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Journal articles on the topic 'Don Quixote'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 June 2025

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1

Ardila, J. A. Garrido. "Don Quixote in Film (2005-2015)." Open Cultural Studies 1, no. 1 (2017): 194–202. http://dx.doi.org/10.1515/culture-2017-0018.

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Abstract This article is a first approximation to the analysis of Quixote films released between 2005 and 2015. The analysis of these 68 productions shows a widespread international interest in Don Quixote across more than 20 countries in three continents, with the US as the powerhouse of Quixote films with 22 pictures, followed by Spain with seventeen. This analysis observes four categories of Quixote films-adaptations, sequels, imitations, and documentaries. The nine adaptations abridge the plot of Cervantes’s novel. The 16 sequels tell of Don Quixote’s new adventures outwith Cervantes’s novel or include Don Quixote as a supporting character. The 35 imitations deploy the Quixotic myth, where a Quixotic protagonist is a dreamer in search of an ideal, a loner in a hostile society, or a character deployed to parody a film genre or a social trend. This classification reveals the tendencies in today’s use of Cervantes’s hero on film. Furthermore, the variety and the quantity of Quixote films confirm them as a well-established film genre and are a testament to Don Quixote’s status as an international cultural icon known and loved worldwide.

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2

Hasbrouck, Michael D. "Posesión demoníaca, locura y exorcismo en el Quijote." Cervantes 12, no. 2 (1992): 117–26. http://dx.doi.org/10.3138/cervantes.12.2.117.

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Critics have proposed various explanations of Don Quixote's madness, such as an excess of melancholy or of choler. I argue in this paper that demoniacal possession is another possibility. In Don Quixote the protagonist's behavior often suggests possession by the devil; in fact other characters often confuse Don Quixote with the devil. I interpret an episode in II, 62 in which Don Quixote exclaims: “Fugite, partes adversae!” as a sort of exorcism; and I also examine the similarities between Don Quixote's trampling by swine (II, 68) and the most famous exorcism in the Bible.

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3

Childers, William. "Chicanoizing Don Quixote." Aztlán: A Journal of Chicano Studies 27, no. 2 (2002): 87–118. http://dx.doi.org/10.1525/azt.2002.27.2.87.

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This article looks at three novels that appropriate the character of Don Quixote as a symbol of Chicano resistance to Anglo American hegemony: Daniel Venegas’s Las aventuras de don Chipote, Ron Arias’s The Road to Tamazunchale, and Genaro Gonzalez’s The Quixote Cult. Tyze goal is in no wag to demonstrate the “influence”of Cervantes on Chicano writers, but rather the opposite: to explore the dimension of Don Quixote that their work has uncovered. After briefly looking at the treatment of Cervantes’s character in each of the novels, a Chicano reading of Don Quixote is elaborated, in which the value of this character for a community subjected to internal colonialism is explored. For Chicano writers, Don Quixote stands for resistance to this kind of colonialism. Could such a reading provide new insights into the original seventeenth-century novel? A basis for this interpretation can be found in the historical context in which Cervantes wrote, for Spain was undergoing a process of internal colonialism paralleling the colonization of the New World. The treatment of the moriscos throughout the sixteenth century is the most vivid example, but we should also keep in mind the alienation felt by the conversos, a group to which Cervantes himself may have belonged. The rasquachismo of Don Quixote’s use of a barber’s basin for a helmet can thus be understood in terms of the historical parallels between the situation of Chicano writers and that of Cervantes himself

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4

Pronkevich, Oleksandr. "Is Don Quixote a Symbol of Resistance or of Totalitarianism?" Miscellanea Posttotalitariana Wratislaviensia 5 (June 12, 2017): 25–37. http://dx.doi.org/10.19195/2353-8546.1(5).3.

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This paper focuses on analyzing visual representations of Don Quixote in Central and Eastern European films produced during the Soviet and post-Soviet periods: the animated cartoon Don Kihote created in 1961 by Croatian director Vlado Kristl: a TV episode, Don Quixote and His Bodyguard, by Viktor Shenderovich 1995; and the feature film Don Quixote Returns by Vasiliy Livanov 1997. The image of Don Quixote is interpreted in the paper as a cultural myth used as a symbol both of resistance and of totalitarianism. This ambivalence of the quixotic myth is studied through the prism of trauma theory. The approach suggested by the author of the paper explains the popularity of Cervantes’s character in totalitarian and post-totalitarian culture and reveals the complicated dynamics of liberation from slavery and the search for freedom in Central and Eastern Europe.

