insanity” of Pedro Camacho, the writer of radio soap operas created by Vargas Llosa, and their similarities with that of the knight-errant.
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Kohlheim, Rosa, and Volker Kohlheim. "Dreieinhalb Jahrhunderte Don Quijote deutsch: Die Eigennamen." Gesellschaft für Namenkunde e.V, 2016. https://ul.qucosa.de/id/qucosa%3A16245.
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Three and a half centuries Don Quixote in German: the proper names. – The first German partial translation of Cervantes’ novel El Ingenioso Hidalgo Don Quijote de la Mancha (Part I 1605, Part II 1615) dates from 1648, the most recent one from 2008. As proper names play an important part in Don Quixote, this paper analyzes their rendering in four different translations, namely by Joachim Caesar (1648), Ludwig Tieck (1799-1801), Ludwig Braunfels (1883), and Susanne Lange (2008). Proper names are rooted deeply in the respective cultures of their users. Therefore the translator’s task is a difficult one: Shall he try to translate the names and thus activate for his readers as many as possible of the cultural connotations they possessed in the original language or shall he transmit them unchanged and thus contribute to the strengthening of local colour? It is shown that different times preferred different solutions, earlier times trying to translate the names of the novel. But even the most recent translation of Don Quixote does not, as might be supposed, abstain from translating part of the novel’s proper names.
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Schmidt, Paul J. "Madness in the Quijote: Don Quijote as Alonso Quijano's True Self." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6670.
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This thesis examines the dichotomy of locura/cordura in Miguel de Cervantes' Don Quijote de la Mancha (1605/1615), specifically the nature of the madness of the titular character. Two different aspects of the Quijote are discussed: (1) the dual nature of the personality of Don Quijote/Alonso Quijano as being "sanely insane," that is, that although Don Quijote exhibits symptoms unmistakably indicative of madness, he maintains his sanity underneath this mad façade; the dedicatory sonnets that precede Part 1, the epitaphs that follow the end of Part 1, and the two poems that serve as an epilogue to Part 2 are examined in length in order to show that Don Quijote, and not "Alonso Quijano el Bueno," is the true protagonist of the Quijote; and (2) the roles that the various encantadores play in the Quijote and how they interact with Don Quijote are discussed in order to further explore this dichotomy of locura/cordura.
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Schveitzer, Emília Marta. "Aspectos da tradução como recriação em Don Quijote." Florianópolis, SC, 2001. http://repositorio.ufsc.br/xmlui/handle/123456789/82134.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.Made available in DSpace on 2012-10-19T11:57:29Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-25T22:24:08Z : No. of bitstreams: 1 148208.pdf: 2727706 bytes, checksum: 51bfce97cd72abdaf93a549472635c76 (MD5)
A presente dissertação levanta e analisa aspectos de tradução ao português do clássico El ingenioso hidalgo don Quijote de la Mancha, de Cervantes. Chama a atenção sobre a tradução como recriação através de uma leitura do prólogo e de dois capítulos-chave. Para satisfazer esse objetivo, parte da idéia de que o tradutor se apropria da forma material definida por outro e a transforma, a reescreve assumindo traços e feições do autor que traduz. Nesta reescritura suprime e acrescenta o que lhe convém, imprimindo na escrita do outro a sua própria escrita, constituindo-se como autor do seu texto e assumindo assim a função autor-tradutor. A tradução surge como a resposta de uma leitura ativa por parte do tradutor, que é sempre única e irrepetível.
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Berbinau, Agnès. "Le quichottisme dans les nouvelles d'Edith Wharton et de Sinclair Lewis." Paris 3, 2008. http://www.theses.fr/2008PA030111.
