Academic literature on the topic 'Don Quixote (Fictitious character) in art'

This essay presents a semiological study of the character Cide Hamete and attempts to demonstrate that this character is simply a rhetorical procedure in the discursive construction of the novel. It includes a study of the system of fictitious authors in Don Quixote from the viewpoint of the semiology of literature. Examining the praxis in Don Quixote, it studies the construction and disposition of a) the real author in the text, b) the principal narrator, and c) the rhetorical system of the fictitious authors. The concluding summary attempts to justify, from the viewpoint of the principle of discreteness, the polyphonic and discontinuous expansion provided by Don Quixote's narrative system, as a body of successive and concentric recursive procedures.

In Don Quixote the task of character constructon, properly the narrator's, is to a large extent usurped by the protagonist himself. He appears to rebel against the novelist and the multitude of fictitious authors and creates his own world, conferring names (Don Quixote, Dulcinea, Rocinante) and status (knight, lady, steed) on the characters, and even changing the ones they originally had. Hence, one can conceive the novel as a constant tension between author and protagonist, in which the former repeatedly punishes the latter (deceptions, beatings, final defeat) for refusing to accept the world he had initially proposed to him.In Don Quixote the task of character constructon, properly the narrator's, is to a large extent usurped by the protagonist himself. He appears to rebel against the novelist and the multitude of fictitious authors and creates his own world, conferring names (Don Quixote, Dulcinea, Rocinante) and status (knight, lady, steed) on the characters, and even changing the ones they originally had. Hence, one can conceive the novel as a constant tension between author and protagonist, in which the former repeatedly punishes the latter (deceptions, beatings, final defeat) for refusing to accept the world he had initially proposed to him.

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

The art of conversation is a form of dialogue found frequently in the Renaissance, which presents a polite, well-mannered, and elegant interaction between two speakers. To this courtesy and social refinement Cervantes adds a new element, the “subdialogue,” which is an interior level in the conversation that includes the thoughts and reflections of the speakers. We can find the subdialogue in the festive symposium, which presents a discussion of love and friendship in a courteous and well protected environment. At one point in the conversation a character conceives a plan to manipulate Don Quixote and Sancho, or perhaps a character reflects quietly on the foolish beliefs of Don Quixote. The second type of conversation is the asymmetrical dialogue: an interlocutor speaks abundantly while the other listens politely to everything that is being said. By limiting his participation, the listener expresses his courtesy, while at the same time he can sit back to consider and reflect on the ideas of the speaker. In Cervantes’ dialogue the thoughts of characters are as important as the elegant gestures and polite manners.

The purpose of this paper is to attend to the preface as an important element in understanding the symbiotic relationship between author and text, especially when a male author assumes the female power of procreation. In the prefaces to Don Quixote Part I and II and Childe Harold's Pilgrimage, Cervantes and Lord Byron, respectively, identify their main heroes as their 'child of the imagination/brain '. Nevertheless, in many instances we encounter moments of anxiety manifested in a dialectic of engagement and disengagement, owning and disowning, of denying and defending theirfictional personages. To Cervantes, Don Quixote is "child of his brain", the son, and yet hes also the stepson, who eventually ends up no more than a brave knight; to Byron, as well, Childe Harold was initially called Childe Burun, but later on is referred to as just a "fictitious character" from whom Byron tried to disengage throughout the poem. This equivocal and dialectical discourse ofembracement and abandonment could be better understood by extending the birthing metaphor to encompass postpartum anxiety. In the prefaces, both Cervantes and Byron Platonic male spiritual pregnancy is combined with the female physical and psychological symptoms of giving birth and its qftermath. Thus, the preface becomes a birth certificate not only legitimizing the hero, but also problematizing the parental relationship between father/author and son/text or hem, for it involves more than the ontological history Of the hem or the text.

This article for the first time examines Leo Tolstoy’s interpretation of two «Don Quixotes»: the greatest creation of M. de Cervantes Saavedra and the famous article by Ivan Turgenev «Hamlet and Don Quixote». On the basis of L. Tolstoy’s diaries and letters, the memoirs of his contemporaries, the article analizes the motives of Tolstoy’s contradictory assessments of Cervantes’ work and his immortal creation. These assessments offer a deeper understanding of both the character of L. Tolstoy and his aesthetic, ideological and moral priorities in different periods of his life. A detailed analysis of the writer’s dialogue-polemic with these two authors and with the texts themselves fits into the broad context of Russia’s spiritual life in the second half of the 19th century. L. Tolstoy had an important episode in his youth that became crucial for his work: the spiritual mentoring of another genius of Russian literature, Ivan Turgenev, during the meeting of two writers in 1857, the so-called «Dijon solitude», when Turgenev, proving the high social significance of the ideals of quixotism for the new era, attempted to turn a young Hamlet-type writer (L. Tolstoy) into a selfless Don Quixote type. The title of the novel «Don Quixote», as well the names of Cervantes and his characters are mentioned in Tolstoy’s diaries, articles and letters about 20 times. The novel seems to «test» him until the end of his life: the high assessments of his contemporaries, their perception of Don Quixote as a new Messiah capable of saving humanity, contradict Tolstoy’s understanding of serving good, therefore working on the most important treatise for him, which is the manifesto «What is art?», Tolstoy changes the estimates of «Don Quixote» several times. Firstly, he mentions among his favorite poets, composers and painters the only novel — «Don Quixote», then he indicates its «poor contents». In 1905, Tolstoy finally became convinced of the importance of the idea of self-sacrifice for the sake of high ideals and of the educational significance of the novel, and besides, he admitted that all his sons were «Don Quixotes». More than half a century of Tolstoy’s dialogue with Cervantes and his heroes invariably continued in his mind, and the knight errant will be most vividly reflected in one of the most autobiographical and close to Tolstoy characters — Levin from «Anna Karenina». The circumstances of Leo Tolstoy’s farewell to the Yasnaya Polyana estate and the last journey of the knight of the sad image, as well as the circumstances of their demise, tragically echo.