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5

Garrido Ardila, Juan Antonio. "Las rutas del «Quijote» por la novela inglesa del siglo XVIII." Cuadernos de Estudios del Siglo XVIII, no. 26 (October 27, 2017): 17. http://dx.doi.org/10.17811/cesxviii.26.2016.17-31.

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RESUMENEste artículo sopesa las principales derrotas en las investigaciones en torno a la presencia, recepción e influjo del Quijote en la novela inglesa del siglo XVIII. Se parte aquí de la distinción establecida entre novelas inglesas dieciochescas de temática quijotesca (las denominadas Quixotic fictions) y aquellas cuyas características formales se inspiran en el Quijote (las Cervantean novels). Respecto de las primeras se subraya la escasez deestudios y las muchas posibilidades que estas brindan al estudioso que quiera indagar en el tratamiento satírico de la compleja sociedad que las inspiró. De las Cervantean novels se destaca su engarce con la literatura de los dos siglos precedentes. La influencia cervantina en autores del Dieciocho como Fielding, Smollett y Sterne, en contraposición a la influencia picaresca en el Diecisiete, se explica aquí por razón de la necesidad, enla primera mitad del XVIII, de dotar la narrativa inglesa de las características formales de la novela moderna, lo cual hallaron en el Quijote.PALABRAS CLAVECervantes en Inglaterra, Quijote, novela inglesa del siglo XVIII, ficción cervantina, ficción quijotesca. TITLE«Don Quixote’s» sallies in eighteenth-century english fictionABSTRACTThis article is a critique of the mainstream strands in the research into Don Quixote’s reception in England and its influence on eighteenth-century English fiction. It offers a survey of the fictional narratives with a quixotic theme (the so-called Quixotic fictions) and those which deploy formal features taken from Don Quixote(known as Cervantean novels). The discussion of Quixotic fictions notes they have attracted little critical attention, and suggests the need for future studies of their intriguing satirical scope. This article also pinpoints the need to study Cervantean fictions of the eighteenth century in relation to seventeenth-century English fiction. This article notes that whilst Spanish picaresque novels were the main foreign influence on English fiction of the seventeenth century, the great writers of the eighteenth century, namely Fielding, Smollett and Sterne, preferred Don Quixote since Cervantes’ novel provided them with the formal features of the modern novel, at a time when these authors sought to establish canon of modern fiction in the English language.KEY WORDSCervantes in England, Don Quixote, eighteenth-century English novel, Cervantean fiction, Quixotic fiction.

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6

Pierce, Frank, E. C. Riley, and John G. Weiger. "Don Quixote." Modern Language Review 83, no. 2 (1988): 482. http://dx.doi.org/10.2307/3731759.

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7

Pinto, Carmen. "Don Quixote." BMJ 335, no. 7627 (2007): 997.2–997. http://dx.doi.org/10.1136/bmj.39385.616991.fa.

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8

Corbella, Caterina. "Cervantes’ Don Quixote in Dostoevsky’s Novel The Idiot." Dostoevsky and World Culture. Philological journal, no. 2 (26) (2024): 29–52. http://dx.doi.org/10.22455/2619-0311-2024-2-29-52.

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The article analyses the significance of Miguel de Cervantes’ Don Quixote for the understanding of the author’s intention in the novel The Idiot. The material presence of the book Don Quixote in Dostoevsky’s text assumes that the reader is familiar with Cervantes’ novel and will be able to trace all the necessary connections inside the text, taking into account not only the image of don Quixote, but also the whole novel, which Dostoevsky knew well and highly appreciated. From this perspective, the starting point for analysis is the figure of Aglaya Epanchina, who is both the reason for the inclusion of Don Quixote in the plot of The Idiot and its sole interpreter within the novel. However, Aglaya’s interpretation leads the reader down a false path, identifying Myshkin, don Quixote, and Pushkin’s “poor knight” as representative of “medieval platonic love.” The article demonstrates how the references to Cervantes’ novel indicate that Aglaya herself acts according to Don Quixote, understanding love as an arbitrary one-sided choice of a carnal receptacle for an invented ideal. Another kind of love defines Prince Myshkin’s relationship with Nastasya Filippovna, whose image displays quite different quixotic traits. On a deeper level, Cervantes’ Don Quixote concurs in structuring the image of the protagonist, who can discover himself as a whole only through the relation with the other (Rogozhin, Sancho Panza); it is illustrated how the image of the donkey that awakened the prince in Basel also has its roots in Cervantes’ work. The conclusion offers some reflections on the relation between the peculiar structure of the protagonist in both novels and Dostoevsky’s intentions to portray a “positively beautiful individual.”