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Edith Wharton et Sinclair Lewis, écrivains américains du tournant du XXème siècle, sont les témoins d’une société en pleine mutation – de la petite ville du Midwest à la Cinquième Avenue – connus surtout pour leurs romans et célèbres pour leur réalisme. Cette thèse se propose d’aborder leurs nouvelles, moins étudiées et traversées par des courants distincts du réalisme, en utilisant la grille du quichottisme, concept littéraire qui explore l’influence du roman de Cervantès Don Quichotte et les pérégrinations du Chevalier à la Triste Figure dans la littérature. La mise en regard des nouvelles et d’un roman mettant en scène les extravagances d’un vieux fou à qui la lecture des livres de chevalerie a tourné la tête et brouillé la vision permet de rendre compte du décalage entre le réel et la perception qu’en ont les personnages dans les nouvelles. La confrontation n’est pas purement thématique. Il s’avère que d’un point de vue structurel, les jeux de miroirs, l’enchâssement des récits, les antithèses présentes à tous niveaux dans les nouvelles se font l’écho des stratégies mises en place par Cervantès pour manipuler son lecteur et démontrer sa maîtrise virtuose du récit. Or Wharton et Lewis sont eux aussi soucieux de dominer à travers leurs œuvres une modernité américaine déroutante, où le brouillage des frontières suscite fascination et rejet. La figure de don Quichotte, présente dès l’émergence de la nation puis de la littérature américaine, s’avère apte à incarner les contradictions que les auteurs perçoivent dans leur société, ainsi que leur propre rapport aux États-Unis de leur tempsEdith Wharton and Sinclair Lewis were two American writers, who described the changing society at the turn of the twentieth century, from the Midwest small town to Fifth Avenue. They are mainly recognized for their novels, and praised as realist authors. The purpose of this study is to approach their work through their short stories, which have less often been analyzed and show trends that are distinct from realism. The specific angle chosen to deal with their shorter works is the literary concept of quixotism, which explores the influence of Cervantes’ Don Quixote and the peregrinations of the Knight of the Mournful Countenance throughout literature. Confronting the short stories with a novel which stages the eccentric behaviour of an old fool whose vision has been blurred by reading too many books of chivalry offers a fruitful way of accounting for the discrepancy between reality and the way the characters perceive it in the narratives. But the parallel is not merely thematic. It turns out that from an architectural point of view, mirror structures, interpolated stories, and the antitheses present at all levels in the short stories echo the strategies used by Cervantes to manipulate his reader and show the virtuoso command he has of his narrative. Wharton and Lewis were also anxious to dominate a disorienting American modernity where blurring frontiers aroused both fascination and rejection. Don Quixote, already present at the origin of American literature, proves to aptly embody the contradictions the writers perceived in their society as well as their own contradictory relations to their surroundings
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Lobos, Ramírez Aldo W. "La intertextualidad en ‘Al Morir Don Quijote’ de Andrés Trapiello." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/110437.
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Como se ha adelantado en la introducción, el objeto a estudiar será la novela “Al morir Don Quijote” del español Andrés Trapiello. Esta obra se publicó el año 2004 y atrajo el interés de gran parte de la crítica especializada. Si bien su difusión no ha sido tan alta, remeció de cierta manera el piso del lector culto, generando un amplio horizonte de expectativas dado su título, el cual nos adelanta que de una u otra forma el hidalgo de lanza en ristre que tanto ha entregado a la humanidad volvería, paradójicamente, a la vida en palabras de otro autor. Sin embargo, este mismo lector preparado, debía estar en conocimiento que no era el primer intento por hacer renacer los ideales entregados por Cervantes, antes ya muchos habían intentado (cada cual con menos fortuna que el anterior) continuar tan magna obra.
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Alvarez, Roblin David. "Pratiques de l' apocryphe dans le roman espagnol au début du XVIIe siècle : approche comparée du Guzmán de Luján et du Quichotte d' Avellaneda." Bordeaux 3, 2010. http://www.theses.fr/2010BOR30037.