The article analyzes the searches conducted by F. M. Dostoevsky and V. F. Odoevsky for a “positively excellent” hero. It compares the images of Prince Myshkin from The Idiot and the hero of the dramatic excerpt Segeliel, or Don Quixote of the XIX century. The similarity between these two characters is reflected as early as in the history of their creation. The authors hypothesize that in both cases an Easter archetype emerges behind the conscious or unconscious desire to substitute a grim and sinful character with a “positively excelent” one. Myshkin and Segeliel love the world with a compassionate, selfless and active love, but they are alien to other people, differ by their very nature and are aware of this otherness. The heroes do not accept the “earthly” hierarchy in relation to people, they are incomprehensible to others and are laughable from the point of view of “common sense.” At the same time, there are numerous differences between them. Segeliel is a spirit, but he is rational, he believes in laws and in science. Myshkin strives for a mystical experience of life. Failures lead Myshkin to humility, and Segeliel to rebellion. Dostoevsky’s hero seeks to flee from the world. Odoevsky’s hero wants to intervene in earthly affairs. Segeliel wants to remake the world without God. He does not believe in the Creator and repines against him. Segeliel’s throwings are reminiscent of the complex dialectic of good and evil, construed by rebels from Dostoevsky’s novels. At the same time, it is important to distinguish the positions of Segeliel and Odoevsky himself, who is not in complete agreement with his hero. Certain common motifs, i.e., those of childhood and foolishness for Christ, create parallels between Myshkin and Odoevsky, the character and the writer. The many intersections between the image of Segeliel, his author and the image of Prince Myshkin allow us to identify the cultural code that appears in the works of Russian writers who sought to find the earthly embodiment of truth, goodness and beauty in a rough physical shell, inevitably hindered by original sin.

Введение. Творческое наследие Н. В. Гоголя, являющегося одним из самых небезынтересных русских писателей, по сей день побуждает многих литературоведов к продуктивным исследованиям. В частности, интерес у них вызывает интертекст В. А. Жуковского в произведениях писателя. При рассмотрении работ, посвященных личности и творчеству Гоголя, действительно трудно не обнаружить упоминания об этом русском поэте, поскольку он был важен для творческого сознания Гоголя.В связи с этим целью статьи является определение степени знакомства Гоголя с творчеством Жуковского во время написания «Петербургских повестей». Важным представляется также выявление и анализ мотивов, сюжетов, аллюзий и реминисценций произведений Жуковского в повестях Гоголя. Это поможет увидеть особенности освоения Гоголем произведений поэта, выявить трансформации, которые претерпели в художественной системе Гоголя используемые им открытия Жуковского.Материал и методы. Поскольку больше всего отсылок к творчеству Жуковского присутствует в повестях Гоголя «Невский проспект», «Портрет» и «Шинель», на основе них и будет организовано исследование. В работе используются биографический и компаративный методы исследования.Результаты и обсуждение. В повести «Невский проспект» повествователь описывает утонченную, творческую натуру. Подобный типаж часто возникает и в лирике Жуковского. Кроме того, обнаруживаются черты идиллий Жуковского в описании образа встретившейся Пискареву незнакомки: в нем воспевается простота и очевидно стремление героя к гармонии и непорочности. Можно обратить внимание и на то, что художник обожествляет встреченную им юную особу. Вероятно, в ее образе автор пытался отразить высшее проявление женской красоты на земле, каковым для Гоголя-христианина, безусловно, являлась Мадонна. В данном случае чувства юноши сходны с теми, которые описывает Жуковский в эстетическом манифесте «Рафаэлева Мадонна». Однако красавица приводит Пискарева в публичный дом. Его идеалистическое сознание не может допустить того, что красота и пошлость могут быть синонимами. Это соотносится с принципами калокагатии, которые были распространены в русской литературе эпохи романтизма и нашли отражение в творчестве Жуковского.Не сумев разрешить конфликт между реальностью и мечтой, Пискарев прибегает к опиумному сну, который, подменяя для него жизнь, становится одним из факторов, приведших к трагической развязке, ибо, видя во сне свой персональный рай, художник все больше отдаляется от действительности и в конечном счете теряет способность к реальной жизни. В этом можно увидеть трансформацию идиллических мотивов произведений Жуковского (в частности, мотива сна). Сталкиваясь с реальностью, Пискарев теряет рассудок. Подобный финал соотносим с сюжетами баллад, переведенных Жуковским, в которых зло искушает и заманивает несчастную жертву в ловушку, а затем забирает у нее жизнь («Кубок, «Лесной царь»). Таким образом, красота у Гоголя отныне не есть признак доброго. Он приближается к пониманию красоты истинной и красоты ложной Жуковского-балладника, показывает хрупкость гармонии в мире.Повесть «Портрет» рассматривается некоторыми исследователями как эстетический манифест Гоголя. В этом также можно предположить следование традициям Жуковского. Кроме того, двухчастная структура повести может отсылать к архитектонике повести Жуковского «Двенадцать спящих дев». Две ее баллады «Громобой» и «Вадим» также противоположны по своей этике и имеют идейную схожесть с повестью Гоголя. В произведении можно обнаружить и сюжетные «переклички» с такими произведениями поэта, как баллады «Людмила» (роптание Людмилы на судьбу сходно с поведением Чарткова) и «Варвик» (грех персонажа также провоцирует появление потусторонних сил, которое является своего рода предупреждением и испытанием). Можно упомянуть и то, что герои-бунтари Жуковского, недовольные своим уделом, как правило, терпят болезненное поражение, и их душа отправляется в ад. Нечто похожее происходит и с Чартковым. Что же касается второй части повести, то она тоже имеет общие черты с манифестом Жуковского «Рафаэлева Мадонна», ведь и иконописец Гоголя создает картину, буквально «дышащую» божественной благодатью. В повести «Шинель» же прозреваются гуманистические и христианские мотивы. Главный герой не ждет лучшей доли, а смиренно исполняет должностные обязанности. Детская восторженность и искренность вкупе с поистине ревностной службой превращают его в настоящего подвижника и аскета. Чистота и любовь Башмачкина к людям, как и его самопожертвование, позволяют говорить, что его поведение сродни рыцарству, которое было свойственно главному герою «Дон Кишота Ламанхского», переводчиком какового произведения выступил именно Жуковский.Однако встретившись с шинелью, ошибочно принятой героем за метафорическое воплощение «прекрасной дамы», Башмачкин начинает исполнять службу уже не столь ревностно. С этим можно связать трагическую концовку произведения. Подобные же этические законы действуют и в художественном мире Жуковского. Тем не менее после смерти чиновник возвращается к истинному служению: посещение Башмачкиным в виде призрака (каковой образ характерен для произведений Жуковского) значительного лица и других чиновников высокого ранга с целью отобрать их шинели восстанавливает равновесие в мире. Таким образом, вновь актуализируется универсальная справедливость, свойственная художественному миру Жуковского.