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9

Fernández Ferreiro, María. "Una aproximación a la recepción del Quijote en el teatro inglés contemporáneo." Anales Cervantinos 55 (December 30, 2023): 93–113. http://dx.doi.org/10.3989/anacervantinos.2023.004.

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La intención de este trabajo es comprobar la influencia del Quijote en el teatro inglés reciente a través del análisis de siete obras que adaptan la novela al escenario: The travails of Sancho Panza. A play for the young, de James Saunders (1970); Don Quixote, de Keith Dewhurst (1982); Don Quixote. A Fantastic Tale In Two Acts, de Jim Sperinck (1991); Don Quixote, de Colin Teevan y Pablo Ley (2007); The New Adventures of Don Quixote, de Ali Tariq (2014); Don Quixote, de James Fenton (2016); y Wandering Through La Mancha. A Quixotic Tale, de Aaron M. Kahn (2019). Se analizan las características comunes a todas ellas y se observa si se mantienen las líneas de interpretación del Quijote en el teatro inglés precedente, una recepción que comenzó con la primera adaptación conocida de la novela a la escena: The Knight of the Burning Pestle (1611), de Francis Beaumont, y el destacable Cardenio de Shakespeare. Se concluye que las obras analizadas son un ejemplo más de la larga relación entre la novela cervantina y el teatro inglés y que, aunque tienen varios elementos en común, presentan lecturas particulares del mito quijotesco.

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10

Jaime, Fernández S. J. "La admiración en el Quijote y el enigma del paje soldado (DQ II, 24)." Cervantes 19, no. 1 (1999): 96–112. http://dx.doi.org/10.3138/cervantes.19.1.096.

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Don Quixote's fleeting encounter with the soldier-page after his dream vision in the Cave of Montesinos seems slightly enigmatic. Contrary to what could be called the rule of either astonishment (admiración) or laughter in Don Quixote, the page is neither surprised by the knight nor does he laugh at him. The young character's traits, and Don Quixote's attitude toward him, suggest that he is an anomalous character, not novelesque but real. The page thus appears to be a memory, reflection, or image of the author in his youth. The young man's indifference to Don Quixote is only logical, because he doesn't yet have the author's, or the character's, treasury of lived experience.

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11

Mattza, Carmela V. "Don Quijote vía Twitter: Excesos y excentricidades." Cervantes 42, no. 1 (2022): 175–91. http://dx.doi.org/10.3138/cervantes.42.1.175.

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This essay takes into consideration the use of the image of Don Quixote in the political history of the United States of America to study the manipulation of this figure on the social platform Twitter. This analysis suggests that the appearance of Don Quixote for propaganda purposes today not only highlights once again the universality of this Cervantine character, but also consolidates his adoption as a cultural icon by a society that often forgets that the most important quixotic experience is that of recognition, not only of the self but also of the other.

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12

Ayuso Rodríguez, Elena. "Génesis y realización del primer radioteatro de `Don Quijote´producido por la BBC en 1947." INDEX COMUNICACION 9, no. 2 (2019): 35–53. http://dx.doi.org/10.33732/ixc/09/02genesi.

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In 1947, BBC produces the first radio drama on Don Quixote to celebrate the 400th anniversary of Cervantes’ birth. Released in Spain and Latin America in 27 chapters, BBC defined it as “the most ambitious project ever carried out.” The goal was to enhance BBC reputation in Spain. The radio play had the participation of actors from Radio Madrid, Spanish exiles in London and Latin American professionals. BBC surrounded with experts to adapt Cervantes narrative to radio language; deal with Spanish accents diversity; and compose music, which accompanied this radio version. The Quixote of BBC spread Cervantes’ work throughout all Spanish-speaking countries and promoted the production of other Quixotes within the radio in Spain. Keywords: Radio; Radio Drama; Radio Fiction; Don Quixote; BBC.