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Ce travail porte sur une modalité particulière de l’emprunt – la pratique de l’apocryphe – étudiée à partir de deux cas singuliers : le Guzmán de Alfarache de Mateo Luján (Valence, 1602) et le Quichotte d’Avellaneda (Tarragone, 1614). La première partie de cette étude est consacrée aux relations existant entre les Premières Parties originales du Guzmán et du Quichotte, rédigées par Mateo Alemán et Miguel de Cervantès, et les textes de leurs continuateurs respectifs. Nous commençons par examiner ce qui, dans les œuvres initiales, permettait voire invitait à l’apocryphe (chapitre 1), puis nous étudions la façon dont cette prédisposition s’est textualisée dans les ouvrages de Luján et d’Avellaneda (chapitre 2), afin de déterminer si ces derniers avaient ou non de véritables projets romanesques (chapitre 3). La deuxième partie de cette étude porte sur les ripostes qu’Alemán et Cervantès mettent en œuvre dans leurs propres suites (en 1604 et 1615), en réaction aux œuvres concurrentes. Nous proposons d’abord une typologie des différents niveaux de riposte (chapitre 4), avant de montrer que les apocryphes deviennent des sources d’inspiration pour les romanciers authentiques (chapitre 5), et laissent même une empreinte plus profonde sur les œuvres de ces derniers (chapitre 6). La troisième partie de cette recherche propose une approche croisée des œuvres de notre corpus en étudiant, d’une part, les affinités d’écriture existant entre Luján et Cervantès (chapitre 7) et, d’autre part, celles qui concernent les œuvres d’Alemán et d’Avellaneda (chapitre 8). Cette double étude croisée est la pierre d’angle permettant une théorisation de la pratique de l’apocryphe (chapitre 9)This work deals with a specific mode of literary borrowing – the apocryphal practice – envisaged through two singular cases: Mateo Luján’s Guzmán de Alfarache (Valencia, 1602) and Avellaneda’s Quixote (Tarragona, 1614). The first part of our work focuses on the relationship between the First Parts of the original Guzmán and Quixote, written by Mateo Alemán and Miguel de Cervantes, and their respective continuators’ texts. We first scrutinize the elements from the initial novels that would have allowed or even encouraged apocryphal continuations (chapter 1), and then proceed to examine how this predisposition has been textualized in Luján and Avellaneda’s works (chapter 2), in order to determine whether they had an actual novelistic project (chapter 3). The second part of this study concentrates on the way Alemán and Cervantes counterattack in their own continuations (in 1604 and 1615), in which they retort to their competitors. We first suggest a typology of the different levels of counterattack (chapter 4), then study how the apocryphal continuations in turn become sources of inspiration for the original authors (chapter 5) whose authentic Second Parts finally emerge as deeply infused with the influence of the rival novels (chapter 6). The third part of this investigation offers a crossed approach of our corpus’s novels that studies, on the one hand, the literary affinities between Luján and Cervantes (chapter 7) and, on the other hand, those concerning Alemán and Avellaneda (chapter 8). This double-crossed analysis is the corner stone that leads us to a theorization of the literary apocryphal practice
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Cervatiuc, Andreea. "El punto de vista en las adaptaciones filmicas de Don Quijote." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0017/MQ47933.pdf.
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Garst-Santos, Christine Anne. "Contestatory subjects : performance and the politics of recognition in Don Quijote." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5936.
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In "Contestatory Subjects: Performance and the Politics of Recognition in Don Quijote," I analyze the performative strategies used by several well-known characters in Cervantes' 1605 Don Quijote to counter their initial displacement and to constitute an alternative yet acceptable subject position for themselves within the socio-historic structure of the text. Throughout the study, I posit that successful subjectivity requires more than the character who performs any given subject position; it requires a response, an on-going dialogue between self and other - and most importantly - it requires an ethical commitment to the process on the part of the witness, be that witness intra- or extra-textual.
My analysis of Dorotea, Ruy Pérez, and Zoraida shows that their individual performances are really communal or dialogic processes played out in conjunction with other characters. My project therefore counters the tendency to study each character's story as an isolated performance or as a self-contained intercalated tale in Don Quijote. Rather, I offer a more holistic or integrated examination of a trajectory of contestatory performances throughout Part I of the Quijote. With each performance, the 1605 novel increasingly expands the normative limits of social inclusivity in Early Modern Spain, ultimately arguing in the last chapters for the accommodation of a mora cristiana within the limits of the recognizable. In viewing these characters not as isolated, self-fashioning individuals but rather as a community of performers and ethical witnesses, my analysis points toward a didactic project on Cervantes's part in the 1605 novel, in which he uses these characters to model and tutor the reader in empathetic reading strategies that forestall the inquisitorial hermeneutic imposed by the State and the Church in Habsburg Spain.