Заключение. «Петербургский период» творчества Гоголя тесно связан с творческой деятельностью Жуковского. Гоголь знакомится с лирикой и публицистикой поэта, активно рефлексирует над прочитанным. Важно подчеркнуть, что Гоголь непосредственно воспринимает эстетику и поэтику Жуковского, после чего репродуцирует отдельные аспекты творчества поэта в своих произведениях, подвергая их собственной творческой переработке, что в целом способствует становлению неповторимого гения писателя. Introduction. The creative heritage of N. V. Gogol to this day encourages many literary critics to productive studies. In particular, researchers are interested in the intertext of V. A. Zhukovsky in the works of the writer. When considering the works dedicated to the personality and creativity of Gogol, it is really difficult not to find a mention of this Russian poet, since he was important for Gogol’s creative consciousness.In this regard, the purpose of the article is to determine the degree of Gogol’s acquaintance with Zhukovsky’s work during the writing of the “Petersburg Stories”. It is also important to identify and analyze the motives, plots, allusions and reminiscences of Zhukovsky’s works in Gogol’s stories. This will help to see the peculiarities of Gogol’s mastering of the poet’s works, to identify the transformations that Zhukovsky’s discoveries used by him have undergone in Gogol’s artistic system.Material and methods. Since most of the references to Zhukovsky’s work are present in Gogol’s stories “Nevsky Prospekt”, “The Portrait” and “The Overcoat”, the study will be organized on the basis of them. Biographical and comparative research methods are used in the work.Results and discussion. In the story “Nevsky Prospekt”, the narrator describes a refined, creative nature. A similar type often appears in Zhukovsky’s lyrics. In addition, the features of Zhukovsky’s idyll are revealed in the description of the image of the stranger Piskarev met: simplicity is glorified in it and the hero’s desire for harmony and purity is obvious.You can also pay attention to the fact that the artist deifies the young person he met. Probably, in her image, the author tried to reflect the highest manifestation of female beauty on earth, which for Gogol-Christian, of course, was the Madonna. In this case, the feelings of the young man are similar to those described by Zhukovsky in the aesthetic manifesto “Raphael’s Madonna”.However, the beauty leads Piskarev to a brothel. His idealistic consciousness cannot admit that beauty and vulgarity can be synonymous. This correlates with the principles of kalokagatiya, which were common in the Russian literature of the Romantic era and were reflected in the works of Zhukovsky.Having failed to resolve the conflict between reality and dream, Piskarev resorts to opium sleep, which, replacing life for him, becomes one of the factors that led to the tragic denouement, because, seeing his personal paradise in a dream, the artist increasingly moves away from reality and, ultimately, loses the ability to real life.In the features of the story’s plot, one can see the transformation of the idyllic motifs of Zhukovsky’s works.Faced with reality, Piskarev loses his mind. Such a finale is correlated with the plots of ballads which were translated by Zhukovsky. In them evil tempts and lures the unfortunate victim into a trap, and then takes his / her life (“Der Taucher”, “Erlkönig”). Thus, beauty for Gogol is no longer a sign of good. He comes closer to understanding the true beauty and the false beauty of Zhukovsky’s balladeer, shows the fragility of harmony in the world.The novel “Portrait” is considered by some researchers as an aesthetic manifesto of Gogol. This also suggests following the traditions of Zhukovsky.In addition, the two-part structure of the story may refer to the architectonics of Zhukovsky’s story “The Twelve Sleeping Maidens”.Her two ballads “Gromoboi” and “Vadim” are also opposite in their ethics and have ideological similarities with Gogol’s story. In the work, one can also find plot echoes with such works of the poet as the ballads “Lyudmila” (Lyudmila’s grumbling at fate is similar to Chartkov’s behavior) and “Varvik” (the character’s sin also provokes the appearance of otherworldly forces, which is a kind of warning and test). It can also be mentioned that Zhukovsky’s rebel heroes, dissatisfied with their lot, as a rule, suffer a painful defeat and their soul goes to hell. Something similar is happening with Chartkov.As for the second part of the story, it also has common features with Zhukovsky’s manifesto “Raphael’s Madonna”, because Gogol’s icon painter creates a picture that literally “breathes” divine grace.In the story “The Overcoat”, humanistic and Christian motives are revealed. The main character does not expect a better fate, but humbly fulfills his official duties. Children’s enthusiasm and sincerity, coupled with a truly zealous service, turn him into a real ascetic. Bashmachkin’s purity and love for people, as well as his self-sacrifice, allow us to say that his behavior is akin to chivalry, which was characteristic of the main character of “Don Quixote of La Mancha”, the translator of which was Zhukovsky.However, having received “God’s mercy” in the form of a greatcoat, which could well personify a “beautiful lady”, Bashmachkin is no longer so zealously performing his service. The tragic ending of the work can be connected with this. Similar ethical laws apply in the art world of Zhukovsky. Nevertheless, after death, the official returns to true service: by returning in the form of a ghost (which is the image characteristic of Zhukovsky’s works) to a significant person and other high-ranking officials to pick up overcoats, he restores a certain balance in the world. Thus, the universal justice inherent in the artistic world of Zhukovsky is being actualized again.Conclusion. The “Petersburg period” of Gogol’s work is closely connected with Zhukovsky’s creative activity. Gogol gets acquainted with the poet’s lyrics and publicism, actively reflects on what he found in it. It is important to emphasize that Gogol directly assimilates the aesthetics and poetics of Zhukovsky, after which he reproduces certain aspects of the poet’s creativity in his works, subjecting them to his own creative processing, which in general contributed to the formation of the writer’s unique genius.

In her play Don Quixote de la Mancha. A Comedy, in Five Acts, Taken from Cervantes’ Novel of that Name (1856), María Amparo Ruiz de Burton is seen to identify with her Don Quixote, a cathartic character who views himself as impotent and mistreated. The identification of Don Quixote as a colonized, mad Californio is not accidental, but done for ideological effect. He serves as an expression of an incipient —even if problematic— oppositional identity for Californios within the new Anglo/US hegemonic regime post-1848. It is a contradictory identification, loaded with racial and class anxieties, which aims to redress the decentering and despoliation of Californios as a whole while shining a light on those upper-class Californios who associated with their US colonizers. This article suggests that the play’s significance, and indeed uniqueness, is the creation of an incipient border identity for the Californios through the prism of madness.

