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Journal articles on the topic 'Myth of Don Juan'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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1

Wirth, Andrzej. "The Don Juan Myth Radiantly Transformed." Performing Arts Journal 15, no. 1 (January 1993): 42. http://dx.doi.org/10.2307/3245796.

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2

Sobennikov, Anatoly S. "Myth of Don Juan and Don Juan like a Psycho in the Drama of A.P. Chekhov’s “Fatherlessness”." Proceedings of Southern Federal University. Philology 2020, no. 2 (June 22, 2020): 18–26. http://dx.doi.org/10.18522/1995-0640-2020-2-18-26.

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In A.P.Chekhov’s drama «Fatherlessness» great attention is paid to the myth of Don Juan and its psychotype. The system of characters in literary context is studied in gender psychology aspect as well. In this process a violation of gender stereotypes and roles, feminity of male characters and masculinity of female ones is noted. The author opposes a scientific knowledge about a woman and a man with romantism in relations between the sexes in literature. It is declared that «Fatherlessness» is the first step to a new art antropology: the old socio-moral principal of typing gives place to a new one – individualization. Attempts of characters to identify themselves with «heroes» in living own life in accordance with literary images are discredited with the author’s irony. In the personal existence of the characters, in behavior men and women only their individual features become decisive and meaningful.
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3

Aguirre, Mercedes. "History and Myth in After the Death of Don Juan." Journal of the Sylvia Townsend Warner Society 15, no. 1 (December 1, 2014): 77–90. http://dx.doi.org/10.14324/111.444.stw.2014.07.

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4

Gournay, Aurélia. "Réécrire Don Juan au XXe siècle : entre hybridité et intermédialité, nouveaux modes d’exploitation d’un mythe." Quêtes littéraires, no. 6 (December 30, 2016): 118–27. http://dx.doi.org/10.31743/ql.220.

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The contemporary rewritings of Don Juan’s myth highlight several forms of hybridity and illustrate the stakes involved. The hybridation affects in the first place the sources of the myth since the authors appeal to numerous intertextual references. But the successive transpositions of the mythical scenario also lead to a generic hybridity. This intermediality has a reflexive dimension: it raises the question of the limits of language to talk about the myth and abolishes the frontier between fiction and critical speech.
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5

KIM SEONYI. "Don Juan Myth in the Joseon Dynasty: Focused on the Analysis of Don Juan Tenorio vs. the Film ≪Untold Scandal≫(2003)." Korean Journal of Hispanic Studies 9, no. 2 (November 2016): 57–87. http://dx.doi.org/10.18217/kjhs.9.2.201611.57.

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6

Sumeli Weinberg, M. Grazia. "The myth of Don Juan and feminine sensibility: a new turning point?" Journal of European Studies 26, no. 2 (June 1996): 141–51. http://dx.doi.org/10.1177/004724419602600202.

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7

Eaton, Sara, and Ian Watt. "Myths of Modern Individualism: Faust, Don Quixote, Don Juan, Robinson Crusoe." Sixteenth Century Journal 28, no. 2 (1997): 530. http://dx.doi.org/10.2307/2543467.

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8

McConnell, Frank, and Ian Watt. "Myths of Modern Individualism: Faust, Don Quixote, Don Juan, Robinson Crusoe." Rocky Mountain Review of Language and Literature 50, no. 2 (1996): 210. http://dx.doi.org/10.2307/1348249.

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9

한택수. "La présence féminine dans le mythe de Don Juan - dans Dom Juan de Molière et Don Giovanni de Mozart -." Etudes de la Culture Francaise et de Arts en France 27, no. ll (February 2009): 713–35. http://dx.doi.org/10.21651/cfaf.2009.27..713.

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10

Diasio, Nicoletta. "La fin de Don Giovanni." Articles 20, no. 2 (July 9, 2008): 32–36. http://dx.doi.org/10.7202/018331ar.

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Résumé Par l’analyse de deux « entrées en scène » du libertin, celle du Don Giovanni de Mozart et Da Ponte (1787) et celle de The Rake’s Progress de Stravinsky et Auden (1951), l’article pointe les transformations du rapport à la mort et aux morts en Europe. Ces deux opéras représentent aussi l’apogée et le déclin du mythe de Dom Juan et de cette connexion entre le thème de l’inconstance amoureuse et celui de l’offense et de l’invitation au mort.
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11

Golban, Petru, and Patricia Denisa Dita. "Rewriting the Faust Myth within Romantic Dualism of Existence in Byrons Manfred and Cain." BORDER CROSSING 8, no. 1 (June 1, 2018): 200–219. http://dx.doi.org/10.33182/bc.v8i1.587.

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Among the myths revived and rewritten by the romantics Prometheus, Orpheus, Psyche, Apollo, and so on the myth of Faust would provide one of the most congenial ways of textualization of the romantic rise of individualism, in general, and of some of its individual thematic perspectives, such as dualism of existence, escapism, and rebelliousness, in particular. George Gordon, Lord Byrons impressive literary masterpieces, the lyrical plays Manfred and Cain are among those works that contributed to the rise of the romantic hero in English literature by building up one of its particular as well as most interesting versions, which is known as the Byronic hero. Solitary, inadaptable, arrogant, misfit, escapist or rebellious, whatever would be the common features of the many characters that are labelled as Byronic hero, they still reveal certain distinct features and perform various deeds that allow them to be regarded as particular hypostases of the Byronic hero, among which Childe Harold, Manfred, Don Juan, Cain, and others. Among these, Manfred and Cain are at once hypostases of the Byronic hero and Faustian figures making possible the reconstruction of the Faust myth within the new attitudes and the thematic complexity of the Romantic Movement. In this respect, the present study embarks on a critical endeavour to disclose and compare the ways in which the two dramatic works revive and reshape the myth, and make it a vehicle for both romantic and, as we will see, anti-romantic literary expression.
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12

Mańkowska, Joanna. "Lo insólito en la novela Don Juan de Gonzalo Torrente Ballester : un nuevo concepto del mítico personaje y su lucha por la libertad." Acta Hispanica 20 (January 1, 2015): 29–39. http://dx.doi.org/10.14232/actahisp.2015.20.29-39.