My analysis of Cervantes's contestatory performances and their receptions draws primarily on critical theories of gender and performance studies in combination with the cultural materialist studies of early modern Spain (e.g., Cruz, Fuchs, Hernández-Pecoraro, Johnson, Maravall, Mariscal, Presberg, Sieber). Of particular importance are Judith Butler's work on gender performativity and Kelly Oliver's work on witnessing, which nuances Butler's notion of performativity by addressing the ethical responsibilities on the part of the witness/spectator. Each chapter links the performance in question back to the material conditions and available discourses vying to produce acceptable subjects in early modern Spain. In terms of normative discourses, the most obvious institutions involved in the formation and reformation of the seventeenth-century Spanish subject are the Church and the Absolutist state, quite effectively combined in the Holy Office of the Inquisition. Therefore, this study features a number of theological, economic, and social treatises that were written in an effort to constitute the ideal Spanish subject in terms of gender, religion, race/ethnicity and class/estado. Around these normative subject positions we observe the subsequent formation of resistant or contestatory discourses, which also feature prominently in each chapter of the study.
By combining the work of Butler and Oliver, and insisting on an analysis of both the performer and the spectator in various scenes of Don Quijote, Part I, this project fills gaps in the scholarship on Cervantes and performance studies, which have tended to privilege the performance of the self-fashioning individual while overlooking the dialogic nature of performativity. I show that there is more at stake than opening space for projects of private perfection, which is no doubt a necessary goal. Also at stake are ethical relationships with others and shared projects of social reform and restoration. In all of the performances I analyze here, Cervantes creates characters who self-fashion by reiterating and manipulating contrary, traditionally binary discourses around gender, class, race/ethnicity, religion, and nationality. In turn, his fictional witness-listeners model the ethical posture necessary to maintain a productive openness to the characters' difference. Together, their performances induce us to accept the contestatory virtues of faith, good works, and caritas over the normative determinants of blood (purity) and lineage (old-order occupations; ejercicios), which the novel shows to be tired categories that are encouraging costly foreign wars, emigration to the New World, declining fertility rates, and unproductive economic investments.
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Botello, Jesús. "Don Quijote, un cruce de caminos entre la oralidad y la escritura /." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1183032060.
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Schroeder, Derek Rolf. "The moor we know Spanish identity in Miguel de Cervantes' "Don Quijote" /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798966421&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Botello, Jesus. "DON QUIJOTE, UN CRUCE DE CAMINOS: ENTRE LA ORALIDAD Y LA ESCRITURA." Miami University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=miami1183032060.
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Connor, Julia. "La influencia de Don Quijote en la música clásica europea 1605-1935." Oberlin College Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1400269680.
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Celis, Claudio. "Cine clásico, autorreflexión e ideología. De Don Quijote a a Toy Story." Tesis, Universidad de Chile, 2008. http://www.repositorio.uchile.cl/handle/2250/101446.
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Rubira, Carolina de Pontes. "Episódios paralelos em Don Quijote: recurso estrutural a serviço de uma poética cervantina." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-26022019-114406/.
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O propósito desta dissertação de mestrado é examinar um procedimento específico utilizado por Miguel de Cervantes na construção de sua obra El ingenioso Hidalgo Don Quixote de La Mancha: o paralelismo entre episódios como meio de proporcionar coesão à narrativa longa. Tal recurso indica uma solução encontrada pelo escritor, voltada à estrutura textual, com intenção de equilibrar a narrativa longa/linear e a episódica/fragmentada, unindo as partes da sua composição e dando totalidade a ela. Para isso, o autor se vale de preceptivas de retórica e poética da antiguidade e de sua época, sendo os autores mais expressivos: Aristóteles, Cícero, Quintiliano, Horácio e Alonso López Pinciano. No que diz respeito especificamente ao uso do paralelismo entre episódios no Quixote, esta dissertação se beneficia dos trabalhos dos críticos Edward Riley e Knud Togeby; contudo, esses autores não analisaram detalhadamente o efeito de tal uso na unidade da obra, o que configura este trabalho como uma extensão da observação feita por eles a respeito dos episódios paralelos. Por fim, a análise demonstra que Cervantes compõe um recurso poético próprio, resultante da combinação de diversas fontes de conhecimento. A demonstração desse procedimento se faz pela leitura comparativa de quatro trios de episódios, cada trio composto por um episódio da primeira parte e dois da segunda parte, discutindo-se a maneira como o paralelismo entre eles interfere na composição geral do Quixote promovendo um tipo de unidade da narrativa diverso do que se vê prescrito nas poéticas antigas e nas do século XVII.The purpose of this master\'s thesis is to examine a specific procedure used by Miguel de Cervantes in the construction of his work El Ingenioso Hidalgo Don Quixote de La Mancha: the parallelism between episodes as a means of providing cohesion to the long narrative. This feature indicates a solution found by the writer, focused on the textual structure, with the intention of