I wake up early, questions buzzing through my mind. While I sip my morning cup of tea and read The Guardian online, the writer, restless because I’m ignoring her, walks around firing questions.“Expecting the patriarchy to want to share its enormous wealth and power with women is extremely naïve.”I nod. Outside the window pieces of sky are framed by trees, fluffy white clouds alternate with bright patches of blue. The sweet, heady first wafts of lavender and citrus drift in through the open window. Spring has come to Hvar. Time to get to work.The more I understand about narcissism, the more I understand the world. I didn’t understand before. In the 1990s.“No—you knew, but you didn’t know at the same time.”I kept telling everybody The River Ophelia wasn’t about sex, (or the sex wasn’t about sex), it was about power. Not many people listened or heard, though. Only some readers.I’ve come here to get away. To disappear. To write.I can’t find the essay I want for my article about the 1990s. I consider the novel I’m reading, I Love Dick by Chris Kraus and wonder whether I should write about it instead? It’s just been reprinted, twenty years after its initial release. The back cover boasts, “widely considered to be the most important feminist novel of the past two decades.” It was first published in the 1990s. So far it’s about a woman named Chris who’s addictively obsessed with an unavailable man, though I’m yet to unravel Kraus’s particular brand of feminism—abjection? Maybe, maybe … while I think, I click through my storage folder. Half way through, I find a piece I wrote about Kathy Acker in 1997, a tribute of sorts that was never published. The last I’d heard from Kathy before this had been that she was heading down to Mexico to try shark cartilage for her breast cancer. That was just before she died.When I was first introduced to the work of Foucault and Deleuze, it was very political; it was about what was happening to the economy and about changing the political system. By the time it was taken up by the American academy, the politics had gone to hell. (Acker qtd. in Friedman 20)Looking back, I’d have to say my friendship with Kathy Acker was intense and short-lived.In the original I’d written “was a little off and on.” But I prefer the new version. I first met Kathy in person in Sydney, in 1995. We were at a World Art launch at Ariel bookshop and I remember feeling distinctly nervous. As it turned out, I needn’t have been. Nervous, that is.Reading this now brings it all back: how Kathy and I lost touch in the intervening two years and the sudden fact of her death. I turn to the end and read, “She died tragically, not only because she was much too young, but because American literature seems rather frumpy without her, of cancer on the 30th November 1997, aged 53.”The same age as I am now. (While some believe Kathy was 50 when she died, Kathy told me she lied about her age even to the point of changing her passport. Women who lie about their age tend to want to be younger than they are, so I’m sticking with 53.) This coincidence spooks me a little.I make a cup of tea and eat some chocolate.“This could work …” the writer says. My reasons for feeling nervous were historical. I’d spoken to Kathy once previously (before the publication of The River Ophelia on the phone from Seattle to San Francisco in 1993) and the conversation had ended abruptly. I’d wanted to interview Kathy for my PhD on American fiction but Kathy wouldn’t commit. Now I was meeting her face to face and trying to push the past to the back of my mind.The evening turned out to be a memorable one. A whole bunch of us—a mixture of writers, publishers, academics and literati—went out to dinner and then carried on drinking well into the night. I made plans to see Kathy again. She struck me as a warm, generous, sincere and intensely engaging person. It seemed we might become friends. I hesitated: should I include the rest? Or was that too much?The first thing Kathy had said when we were introduced was, “I loved your book, The River Ophelia. I found it as soon as I arrived. I bought it from the bookshop at the airport. I saw your amazing cover and then I read on the back that it was influenced by the work of Kathy Acker. I was like, wow, no one in America has ever put that on the back cover of a novel. So I read it immediately and I couldn’t put it down. I love the way you’ve deconstructed the canon but still managed to put a compelling narrative to it. I never did that.”Why didn’t I include that? It had given me more satisfaction than anything anyone else had said.I remember how quickly I abandoned my bestselling life in Sydney, sexual harassment had all but ruined my career, and exchanged it for an uncertain future in London. My notoriety as an author was damaging my books and my relationship with my publisher had become toxic. The first thing I did in London was hire a lawyer, break my contract with Picador and take both novels out of print.Reality intrudes in the form of a phone call from my mother. Terminally ill with cancer, she informs me that she’s off her food. For a retired chef, the loss of appetite is not inconsiderable. Her dying is a dull ache, a constant tiredness and sadness in me. She’s just arrived in London. I will go there next week to meet her.(1)I first came across Kathy’s work in 1991. I’d just finished my MA thesis on postmodernism and parody and was rewarding myself with some real reading (i.e. not related to my thesis) when I came across the novel Don Quixote. This novel had a tremendous impact on me. Those familiar with DQ may recall that it begins with an abortion that transforms its female narrator into a knight.When she was finally crazy because she was about to have an abortion, she conceived of the most insane idea that any woman can think of. Which is to love. How can a woman love? By loving someone other than herself. (Acker Quixote 9)Kathy’s opening sentences produced a powerful emotional response in me and her bold confronting account of an abortion both put me in touch with feelings I was trying to avoid and connected these disturbing feelings with a broader political context. Kathy’s technique of linking the personal and emotional with the political changed the way I worked as a writer.I’d submitted the piece as an obituary for publication to an Australian journal; the editor had written suggestions in the margin in red. All about making the piece a more conventional academic essay. I hadn’t been sure that was what I wanted to do. Ambitious, creative, I was trying to put poststructuralist theory into practice, to write theoretical fiction. It’s true, I hadn’t been to the Sorbonne, but so what? What was the point of studying theory if one didn’t put it into practice? I was trying to write like French theorists, not to write about them. The editor’s remarks would have made a better academic essay, it’s just I’m not sure that’s where I wanted to go. I never rewrote it and it was never published.I first encountered I Love Dick (2017) during a film course at the AFTVRS when the lecturer presented a short clip of the adaptation for the class to analyse. When I later saw the novel in a bookshop I bought a copy. Given my discovery of the unpublished obituary it is also a bit spooky that I’m reading this book as both Chris Kraus and Kathy Acker had relationships with academic and Semiotext(e) publisher Sylvère Lotringer. Chris as his wife, Kathy as his lover. Kraus wrote a biography of Acker called After Kathy Acker: A Biography, which seems fairly unsympathetic according to the review I read in The Guardian. (Cooke 2017) Intrigued, I add Kraus’s biography to my growing pile of Acker related reading, the Acker/Wark letters I’m Very Into You and Olivia Laing’s novel, Crudo. While I’ve not read the letters yet, Crudo’s breathless yet rhythmic layering of images and it’s fragmented reflections upon war, women and politics reminded me less of Acker and more of Woolf; Mrs Dalloway, in fact.