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13

Piza, Antoni, and Roberto Gerhard. "Don Quixote (1950)." Notes 52, no. 3 (1996): 1025. http://dx.doi.org/10.2307/898675.

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14

Burningham, Bruce R. "International Don Quixote." Comparative Literature Studies 49, no. 1 (2012): 123–26. http://dx.doi.org/10.5325/complitstudies.49.1.123.

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15

Urbina, Eduardo, and Anthony J. Close. "Cervantes: 'Don Quixote'." Hispania 75, no. 1 (1992): 91. http://dx.doi.org/10.2307/344733.

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16

Iniesta, I. "Don Quixote syndrome." Neurología (English Edition) 26, no. 5 (2011): 316–17. http://dx.doi.org/10.1016/s2173-5808(11)70069-4.

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Obolenskaya, Yu L. "Did Leo Tolstoy Become Don Quixote? Half a Century of Dispute Between Two Geniuses." Cuadernos Iberoamericanos 11, no. 3 (2023): 18–31. http://dx.doi.org/10.46272/2409-3416-2023-11-3-18-31.

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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.

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Kallendorf, Hllaire. "The Diabolical Adventures of Don Quixote, or Self-Exorcism and the Rise of the Novel." Renaissance Quarterly 55, no. 1 (2002): 192–223. http://dx.doi.org/10.2307/1512535.

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This study explores Cervantes’ appropriations of the terminology and imagery of Catholic exorcists and demonologists in the Spanish Golden Age. The “lucid intervals” of Don Quixote, his constant sense that someone pursues him, and his explicit voicing of the words of the exorcism ritual can only be understood fully in relation to contemporaneous religious belief. This essay also argues that the devilishly-described Don Quixote exorcized himself. This action anticipated self-exorcism as preached by the Franciscan Diego Gómez Lodosa. In Cervantes studies, Don Quixote's selfexorcism will become paradigmatic of the autonomous action of this first novelistic character.

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Saoudi, Bechir. "The Ideal and the Real in Cervantes’s Don Quixote: A Hegelian Dialectic Approach Bechir Saoudi1." Arab World English Journal For Translation and Literary Studies 6, no. 2 (2022): 144–64. http://dx.doi.org/10.24093/awejtls/vol6no2.11.

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This research project studies the real and the ideal in Miguel de Cervantes’s Don Quixote from a Hegelian dialectic perspective. Hegel’s framework of thesis, antithesis and synthesis is applicable to the analysis of the opposing themes of idealism and realism in the novel. Three main questions have been dealt with: First, what makes up Don Quixote’s idealism? Second, what are the main components of realism that stand in his way? Third, what is the outcome of the interaction between the ideal and the real? The study has managed to answer its key research questions: First, idealism in the novel is exemplified by Don Quixote who believes in chivalry principles as unquestionably truthful and genuine. Second, realism is mainly represented by Sancho and the characters that are concerned with immediate practical preoccupations and material matters. Third, Quixote’s application of his version of idealism witnesses a transfer towards a concession to the real world that, in turn, makes a significant transference to reconcile with Don Quixote’s ideals. Applying the thesis-antithesis-synthesis dialectic approach to analyze conflicting themes is a productive exploration of literature.

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20

Maestro, Jesús G. "El sistema narrativo del Quijote: la construcción del personaje Cide Hamete Benengeli." Cervantes 15, no. 1 (1995): 111–41. http://dx.doi.org/10.3138/cervantes.15.1.111.

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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.

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21

Ryjik, Veronika. "“El último don Quijote”: Vladímir Zeldin y la quijotización de la intelligentsia teatral rusa." Cervantes 38, no. 2 (2018): 55–79. http://dx.doi.org/10.3138/cervantes.38.2.055.

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Scholars who have studied the ways in which Don Quixote has been reinvented in Russia consider Russian quijotismo to be one of the most fascinating cases of cultural hybridization. Specifically, there is a long-standing tradition of appropriating Don Quixote's image in order to make it a key component of one's own identity among the Russian intelligentsia. This article looks at a 2004 adaptation of the musical Man of La Mancha at the Moscow Army Theater, focusing specifically on the acting career of Vladímir Zeldin, who is celebrated as "the Don Quixote of the Russian Stage." Zeldin's identification with Cervantes's hero is analyzed within the broader context of the novel's reception in Russia in the 19th and 20th centuries.