balancing the long / linear narrative and the episodic / fragmented narrative, uniting the parts of its composition and giving totality to it. For this, the author uses precepts of rhetoric and poetics of antiquity and of his time, being the most expressive authors: Aristotle, Cícero, Quintiliano, Horácio and Alonso López Pinciano. With specific regard to the use of parallelism between episodes in the Quixote, this thesis benefits from the contributions of the literary critics: Edward Riley and Knud Togeby. However, these authors did not analyze in detail the effect of such use on the unit of the work, which configures this work as an extension of their observation of parallel episodes. Finally, the analysis shows that Cervantes composes a poetic resource of his own, which results from the combination of several sources of knowledge. The demonstration of this procedure is done by comparing four trios of episodes, each of them composed of one episode of the first part and two of the second part. Then discussing how the parallelism between them interferes in the general composition of Quixote by promoting a different type of narrative unity from the ones prescribed in the ancient Poetics and in the seventeenth century.
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Marx, Walter. "Transfer des Sakralen die Säkularisierung christlicher Denkformen, Motive und Gebräuche in Cervantes' Don Quijote." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/988573644/04.
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Marx, Walter. "Transfer des Sakralen : die Säkularisierung christlicher Denkformen, Motive und Gebräuche in Cervantes' Don Quijote /." Frankfurt, M. ;Berlin ;Bern ;Bruxelles ;New York, NY ;Oxford ;Wien : Lang, 2008. http://d-nb.info/988573644/04.
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Firbas, Paul. "Apuntes sobre Don Quijote y las poéticas de la novela de Felix Martínez-Bonati." Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/101521.
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Jepson, Steven Baker. "The forgotten Don Quichotte: Trois chansons and the early vocal style of Marcel Delannoy." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1975.
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Utsch, Terra Ana Carina. "La reliure en France au XIXème siècle : programmes éditoriaux, marchés du livre et histoire des textes." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0112.
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Inscrite dans une culture à la fois littéraire, éditoriale et visuelle inaugurée au XIXème siècle, la reliure définit des champs de diffusion et de réception distincts, qui ont en commun le fait de revendiquer, à leurs manières, l'appartenance à l'univers littéraire. Notre travail consiste à inscrire l'histoire de la reliure au sein d'une histoire culturelle de l'édition, à travers l'identification des différents statuts et fonctions assumés par la reliure dans la formation du corpus discursif et technique qui définit son champ d'action, dans les enjeux de production de sens qui prennent place au sein du monde de l'édition et de la bibliophilie, et dans les différents espaces de visibillité habités et ouverts par la reliure. En nous appuyant sur l'étude des catalogues d'éditeurs français du XIXème siècle (1818-1900). Nous avons suivi les continuités et discontinuités du parcours éditorial et matériel d'un texte qui avait déjà, à cette période, une longue vie éditoriale. L'étude des différentes modalités de diffusion de Don Quichotte (1832-1878), œuvre qui a participé à toutes les phases de la production éditoriale française au XIXème siècle, montre que les variations de l'aspect matériel proposé par les reliures peuvent induire des lectures variées d'un même ouvrage, surtout quand celles-ci s'accordent (aux niveaux esthétique et marchand) avec les programmes éditoriaux dans lesquels elles sont insérées. L'analyse des pratiques éditoriales soutenues par la reliure nous a permis d'étudier les processus de consolidation du genre reliure d'éditeur, dans les nouveaux rapports qu'il noue avec différentes formes d'expression de la cultureWithin a culture at once literary, editorial and visual begun in the 19th century, bookbinding defines distinct fields of dissemination and reception that have in common the fact of claiming, in their own way, membership of the literary world. Our task is to place the history of bookbinding within the cultural history of publishing, through the identification of the different status and functions bookbinding has assumed in the formation of the discursive and technical corpus that defines its field of action, within issues relating to the production of the meaning that take place within the world of publishing and bibliophily, and in the different spaces of visibility inhabited and opened by bookbinding. Building on a study of the catalogues of french publishers from the 19th century (1818-1900), we followed the continuities and discontinuities of the publishing and material life of a text wich had already had, at that time, a long published history. The study of different methods of disseminating Don Quixote (1832-1878), a work that was involved in all the phases of the 19th century french publishing history, shows that the variations in the material appearance proposed by the binding could induce different readings of the same book, especially when they are all in agreement (in aesthetic and commercial terms) with the editorial programmes in wich they are inserted. An analysis of the different publishing practices supported by bookbinding allowed us to study the consolidation process of the publisher's binding genre, in the new relationships it forges with different forms of cultural expression
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Panadero, Moyá Miguel, and Martí F. J. Jover. "Literatura y paisaje: recursos para el desarrollo local." Pontificia Universidad Católica del Perú. Centro de Investigación en Geografía Aplicada, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/119653.