(2)What most inspired me, and what makes Kathy such a great writer, is her manner of writing politically. For the purposes of this piece, when I say Kathy writes politically, I’m referring to what happens when you read her books. That is, your mind—fuelled by powerful feelings—makes creative leaps that link everyday things and ideas with political discourses and debates (for Kathy, these were usually critiques of bourgeois society, of oedipal culture and of the patriarchy).In the first pages of Don Quixote, for example, an abortion becomes synonymous with the process of becoming a knight. The links Kathy makes between these two seemingly unrelated events yields a political message for the creative reader. There is more at stake than just gender-bending or metamorphoses here: a reversal of power seems to have taken place. A relatively powerless woman (a female victim except for the fact that in having an abortion she’s exerting some measure of control over her life), far from being destroyed by the experience of aborting her foetus, actually gains power—power to become a knight and go about the world fulfilling a quest. In writing about an abortion in this way, Kathy challenges our assumptions about this controversial topic: beyond the moral debate, there are other issues at stake, like identity and power. An abortion becomes a birth, rather than a banal tragedy.When I think about the 1990s, I automatically think of shoulder pads, cocktails and expense accounts (the consumption of the former, in my case, dependent on the latter). But on reflection, I think about the corporatisation of the publishing industry, the Backlash and films like Thelma and Louise, (1991) Basic Instinct (1992) and Single White Female (1992). It occurs to me that the Hollywood movie star glamorous #MeToo has its origin in the turbulent 1990s Backlash. When I first saw each of these films I thought they were exciting, controversial. I loved the provocative stance they took about women. But looking back I can’t help wondering: whose stories were they really, why were we hearing them and what was the political point?It was a confusing time in terms of debates about gender equality.Excluding the premise for Thelma and Louise, all three films present as narrative truth scenarios that ran in stark contrast to reality. When it came to violence and women, most domestic homicide and violence was perpetrated by men. And violence towards women, in the 1990s, was statistically on the rise and there’s little improvement in these statistics today.Utter chaos, having a British passport never feels quite so wonderful as it does in the arrivals hall at Heathrow.“Perhaps these films allow women to fantasise about killing the men who are violent towards them?”Nyah, BI is chick killing chick … and think about the moral to the story. Fantasy OK, concrete action painful, even deadly.“Different story today …”How so?“Violent female protagonists are all the rage and definitely profitable. Killing Eve (2018) and A Simple Favour (2018).”I don’t have an immediate answer here. Killing Eve is a TV series, I think aloud, A Simple Favour structurally similar to Single White Female … “Why don’t you try self-publishing? It’ll be 20 years since you took The River Ophelia out of print, bit of an anniversary, maybe it’s time?”Not a bad idea. I’m now on the tube to meet mum at her bed and breakfast but the writer is impatient to get back to work. Maybe I should just write the screenplay instead?“Try both. If you don’t believe in your writing, who else will?”She has a point. I’m not getting anywhere with my new novel.A message pips through on Facebook. Want to catch up?What? Talk about out of the blue. I haven’t heard from Sade in twenty years … and how on earth did he get through my privacy settings?After meeting mum, the next thing I do is go to the doctor. My old doctor from West Kensington, she asks me how I’m going and I say I’m fine except that mum’s dying and this awful narcissistic ex-partner of mine has contacted me on Facebook. She recommends I read the following article, “The Highly Sensitive Person and the Narcissist” (Psychology Today).“Sometimes being a kind caring person makes you vulnerable to abusers.”After the appointment I can’t get her words out of my head.I dash into a Starbucks, I’m in Notting Hill just near the tube station, and read the article on my laptop on wifi. I highlight various sections. Narcissists “have a complete lack of empathy for others including their own family and friends, so that they will take advantage of people to get their own needs and desires met, even if it hurts someone.” That sounds about right, Sade could always find some way of masking his real motives in charm, or twisting reality around to make it look like things weren’t his fault, they were mine. How cleverly he’d lied! Narcissists, I read, are attracted to kind, compassionate people who they then use and lie to without remorse.But the bit that really makes me sit up is towards the end of the article. “For someone on the outside looking at a relationship between a highly sensitive person and a narcissist, it’s all too easy to blame the HSP. How and why would anyone want to stay in such a relationship?” Narcissists are incredibly good at making you doubt yourself, especially the part of you that says: this has happened before, it’ll happen again. You need to leave.The opening paragraph of the psychology textbook I read next uses Donald Trump as an example. Trump is also Patrick Bateman’s hero, the misogynistic serial killer protagonist of Bret Easton Ellis’s notorious American Psycho. Despite an earlier version that broadly focused on New York fiction of the 1990s, Ellis’s novel and the feminist outcry it provoked became the central topic of my PhD.“Are you alright mum?”I’ve just picked Mum up and I’m driving her to Paris for a night and then on to Switzerland where she’s going to have voluntary euthanasia. Despite the London drizzle and the horrific traffic the whole thing has a Thelma and Louise feel about it. I tell mum and she laughs.“We should watch it again. Have you seen it since it first came out?”“Sounds like a good idea.”Mum, tiny, pointy-kneed and wearing an out-of-character fluoro green beanie given to her at the oncology clinic in Sydney, is being very stoic but I can tell from the way she constantly wrings her hands that she’s actually quite terrified.“OK Louise,” she says as I unfold her Zimmer frame later that evening.“OK Thelma,” I reply as she walks off towards the hotel.Paris is a treat. My brother is waiting inside and we’re hoping to enjoy one last meal together.Mum didn’t want to continue with chemo at 83, but she’s frightened of dying a horrific death. As we approach hotel reception Mum can’t help taking a detour to inspect the dinner menu at the hotel restaurant.