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22

Jonkus, Dalius. "Reason and Life. Phenomenological Interpretations of Don Quixote." Investigaciones Fenomenológicas, no. 4-I (January 15, 2014): 235. http://dx.doi.org/10.5944/rif.4-i.2013.29746.

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Don Quixote is not only a novel which represents Spanish culture, but a hero that reveals the relation between life and reason. I will compare two interpretations of Don Quixote. The first phenomenological interpreta-tion belongs to Ortega Y Gasset, and the second to Lithuanian philosopher Algis Mickūnas. The interpretations of Don Quixote are related to the question about an ideal. What is the role of ideals in culture? Are ideals principles con-structed by reason? Do these principles deny the reality of life, or are ideals related to the self life-world rationality? Then what does the idealism of Don Quixote mean? Does it represent a utopian rationality or does it seek to show values that are not reduced to circumstance? Ortega criticizes Don Quixote as an idealist, who can’t find any ideal values in the nearest environment. Mickūnas suggests interpreting Don Quixote’s idealism as a phenomenological bracketing, which allows one to doubt the blind dependence on this life-world and question its value.Don Quijote no es únicamente una novela que representa la cultura española, sino también un héroe que revela la relación entre vida y razón. Compararé dos interpretaciones de Don Quijote. La primera interpretación fenomenológica pertenece a Ortega y Gasset y la segunda al filósofo lituano Algis Mickūnas. Las interpretaciones de Don Quijote se relacionan con la cuestión acerca de los ideales. ¿Cuál es el papel de los ideales en la cultura? ¿Son los ideales principios construidos por la razón? ¿Niegan tales ideales la realidad de la vida o bien se encuentran los ideales relacionados con la racionalidad misma del mundo de la vida? ¿Qué significa entonces el idealismo de Don Quijote? ¿Representa acaso una racionalidad utópica o trata más bien de mostrar valores que no se hallan reducidos a la circunstancia? Ortega critica a Don Quijote como un idelista, que no es capaz de encontrar valores ideales en su entorno más próximo. Mickūnas propone inter-pretar el idealismo de Don Quijote como un poner entre paréntesis de tipo fenomenológico, que nos permite dudar de la ciega dependencia del mundo vital y cuestionar su valor.

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Andrés Gil, Carlos Miguel. "El Libro De Avellaneda Como Purgante De La Locura Quijotesca." Cervantes 16, no. 1 (1996): 3–11. http://dx.doi.org/10.3138/cervantes.16.1.003.

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Contrary to what has been maintained by critics, this article argues that the apocryphal book by Avellaneda may have played a major role in Cervantes's Don Quixote. Cervantes's invective against his “enemy” Avellaneda turns out to be not only superfluous but also contradictory. Moreover, both René Girard's Mensonge romantique et vérité romanesque and especially Michel Foucault's Les mots et les choses are correct in diagnosing Don Quixote's sickness as a literary one. Therefore, it is not surprising that his cure should also be a literary one. In fact Avellaneda's book plays a decisive role in it. This article points out how the change in the symptoms of Don Quixote's sickness that occur from the turning point of Chapter LIX, where Avellaneda's book is specifically mentioned for the first time, and his eventual return to sanity, are linked to the intrusion of Avellaneda's Quixote into the Cervantine novel.

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24

Reyes-Peschl, Romén. "Science as a quest: Don Quixote, neuroscience and the interrogation of truth." Mètode Revista de difusió de la investigació, no. 5 (April 16, 2015): 103. http://dx.doi.org/10.7203/metode.0.3532.

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Neuroscientist Rodrigo Quian Quiroga has wondered whether «scientists, embarked upon their personal quests – their quixotic endeavours – spend their time just thinking». This adjectival invocation of Cervantes’s Don Quixote pitches science as an epic quest that equates scientific rationality with the Don’s delusions. Does science quest after truth in a quixotic, literary way that philosopher Nicholas Maxwell terms «rationalistically neurotic»?

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25

Bibbins, Mark. "Don Quixote Cleans House." Antioch Review 56, no. 1 (1998): 48. http://dx.doi.org/10.2307/4613609.

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Parr, James A. "“Don Quixote”: Kind Reconsidered." Calíope 6, no. 1-2 (2000): 139–48. http://dx.doi.org/10.2307/44791608.

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27

Kharitonov, M. S. "In reading Don Quixote." Voprosy literatury, no. 3 (June 22, 2021): 252–61. http://dx.doi.org/10.31425/0042-8795-2021-3-252-261.