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Tourism has in landscape a very valuable economic good. This is a resource that has been quickly incorporated to the set of exploited products to tourism. There are many different ways to approach landscapes. Reading literary documents easies the idealization oflandscapes in the people's minds. These landscapes have been recreated by an author through his own experience. lts description that integrates natural and cultural elements, helps us to understand space that is patrimony of geography. Local strategies for local development have not remained marginal to this thought of landscape valuation, integrating in it the real shapes and their ideal representations through literature. The fourth centenary commemoration of the prince edition of Don Quijote de La Mancha's adventures is giving force to the proliferation ofinitiatives to support rural tourism in the Spanish region called La Mancha, as part of its strategies of local development.El turismo tiene en el paisaje un bien económico cada vez más valorado. Este recurso que ha sido incorporado rápidamente al conjunto de productos explotados en esta actividad. Existen diversas modalidades de acercamiento a los paisajes; por ejemplo, la lectura de textos literarios facilita la conformación de paisajes ideales en la imagina ción de los lectores. Estos paisajes son recreados por un autor por medio de su perso nal experiencia; su descripción integra elementos del medio natural y de la cultura, y nos ayuda a comprender el espacio que es patrimonio de la geografía. Las estrategias de desarrollo local no han permanecido al margen de esta corriente de valorización del paisaje y han integrado, en ella, tanto las formas reales como sus representaciones ideales por medio de la literatura. La conmemoración del cuarto centenario de la aparición de la edición príncipe de las noveladas aventuras de Don Quijote de La Mancha está impulsando una proliferación de iniciativas dirigidas a apoyar el turismo rural en la región española denominada La Mancha, como parte de sus estrategias de desarrollo local.
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Gámez, García María del Mar. "Memoria literaria y lexicalizacion del canon literario del Siglo de Oro en el lenguaje periodistico hispano: don Quijote, don Juan y Fuenteovejuna (1975-2017)." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1554120630891184.
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Pinilla, Ingrid Karina Morales. "O engenhoso fidalgo Dom Quixote de La Mancha e infortúnios da Constante Florinda: intertextualidade e residualidade." Universidade Federal do Amazonas, 2016. http://tede.ufam.edu.br/handle/tede/5201.
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FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas
El presente estudio tiene como objetivo investigar, por medio de la Intertextualidad y de la Residualidad Literaria y Cultural, la retomada de valores de la Edad Media en la configuración de los personajes de los libros El Ingenioso Hidalgo Don Quijote de la Mancha (1605), de Miguel de Cervantes e Infortúnios Trágicos da Constante Florinda (1625), de Gaspar Pires de Rebelo. Se verifican vestigios de la mentalidad medieval en la construcción de algunos personajes de ambos libros: sea por la vía de la Intertextualidad de los protagonistas Don Quijote y Florinda (Leandro, en su fase masculina) con Amadís de Gaula del libro homónimo; sea por la vía de la Residualidad de los arquetipos de Eva en los personajes de las narrativas intercaladas, Leandra del Quijote I y Fausta de Constante Florinda I; y de María, madre de Jesús, en las protagonistas Dulcinea del Quijote I y Florinda de Constante Florinda I. En lo que se refiere a la reflexión teórica de la Intertextualidad se recurre, principalmente, a los estudios de Gerard Genette (1989), Affonso Romano de Sant’Anna (2003), Koch, Bentes e Cavalcante (2012). Ya, en lo tocante a la Residualidad Literaria y Cultural, se parte de los conceptos operativos de residuo, hibridación cultural, cristalización y mentalidad, apoyándose en la Teoría de la Residualidad, sistematizada por Roberto Pontes (1999) y en otros autores.