“Oysters naturel. That sounds nice.”I smile, wait, and take her by the elbow.I’ve completely forgotten. The interview/review I wrote of Acker’s Pussy, King of the Pirates, in 1995 for Rolling Stone. Where is it? I open my laptop and quickly click through the endless publicity and reviews of The River Ophelia, the interview/review came out around the same time the novel was published, but I can’t find it. I know I had it out just a few months ago, when I was chasing up some freelance book reviews.I make a fresh pot of tea from the mini bar, green, and return to my Acker tribute. Should I try to get it published? Here, or back in Australia? Ever the émigré’s dilemma. I decide I like the Parisian sense of style in this room, especially the cotton-linen sheets.Finally, I find it, it’s in the wrong folder. Printing it out, I remember how Kathy had called her agent and publisher in New York, and her disbelief when I’d told her the book hadn’t been picked up overseas. Kathy’s call resulted in my first New York agent. I scrutinise its pages.Kathy smiles benign childlike creativity in the larger photo, and gestures in passionate exasperation in the smaller group, her baby face framed by countless metal ear piercings. The interview takes place—at Kathy’s insistence—on her futon in her hotel room. My memories clarify. It wasn’t that we drifted apart, or rather we did, but only after men had come between us first. Neither of us had much luck in that department.(4)Kathy’s writing is also political because her characters don’t act or speak the way you’d expect them to. They don’t seem to follow the rules or behave in the way your average fictional character tends to do. From sentence to sentence, Kathy’s characters either change into different people, or live revolutionary lives, or even more radical still, live impossible lives.When the narrator of DQ transforms herself into a knight (and lives an impossible life); she turns a situation in which she is passive and relatively powerless—she is about to be operated on and drugged—into an empowering experience (and lives a creative revolutionary life). Ironically, getting power means she turns herself into a male knight. But Kathy gets around the problem that power is male by not letting things rest there. The female, aborting Kathy isn’t actually replaced by a male knight, bits of him are just grafted onto her. Sure, she sets out on a quest, but the other aspects of her empowerment are pretty superficial: she does adopt a new name (which is more like a disguise), and identity (appearance); and picks up a bad habit or two—a tendency to talk in the language used by knights.“But who’s the father?” the writer wants to know. “I mean isn’t that the real question here?”No, that is exactly not the real question here and not the point. It is not about who the father is—it’s about what happens to a woman who has an unwanted unplanned pregnancy.The phone rings. It’s my brother. Mum’s waiting for me downstairs and the oysters are beckoning.(5)The idea that writing could be political was very appealing. The transformation between my first novel, Marilyn’s Almost Terminal New York Adventure and my second, The River Ophelia (Picador insisted on publishing them in reverse chronology) was partly a result of my discovery of Kathy’s work and the ideas it set off in me. Kathy wasn’t the first novelist to write politically, but she was the first female novelist to do so in a way that had an immediate impact on me at an emotional level. And it was this powerful emotional response that inspired me as a writer—I wanted to affect my readers in a similar way (because reading Kathy’s work, I felt less alone and that my darkest experiences, so long silenced by shame and skirted around in the interests of maintaining appearances, could be given a voice).We’re driving through Switzerland and I’m thinking about narcissism and the way the narcissists in my personal and professional life overshadowed everything else. But now it’s time to give the rest of the world some attention. It’s also one way of pulling back the power from the psychopaths who rule the world.As we approach Zurich, my mother asks to pull over so she can use the ladies. When she comes out I can see she’s been crying. Inside the car, she reaches for my hand and clasps it. “I don’t know if I’m strong enough to say goodbye.”“It’s alright Mum,” I say and hold her while we both cry.A police car drives by and my mother’s eyes snag. Harassed by the police in Australia and unable to obtain Nembutal in the UK, Mum has run out of options.To be a woman in this society is to find oneself living outside the law. Maybe this is what Acker meant when she wrote about becoming a pirate, or a knight?Textual deconstruction can be a risky business and writers like Acker walk a fine line when it comes to the law. Empire of the Senseless ran into a plagiarism suit in the UK and her publishers forced Acker to sign an apology to Harold Robbins (Acker Hannibal Lecter 13). My third novel Dependency similarly fell foul of the law when I discovered that in deconstructing gossip and myths about celebrities, drawing on their lives and then making stuff up, the result proved prophetic. When my publisher, Harper Collins, refused to indemnify me against potential unintended defamation I pulled the book from its contract on the advice of a lawyer. I was worth seven million pounds on paper at that point, the internet travel site my then husband and I had founded with Bob Geldof had taken off, and the novel was a radical hybrid text comprised of Rupert Murdoch’s biography, Shakespeare’s King Lear and Hello Magazine and I was worried that Murdoch might come after me personally. I’d fictionalised him as a King Lear type, writing his Cordelia out of his will and leaving everything to his Goneril and Reagan.Recent theoretical studies argue that Acker’s appropriation and deconstruction constitute a feminist politics as “fragmentation” (June 2) and as “agency” (Pitchford 22). As Acker puts it. “And then it’s like a kid: suddenly a toy shop opens up and the toy shop was called culture.” (Acker Hannibal Lecter 11).We don’t easily fit in a system that wasn’t ever designed to meet our needs.(6)By writing about the most private parts of women’s lives, I’ve tried to show how far there is to go before women and men are equal on a personal level. The River Ophelia is about a young woman whose public life might seem a success from the outside (she is a student doing an honours year at university in receipt of a scholarship), but whose private life is insufferable (she knows nothing about dealing with misogyny on an intimate level and she has no real relationship-survival skills, partly as a result of her family history, partly because the only survival skills she has have been inscribed by patriarchy and leave her vulnerable to more abuse). When Justine-the-character learns how to get around sexism of the personal variety (by re-inventing her life through parodies of classic texts about oedipal society) she not only changes her life, but she passes on her new-found survival skills to the reader.A disturbing tale about a young university student who loses herself in a destructive relationship, The River Ophelia is a postmodern novel about domestic violence and sexual harassment in the academy, contrary