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The article is devoted to close reading of The Ingenious Gentleman Don Quixote of La Mancha. The author supplies his literary-critical and existential comments to various episodes in the novel. He discusses the novel’s relation to myth and parody as well as the possibility of such an interpretation of ‘quixotism’ and statements that would resonate with the present-day realia. Reading the book again, the critic recognises it as the epitome of parody. Thomas Mann referred to parody as a myth (imitation, following in somebody’s footsteps). Here, parody gave rise to a new myth. The scene of the book burning would probably read more interesting if one had the knowledge of those books and could perceive the poignancy of this highly relevant intimation, this literary jibe — to the fullest extent, as we do while reading certain jibes in the modern press. But for this to happen, Cervantes will need his own Bakhtin. The critic suggests that Cervantes’ idea of the book underwent changes in the process of the novel’s writing, and so did the writer’s self-awareness: the author in the second part is noticeably different from the author in the first.

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28

Wheeler, Duncan. "Don Quixote Rides Again." Comedia Performance 3, no. 1 (2006): 217–22. http://dx.doi.org/10.5325/comeperf.3.1.0217.

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29

Kovar, Dick. "The CIA's Don Quixote." International Journal of Intelligence and CounterIntelligence 20, no. 3 (2007): 533–37. http://dx.doi.org/10.1080/08850600601080048.

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30

Palma, Jose-Alberto, and Fermin Palma. "Neurology and Don Quixote." European Neurology 68, no. 4 (2012): 247–57. http://dx.doi.org/10.1159/000341338.

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Steiner, John. "Learning from Don Quixote." International Journal of Psychoanalysis 101, no. 1 (2020): 1–12. http://dx.doi.org/10.1080/00207578.2019.1696657.

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Sanchez, E. D. "Why Read Don Quixote?" Literary Imagination 5, no. 3 (2003): 407–21. http://dx.doi.org/10.1093/litimag/5.3.407.

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Gibbs, W. Wayt. "Dissident or Don Quixote?" Scientific American 285, no. 2 (2001): 30–32. http://dx.doi.org/10.1038/scientificamerican0801-30.

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Robertson, Ritchie. "Kafka und Don Quixote." Neophilologus 69, no. 1 (1985): 17–24. http://dx.doi.org/10.1007/bf00556859.

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RuDusky, Basil M. "Auscultation and Don Quixote." Chest 127, no. 5 (2005): 1869–70. http://dx.doi.org/10.1378/chest.127.5.1869.

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Garrett, Leah. "The Jewish Don Quixote." Cervantes 17, no. 2 (1997): 94–105. http://dx.doi.org/10.3138/cervantes.17.2.094.

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Wasserman, Dale. "Don Quixote as Theatre." Cervantes 19, no. 1 (1999): 125–30. http://dx.doi.org/10.3138/cervantes.19.1.125.

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Weber, Alison. ":Don Quixote." Sixteenth Century Journal 43, no. 1 (2012): 231–33. http://dx.doi.org/10.1086/scj23210820.

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Kane, Jessica. "Rewriting the Quixotic Novel in Charlotte Lennox’s The Female Quixote." Style 57, no. 1 (2023): 56–69. http://dx.doi.org/10.5325/style.57.1.0056.

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ABSTRACT Charlotte Lennox’s The Female Quixote is a gender-bent version of Cervantes’s Don Quixote, and its protagonist Arabella believes the world is like her romance novels. While most critics see the novel as a triumph of reason over romance, this article argues that it is in fact a rewriting of the quixotic genre: rather than awakening to reason, Lennox’s quixote instead molds the world to her romantic expectations. Building on Jodi Wyett’s feminist reading of the text, this article uses both the methods and impact of Arabella’s “mimetic influence” (in Aaron Hanlon’s words) to demonstrate her narrative agency and ultimate success. By resisting genre norms, the novel also resists the social expectations those norms rely on. In Lennox’s hands, the quixotic genre becomes a demonstration of the power of idealistic fiction and the imaginative women who read it.

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Miñana, Rogelio. "Performing Don Quixote in the Barrio: The Kid Quixote Project (Brooklyn, NY) and Don Quixote of Bethlehem (Bethlehem, PA)." Comedia Performance 20, no. 1 (2023): 23–42. http://dx.doi.org/10.5325/comeperf.20.1.0023.