O presente estudo tem como o bjetivo investigar, por meio da Intertextualidade e da Residualidade Literária e Cultural, a retomada de valores da Idade Média na configuração dos personagens dos livros O Engenhoso Fidalgo Dom Quixote de la Mancha (1605), de Miguel de Cervantes e Infortúnios Trágicos da Constante Florinda (1625), de Gaspar Pires de Rebelo. Verificam - se vestígios da mentalidade medieval na construção de alguns personagens de ambos os livros: ora pela via da Intertextualidade dos protagonistas dom Quixote e Florinda (Leandro, na sua face masculina) com Amadis de Gaula do livro homônimo; ora pela via da Residualidade dos arquétipos de Eva nas personagens das narrativas intercaladas, Leandra do Quixote Ie Fausta de Constante Florinda I; e de Maria, mãe de Jesus, nas protagonistas Dulcinéia do Quixote I e Florinda de Constante Florinda I. No que se refere à reflexão teórica da Intertextualidade recorre -se, principalmente, aos estudos de Gerard Genette (1989), Affonso Romano de Sant’Anna (2003), Koch, Bentes e Cavalcante (2012). Já, no tocante à Residualidade Literária e Cultural, parte- se dos conceitos operacionais de resíduo, hibridação cultural, cristalização e mentalidade, apoiando -se na Teoria da Residualidade, sistematizada por Roberto Pontes (1999) e em outros autores.
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Mäder, Andreas [Verfasser]. "Blendende Phantasmen : Beobachtungen zu den Lesern Don Quijote, Werther und Neo und ihrem Verhältnis zu Frauengestalten / Andreas Mäder." Konstanz : KOPS Universität Konstanz, 2020. http://d-nb.info/1215500300/34.
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Ji, Meng. "Phraseology in corpus-based translation studies : a stylistic study of two contemporary Chinese translations of Cervantes's Don Quijote." Thesis, Imperial College London, 2009. http://hdl.handle.net/10044/1/4277.
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The present work sets out to investigate the stylistic profiles of two modern Chinese versions of Cervantes’s Don Quijote (I): by Yang Jiang (1978), the first direct translation from Castilian to Chinese, and by Liu Jingsheng (1995), which is one of the most commercially successful versions of the Castilian literary classic. This thesis focuses on a detailed linguistic analysis carried out with the help of the latest textual analytical tools, natural language processing applications and statistical packages. The type of linguistic phenomenon singled out for study is four-character expressions (FCEXs), which are a very typical category of Chinese phraseology. The work opens with the creation of a descriptive framework for the annotation of linguistic data extracted from the parallel corpus of Don Quijote. Subsequently, the classified and extracted data are put through several statistical tests. The results of these tests prove to be very revealing regarding the different use of FCEXs in the two Chinese translations. The computational modelling of the linguistic data would seem to indicate that among other findings, while Liu’s use of archaic idioms has followed the general patterns of the original and also of Yang’s work in the first half of Don Quijote I, noticeable variations begin to emerge in the second half of Liu’s more recent version. Such an idiosyncratic use of archaisms by Liu, which may be defined as style shifting or style variation, is then analyzed in quantitative terms through the application of the proposed context-motivated theory (CMT). The results of applying the CMT-derived statistical models show that the detected stylistic variation may well point to the internal consistency of the translator in rendering the second half of Part I of the novel, which reflects his freer, more creative and experimental style of translation. Through the introduction and testing of quantitative research methods adapted from corpus linguistics and textual statistics, this thesis has made a major contribution to methodological innovation in the study of style within the context of corpus-based translation studies.
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Rivas, Juan Carlos. "Espejos y Espejismos: Reflexiones Cognitivas Binarias y Difusas del Pensamiento Occidental en el Quijote." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/238645.