to its marketing campaign at the time. It’s protagonist, Justine, loves Sade but Sade is only interested in sex; indeed, he’s a brutish sex addict. Despite this, Justine can’t seem to leave: for all her education, she’s looking for love and commitment in all the wrong places. While the feminist lore of previous generations seems to work well in theory, Justine can’t seem to make it work in practise. Owning her power and experimenting with her own sexuality only leaves her feeling more despairing than before. Unconventional, compelling and controversial, The River Ophelia became an instant best-seller and is credited with beginning the Australian literary movement known as grunge/dirty realism.But there is always the possibility, given the rich intertextuality and self referentiality, that The River Ophelia is Justine’s honours thesis in creative writing. In this case, Sade, Juliette, Ophelia, Hamlet, Bataille, Simone, Marcelle and Leopold become hybrids made up from appropriated canonical characters, fragments of Justine’s turbulent student’s world and invented sections. But The River Ophelia is also a feminist novel that partly began as a dialogue with Ellis whose scandalous American Psycho it parodies even as it reinvents. This creative activity, which also involves the reader by inviting her to participate in the textual play, eventually empowers Justine over the canon and over her perpetrator, Sade.Another hotel room. This one, just out of Zürich, is tiny. I place my suitcase on the rack beneath the window overlooking the narrow street and start to unpack.“Hasn’t this all been said before, about The River Ophelia?” The writer says, trying out the bed. I’m in the middle of an email about self-publishing a new edition of TRO.Some of it. While the grunge label has been refuted, Acker’s influence has been underplayed.Acker often named her protagonists after herself, so losing the Acker part of my textual filiation plays into the whole grunge/dirty realism marketing campaign. I’ve talked about how I always name protagonists after famous women but not linked this to Acker. Bohemia Beach has a protagonist named after Cathy as in Wuthering Heights. Justine of The River Ophelia was doubly an Acker trait: firstly, she was named Justine after De Sade’s character and is a deconstruction of that character, and secondly she was named Justine self-reflexively after me, as a tribute to Kathy as in Kathy Goes to Haiti.The other context for The River Ophelia that has been lost is to do with the early work of Mary Gaitskill, and Catherine Texier. The narcissists were so destructive and so powerful they left no time for the relatively more subtle Gaitskill or Texier. Prototypes for Sex in the City, the 1990s was also a time when Downtown New York women writers explored the idea that gender equality meant women could do anything men did sexually, that they deserved the full gamut of libertine sexual freedoms. Twenty years on it should also be said that women who push the envelope by writing women protagonists who are every bit as sexually transgressive as men, every bit as addictively self-destructive as male protagonists deserve not to be shamed for that experimentation. They deserve to be celebrated and read.AfterwordI’d like to remember Kathy as I knew her briefly in Sydney. A bottle-blonde with a number two haircut, a leopard-skin bikini and a totally tattooed body, she swam a surprisingly genteel breast-stroke in the next lane in one of the world’s most macho lap-swimming pools.ReferencesA Simple Favour. Dir. Paul Feig. Lionsgate, 2018.Acker, Kathy. Don Quixote. London: Collins, 1986.———. Empire of the Senseless. New York: Grove, 1988.———. Hannibal Lecter, My Father. New York: Semiotext(e), 1991.———. Kathy Goes to Haiti. New York: Grove Press/Atlantic Monthly, 1994.——— and McKenzie Wark. I’m Very into You: Correspondence 1995-1996. New York: Semiotext(e), 2015.Basic Instinct. Dir. Paul Verhoeven. TriStar Pictures, 1992.Brontë, Emily. Wuthering Heights. New York: Norton and Co, 2003.Bushnell, Candace. Sex in the City. United States: Grand Central Publishing, 1996.Cooke, Rachel. “Review of After Kathy Acker: A Biography by Chris Kraus—Baffling Life Study.” The Guardian 4 Sep. 2017. 4 Dec. 2018 <https://www.theguardian.com/books/2017/sep/04/after-kathy-acker-a-biography-chris-kraus-review>.Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987.Ellis, Bret Easton. American Psycho. New York: Vintage, 1991.Ettler, Justine. Bohemia Beach. Melbourne: Transit Lounge. 2018.———. “Kathy Acker: King of the Pussies.” Review of Pussy, King of the Pirates, by Kathy Acker. Rolling Stone. Nov. 1995: 60-61.———. Marilyn’s Almost Terminal New York Adventure. Sydney: Picador, 1996.———. “La Trobe University Essay: Bret Easton Ellis’s Glamorama, and Catherine Texier’s Break Up.” Australian Book Review, 1995.———. The Best Ellis for Business: A Re-Examination of the Mass Media Feminist Critique of “American Psycho.” PhD. Sydney: University of Sydney, 2013.———. The River Ophelia. Sydney: Picador, 1995.Faludi, Susan. Backlash: The Undeclared War against American Women. New York: Crown, 1991.Friedman, Ellen G. “A Conversation with Kathy Acker.” The Review of Contemporary Fiction 9.3 (Fall 1989): 20-21.Gaitskill, Mary. Bad Behaviour. New York: Random House, 1988.I Love Dick. Dir. Jill Soloway. Amazon Video, 2017.June, Pamela B. The Fragmented Female Body and Identity: The Postmodern Feminist and Multiethnic Writings of Toni Morrison, Therese Huk, Kyung Cha, Phyllis Alesia Perry, Gayl Jones, Emma Perez, Paula Gunn Allen, and Kathy Acker. New York: Peter Lang Publishing, 2010.Killing Eve. Dir. Phoebe Waller-Bridge. BBC America, 2018.Kraus, Chris. After Kathy Acker: A Biography. London: Penguin, 2017.———. I Love Dick. London: Serpent’s Tail, 2016.Laing, Olivia. Crudo. London: Picador, 2018.Lee, Bandy. The Case of Donald Trump: 27 Psychiatrists and Mental Health Experts Assess a President. New York: St Martin’s Press. 2017.Lombard, Nancy, and Lesley McMillan. “Introduction.” Violence against Women. Eds. Nancy Lombard and Lesley McMillan. London: Jessica Kingsley Publishers, 2013.Pitchford, Nicola. Tactical Readings: Feminist Postmodernism in the Novels of Kathy Acker and Angela Carter. London: Associated Uni Press, 2002.Schiffrin, André. The Business of Books: How International Conglomerates Took Over Publishing and Changed the Way We Read. London and New York: Verso, 2000.Shakespeare, William. King Lear. London: Penguin Classics, 2015.Siegle, Robert. Suburban Ambush: Downtown Writing and the Fiction of Insurgency. United States: John Hopkins Press, 1989.Single White Female. Dir. Barbet Schroeder. Columbia Pictures, 1992.Texier, Catherine. Panic Blood. London: Collins, 1991.Thelma and Louise. Dir. Ridley Scott. Metro-Goldwyn-Mayer, 1991.Ward, Deborah. “Sense and Sensitivity: The Highly Sensitive Person and the Narcissist.” Psychology Today (16 Jan. 2012). 4 Dec. 2018 <https://www.psychologytoday.com/us/blog/sense-and-sensitivity/201201/the-highly-sensitive-person-and-the-narcissist>.