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Abstract Stage adaptations of Don Quixote, Miguel de Cervantes’ masterpiece, abound since shortly after its publication in 1605. In the twenty-first century, Don Quixote takes the stage throughout the Americas not only as a literary classic but also as an icon of neighborhood-level activism. Combining the two main traditional readings of the novel, the romantic and the satirical, a third performative interpretation of Don Quixote has emerged across the American continent out of community- based initiatives that adapt the classic for underprivileged communities with a message of social betterment and hope. This article focuses on two such initiatives, Touchstone Theater’s Don Quixote of Bethlehem (Bethlehem, PA) and Stephen Haff’s Kid Quixote project in Brooklyn, New York. I will examine how Cervantes’ hero acts in these two activist projects as a conscious performer in pursuit of personal and collective transformation within the specific socio-economic, political, and cultural parameters of the barrio.

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Childers, William P. "“A Mark High and Bright”: Cervantes in Steinbeck’s Cold War Trajectory." Steinbeck Review 20, no. 1 (2023): 1–29. http://dx.doi.org/10.5325/steinbeckreview.20.1.0001.

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Abstract During the Cold War, Steinbeck repeatedly turned to Cervantes in the process of redefining himself as a writer to address a new set of social and cultural issues. His appropriation of Don Quixote began with The Wayward Bus (1947) and continued in A Russian Journal (1948), but it was with the experimental, anti-modernist East of Eden (1952) that his understanding of Cervantes’s engagement with the reader deepened. During the next decade, Steinbeck shuttled constantly back and forth between satire and romance, Europe and America, past and present; in this dialectic, Don Quixote became a privileged intermediary, a bridge between the two poles. This trajectory culminates in his final novel, The Winter of Our Discontent (1961), and the travelogue Travels with Charley (1962), where he explicitly acknowledges his long-term debt to Cervantes by naming his trailer “Rocinante,” after Don Quixote’s horse.

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Fastrup, Anne. "Kulturel liminalitet i Don Quixote." K&K - Kultur og Klasse 35, no. 103 (2007): 80–107. http://dx.doi.org/10.7146/kok.v35i103.22299.

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Cervantes og den »algierske erfaring« Cultural Liminality in Don QuixoteMiguel de Cervantes’ two-volume satire from 1605 and 1615, Don Quixote de la Mancha, has often been been proclaimed the first European novel, especially by the continental theory of the novel. Most renowned in that regard is Milan Kundera’s description in The Art of the Novel of Don Quixote as the first narration in the literary history of Europe testifying to the absence of God. Thus for Kundera, Cervantes’ master piece demonstrates the close relationship between the genre of the novel, on the hand, and the rise of a scepticist, secular and worldlyminded mentality characteristic of the European Enlightenment, on the other hand. Being influenced by the general »re-historizing« of the literary studies that we are facing in these years, more recent Cervantine research has taken up topics that played a central role in the the cultural history of Golden Age Spain. Consequently, we have been witnessing a lot of studies focused on the representation of gender, ethnicity, identity politics etc. Within the frame of the cultural history approach to Don Quixote we also see examples of new biographical readings basing the literary analysis on a thorough historical reconstruction of Cervantes’ life and times, in particular with regard to his involvement in the war against the Turks. In my article »Cultural Liminality in Don Quixote. Cervantes and the Algerian experience«, I approach the question of Don Quixote as the first novel by combining the Bakhtinian theory of the novel with recent attempts at historical reconstruction.

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Nalan, Arthur S., Irwan Jamaludin, and Kathy Foley. "Den Kisot (Don Quixote) by Goenawan Mohamad." Asian Theatre Journal 40, no. 1 (2023): 192–99. http://dx.doi.org/10.1353/atj.2023.0009.

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Varyoshin, Nikita Vladimirovich. "Don Quixote" by M. de Cervantes as a code for reading E. Sacheri's novel "The Question in his Eyes"." Philology. Issues of Theory and Practice 17, no. 7 (2024): 2169–81. http://dx.doi.org/10.30853/phil20240313.