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Humans seem to have a cognitive predisposition for perceiving different concepts in terms of opposite extremes, which in turn fosters an either / or mentality where only two contrary views are possible - tertium non datur. This tendency is also reflected in Don Quixote, where the arrangement of multiple and diverse elements through dualistic patterns is so prevalent, and represent such an essential structural characteristic, that it becomes Cervantes’s own ars poetica. However, once readers look beyond the apparent dichotomies, a higher degree of complexity emerges. We can debate whether Don Quixote is either crazy or sane using the Aristotelian aut / aut logic, but a different possibility would also be enlightening - tertium datur. This dissertation offers an alternative critical framework which combines cognitive theories of categorization and perception with the ideas of Heraclitus, Abelard’s Sic et Non, and Bart Kosko’s Fuzzy Thinking based on Lofti Zadeh’s Fuzzy Logic. Through the new fuzzy and (ambi)valent logic Don Quixote can be perceived simultaneously as crazy and sane - sic et non - since both possibilities are valid at the same time. This new approach reveals that Cervantes employs dualities - equal and opposing elements - not to simplify but rather to make us reflect and deepen our knowledge of the human condition. Thus, Don Quixote functions as a mirror (speculum) in numerous levels, since the text’s self-reflexive structure can in turn provoke reflections and interpretations ad infinitum. Chapter 1 of the dissertation explores the long tradition surrounding the use of dualities from classical antiquity to the Early Modern period from a binary perspective. Chapter 2 establishes a theoretical framework based on a fuzzy and (ambi)valent cognitive categorization and perception. That framework is then applied in chapter 3 to the dichotomies explored in chapter 1, and then, in chapter 4, to the dualistic categories and schemata in Don Quixote. Chapter 5 analyzes the interconnectedness of cognitive entities which are typically studied separately: the author (Cervantes), the text (Don Quixote), and the readers (the critics), along with their respective contexts. Thus, this is both a critical / analytical study as much as a meta-analytical / meta-critical endeavor.
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Poyhonen, Alexander J. "Don Quijote lo Interminable: La Cuestión de los Textos Originales y las Emanaciones a Través de Formas Secundarias de Arte." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/522.
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In chapter 1, I ponder the role of authorship and whether or not an original text can truly exist. Specifically, the claim that Borges has that a copy can be superior to an original. From this, brings me to chapter 2 with the movie Man of la Mancha. In this movie, I highlight some of the pros and cons of a copy. The windmill scene is a negative emanation of the Quixote, while the interaction between people and the presence of women is something the movie truly displays well. In the third chapter, I look at Lost in la Mancha because it demonstrates a failed attempt to translate the Quixote. In essence, anything that tries to represent this truly great text will fail; however, it's failure can paradoxically be thought of as a success because it's an homage to the Quixote. As far as the Ezra Pound material, I thought it extremely pertinent to look at his experience on a metro because he attempts to describe a vision that he had through poetry. He notes that it is very difficult to encapsulate his entire experience because the primary form of art (his vision) is being described through a secondary form (words). Thus, when you translate a form of art through a medium it loses some of its value. This is what happens with the Quixote; its primary form (words) is being displayed through a secondary form (film), and it inevitably loses something in the translation. The final chapter/conclusion is a more in-depth investigation of this investigation primary form of art (writing). This uses the character of Gines as a concrete example of a formal and stylistic quality that is unique to literature. Namely, the physical ranging of words on a page in both a spatial and literary sense. When you extract those lines from a novel you implicitly remove some of the dialectic between Cervantes' work and the genres he's invoking, just by taking it out of the form of literature. The surroundings of text establish the meaning of the novel. The conclusion is my final chance to argue why the Quixote is so special and untranslatable. I touch on the qualities that keep it forever live and present in us today. Through the Quixote's proclivity for renaming the real world (established societal beliefs/values, etc.) in his own vein, Cervantes allows for the Quixote to reappropriate the world around him, making it uniquely his. In so doing, Cervantes creates a character who is able, not only to write his own self-history, but to control the way that said self-history will be written by others. By blurring the lines between narrator and narration and history and fiction, Cervantes creates a work that is endlessly present, where words becoming living page, and actions occur as they are said.
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Barsanti, Vigo María Jesús. "Análisis paremiológico de El Quijote de Cervantes en la versión de Ludwig Tieck /." Frankfurt am Main : Lang, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014649118&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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