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Quixote, by Miguel de Cervantes Saavedra, whose first part came to light in 1605, is one of the best known works in world literature and has received several interpretations. A controversial subject concerns the proposal of Salvador de Madariaga y Rojo, who proposed a slow and persistent process of symbiosis between the characters Don Quixote and Sancho Panza, from the work Quixote by Miguel de Cervantes Saavedra, resulting in the sanchificación of dom Quixote and in Sancho's quixotization. The proposal, made in the first half of the twentieth century, caused great repercussion in the scope of the Cervantine studies. The present work seeks to analyze the speech and the behavior of the characters throughout the narrative, in order to confirm or not Madariaga's proposal and, for that, concentrates on the analysis of two chapters "Moinhos de Vento" (Chapter VIII) and "Cravilenho" (cap.XLI) that make up the first and second part of Quixote, respectively. The research, which is a critical one, has the basic support in the theoretical-methodological proposal of Systemic-Functional Linguistics (LSF), in which the interpersonal metafunction encompasses the notion of modality as welll as the notion of appraisal – subdivided in affection (emotions), judgement (ethic) and appreciation (aesthetics). SFL allows the relation of the lexical-grammatical choices of the microstructure of the text with the macrostructure of the power relations and discourse ideology. The research should answer the following questions: (a) What grammatical choices confirm the sanchification of Don Quixote and the quixotization of Sancho? (b) What role does appraisal play in this process? (c) How is social critique made in this context? The analysis proves that there is in fact a change in the character of both characters, in terms of a mutual influence that happens throughout the narrative, in which a more careful examination discloses the implicit social critique woven by Cervantes
O livro Quixote, de Miguel de Cervantes Saavedra, cuja primeira parte veio a lume em 1605, é uma das obras mais conhecidas da literatura mundial e tem recebido várias interpretações. Um assunto controvertido, diz respeito à proposta de Salvador de Madariaga y Rojo, que propôs um processo de simbiose, lento e persistente, entre os personagens dom Quixote e Sancho Pança, da obra Quixote, de Miguel de Cervantes Saavedra, resultando na sanchificação de dom Quixote e na quixotização de Sancho. A proposta, feita na primeira metade do século XX, provocou grande repercussão no âmbito dos estudos cervantinos. O presente trabalho tem o objetivo de analisar a fala e o comportamento das personagens ao longo da narrativa, a fim de confirmar, ou não, a proposta de Madariaga e, para tanto, concentra-se na análise de dois capítulos “Moinhos de Vento” (cap. VIII) e “Cravilenho” (cap.XLI) que compõem a primeira e a segunda parte de Quixote, respectivamente. A pesquisa, de cunho crítico, tem o apoio básico na proposta teórico-metodológica, da Linguística Sistêmico-Funcional (LSF), cuja metafunção interpessoal acolhe a noção de modalidade acrescida da avaliatividade – avaliação de afeto (emoções), julgamento (ética) e apreciação (estética), que inclui a avaliação social (avaliação de fenômenos sociais). A LSF permite relacionar as escolhas léxico-gramaticais da microestrutura do texto com a macroestrutura das relações de poder e de ideologia do discurso. Nesse contexto, incluímos questões referentes ao footing, à ameaça de face e de ironia. A pesquisa deve responder às seguintes perguntas: (a) Que escolhas gramaticais confirmam a sanchificação de dom Quixote e a quixotização de Sancho? (b) Que papel exerce a avaliatividade nesse processo? (c) Como é feita a crítica social nesse contexto? A análise comprova que há de fato uma mudança no caráter das duas personagens, em termos de uma mútua influência que acontece ao longo da narrativa, em que um exame detido capta a crítica social implícita tecida por Cervantes

Orientador: Carlos Eduardo Ornelas Berriel
Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem
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Resumo: O objetivo deste trabalho é estudar as relações entre a utopia e o romance "Dom Quixote". Mais especificamente a hipótese testada é a de que o governo de Sancho Pança na ínsula Baratária poderia ser entendido como uma utopia. Para tanto busca-se primeiramente delimitar o significado da utopia, discutindo as suas transformações ao longo da história desde sua origem no Renascimento. Além disso examina-se a sua percepção como gênero literário e como corrente de pensamento, recorrendo à diferenciação entre utopia e utopismo. Como o significado da utopia mudou após as críticas de Marx e Engels, procura-se esclarecê-las através de uma análise direta da obra dos dois pensadores, estabelecendo uma diferença entre os escritos de Marx, os de Engels e as interpretações marxistas posteriores. Após o percurso teórico sobre a utopia é feita uma breve discussão bibliográfica perpassando pelos principais nomes da crítica literária cervantina para, na sequência, analisar o texto de "Dom Quixote", em especial as partes da obra diretamente relacionadas ao governo de Sancho.
Abstract: The objective of this work is to study the relationship between utopia and the novel "Don Quixote". More specifically, the hypothesis tested is that the government of Sancho Panza in the insula Barataria could be understood as an utopia. To this end we first seek to delimit the meaning of utopia, discussing its transformations throughout history since its origins in the Renaissance. Furthermore we examine it perception as a literary genre and as a current of thought, using the distinction between utopia and utopianism. Because the eaning of utopia has changed after the criticism of Marx and Engels we sought to clarify the through a direct analysis of two thinkers' work making a difference between the writings of Marx, Engels and later marxist interpretations. After the theoretical course on utopia, we do a brief bibliographical discussion perpassing the top names in Cervantes literary criticism in order to thereupon analyze the text of "Don Quixote", specially the parts of the work directly related to the government of Sancho.
Mestrado
Historia e Historiografia Literaria
Mestre em Teoria e História Literária

This research delves into the historical development of the character dance genre in ballet education. By analyzing ballet literature from Latvia and Europe published over the past decade, the study aims to create a theoretical outline of character dance history. This will provide a wider understanding of the genre and serve as a professional teaching tool for academic dance performers and pedagogues. The research focuses on French ballet master M. Petipa’s contribution to the development of ballet art, particularly his character dance “writing” as a means of enriching the choreographical language of classical ballet. The study also examines the interpretation of foreign dance elements and movement composition in classical dance. The enduring value of M. Petipa’s classical ballet works, including Pharaoh’s Daughter, Don Quixote, Bayadere, The Sleeping Beauty, Nutcracker, Swans’ Lake, and Raymonda, are reviewed in the study. The research identifies essential pedagogical principles for the development of ballet education, including the consideration of character dance genre. Ultimately, this study will provide a methodical learning material of a historical period for the professional growth of character dance ballet performers and to preserve M. Petipa’s legacy in classical ballet culture.