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The purpose of the study is to decipher the code in the psychological detective story "The Question in his eyes", embedded in references to the plot motifs and archetypes of the main characters of M. de Cervantes' novel "Don Quixote". The author of the article intends to identify those crisis moments when participants in a detective conflict (detective, victim, criminal) show quixotic behavior, that is, they take active actions in an attempt to change their lives and cope with the pain they experience. The internal logic of the transformation of the detective hypostases of E. Sacheri's characters is traced. The nature of the reflection of a detective as a person facing the problem of self-identification is explored. The scientific novelty lies in the fact that, based on the material of E. Sacheri's novel, the author for the first time traces the logic of the influence of events on the actors, who are endowed with the function of Don Quixote at the initial plot point. As a result, it was found that the character of the detective hero is not limited only to quixotic activity. The study shows that, depending on the situation, the Quixote detective transforms into a rogue / Sancho Panza. In a social conflict with his superiors or in the process of dialogue with the victim of a crime, the detective begins to reflect on the events taking place in his life. In turn, the long-term process of daily reflection pushes the detective to commit a responsible, quixotic act.

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Barbaruk, Magdalena. "Don Kichot niewierny: kontrkulturowość niespełnienia." Prace Kulturoznawcze 22, no. 3 (2019): 27–39. http://dx.doi.org/10.19195/0860-6668.22.3.3.

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Don Quixote unfaithful: Counterculture of failureThe author analyzes the cultural status of the unfinished adaptations of Don Quixote of Miguel de Cervantes, which were worked on for years by Orson Welles 1955–1985 and Terry Gilliam 1991–2018. Although there are many films about the errant knight, these two projects still arouse interest of critics, viewers and filmmakers. Barbaruk initially puts these perplexing obsessions in the context of the idea of film maudit and the romanticism of interpretations of Don Quixote, but considers that only referring to modernity, which is the embodiment of the film industry, makes it understandable. In the unfinished projects of Welles and Gilliam the author sees the potential for self-creation and interpretation underlining of openness of Cervantes’s novel and the autonomy of its heroes and a counter-cultural, critical force aimed at contemporary finality.

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Klein, Sherwin. "Don Quixote and the Problem of Idealism and Realism in Business Ethics." Business Ethics Quarterly 8, no. 1 (1998): 43–63. http://dx.doi.org/10.2307/3857521.

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Abstract:I discuss the characters Don Quixote and Sancho Panza and their relationship in order to understand better the place of idealistic theory and realistic practice in business ethics. The realism of Sancho Panza is required to made the idealism of Don Quixote effective. Indeed, the interaction and development of these characters can serve as a model for both the effective communication between and blending of the idealistic moral theoretician and the practical businessperson. Specifically, I argue that a quixotified Sancho Panza, as a combination of theoretical idealism and practical realism, is necessary for managerial statesmanship. I first consider the position that this concept is unrealistic. In the final section, however, I show that a number of leadership and business theorists believe that managerial statesmanship requires a quixotified Sancho Panza. I also consider the question, what helps to make a quixotic vision for business ethical, and what is its content?

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Aladro-Font, Jorge, and Ricardo Ramos Tremolada. "Ausencia y Presencia de Garcilaso en el Quijote." Cervantes 16, no. 2 (1996): 89–106. http://dx.doi.org/10.3138/cervantes.16.2.089.

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In this article we study the reasons for the substantial presence of Garcilaso in the Second Part of Don Quixote —a presence which, strangely enough, cannot be found in the First part. The defeat of Don Quixote on the beach of Barcelona by the Knight of the White Moon implies for Don Quixote the impossibility of continuing to live in the idealized world of the chivalresque novel. The realm of the knights errant disappears gradually from the text, while the pastoral motifs, through the mediating voice of Garcilaso, gain substantial form and presence, to the point where Don Quixote even considers becoming a shepherd. The fusion of these two worlds —the chivalresque and the pastoral— has been admirably achieved, one reason being the function of Garcilaso as a fundamental subtext to the Second Part.

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Maspoch-Bueno, Santiago. "Don Quijote, novelista constructor de personajes." Cervantes 15, no. 1 (1995): 142–46. http://dx.doi.org/10.3138/cervantes.15.1.142.

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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.

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Friedman, Edward H., and Daniel Eisenberg. "A Study of 'Don Quixote'." Hispania 71, no. 4 (1988): 822. http://dx.doi.org/10.2307/343268.

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Friedman, Edward H., and Roberto González Echevarría. "Cervantes's Don Quixote: A Casebook." Hispania 89, no. 2 (2006): 295. http://dx.doi.org/10.2307/20063287.

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