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Torrente Ballester in his 1963 book offers a novel reading of the myth by presenting Tenorio, who is denied both the chance to repent himself and the punishment of the Inferno. For more than three centuries, accompanied by Leporello, who reveals himself as a devil incarnate, travels the World making friends with artists who devote him their works, without understanding his tragedy, however. In Paris of the mid-twentieth century he emerges as working on the plays on Don Juan by independent theatres and visits places attended by young and passionate followers of Sartre. At times his soul leaves his winsome body, to which he is destined for eternity, and possesses a Spanish intellectual, with an aim of writing down the true history of Tenorio clarifying his conflict with God, a conflict in which the freedom to decide on one’s fate is one of the fundamental issues. He challenges Him by defending his right to be condemned for a life in sin. God proves indifferent to his desperate blasphemies and Don Juan is faced with the recognition of human condition as unable to satisfy desires and being one’s genuine inferno.
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13

Wirth, P. "Review. Myths of modern individualism: Faust, Don Quixote, Don Juan, Robinson Crusoe. Ian Watt." Essays in Criticism 47, no. 2 (April 1, 1997): 165–73. http://dx.doi.org/10.1093/eic/47.2.165.

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14

Agard, Olivier. "La lecture du mythe de Don Juan par Ernst Bloch." Bulletin hispanique, no. 122-1 (June 18, 2020): 129–42. http://dx.doi.org/10.4000/bulletinhispanique.10281.

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15

Dadson, Trevor J. "Don Juan and Some Myths of the Spanish Golden Age." Hispanic Research Journal 9, no. 2 (April 2008): 107–24. http://dx.doi.org/10.1179/174582008x272815.

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16

Gournay, Aurélia. "Les Don Juan français contemporains : de la crise du héros à celle de l’écriture." Voix Plurielles 10, no. 2 (November 28, 2013): 257–72. http://dx.doi.org/10.26522/vp.v10i2.863.

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Depuis sa création en Espagne, au 17ème siècle, le mythe de Don Juan a fait l’objet de constantes réécritures. Si le scénario mythique a su s’adapter à l’évolution des mentalités, les critères qui fondaient l’héroïsme donjuanesque ont dû, pour leur part, être redéfinis et c’est, bien souvent, comme un personnage problématique que Don Juan survit dans la littérature des 20ème et 21ème siècles. Cette mise à distance s’étend au champ de l’écriture puisque les œuvres intègrent, au sein de la fiction, des allusions à l’abondant discours critique que le héros inspire. Cette dimension métalittéraire, qui se double parfois d’une réflexion sur l’intertextualité et même sur le langage, en général, semble être une garantie de survie pour le mythe, qui parvient à se nourrir et à se renforcer de toutes les analyses formulées à son sujet, mais ne lui fait-elle pas aussi courir le risque d’une certaine forme de déconstruction ?
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17

Jęcz, Jadwiga. "Uwagi na temat wiersza „Don Juan i Dońa Anna” Marii Pawlikowskiej -Jasnorzewskiej." Studia Europaea Gnesnensia, no. 14 (December 15, 2016): 51–67. http://dx.doi.org/10.14746/seg.2016.14.3.

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The paper aims to offer an interpretation of “Don Juan and Dońa Anna”, a poem by Maria Pawlikowska-Jasnorzewska in the light of one of the most famed European myths. Relying on the abundant studies devoted to the oeuvre of the poet, it is also worthwhile to analyze how the poem was influenced by the social and cultural trends of its times.
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18

Gaillard, Aurélia. "Don Juan à table ou ce que le conte fait au mythe." Bulletin hispanique, no. 122-1 (June 18, 2020): 115–28. http://dx.doi.org/10.4000/bulletinhispanique.10172.

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19

Gournay, Aurélia. "Don Juan et ses doubles au XXe siècle : questionnements identitaires et déconstruction du mythe." Revue de littérature comparée 350, no. 2 (2014): 185. http://dx.doi.org/10.3917/rlc.350.0185.

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20

Vignon, Daphné. "Don Juan et Faust. Du récit populaire à la construction du mythe de l’individu." Littératures, no. 74 (July 1, 2016): 137–47. http://dx.doi.org/10.4000/litteratures.548.

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21

한택수. "Le mythe de Don Juan et l'intertextualité dans Les Âmes du purgatoire de Mérimée." Etudes de la Culture Francaise et de Arts en France 44, no. ll (May 2013): 199–224. http://dx.doi.org/10.21651/cfaf.2013.44..199.

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22

Calargé, Carla A. "Entre passé et présent. La Nuit de Valognes: variation sur le mythe de Don Juan." Les Lettres Romanes 60, no. 1-2 (February 2006): 101–13. http://dx.doi.org/10.1484/j.llr.3.139.

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23

Aron, Paul. "Le Don Juan melancolique note sur la coherence imaginaire de quelques versions d'un mythe baroque." Neophilologus 74, no. 3 (July 1990): 321–29. http://dx.doi.org/10.1007/bf00382427.

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24

Kim, Deokhee. "Lire le mythe de Don Juan en donnant la primauté à la statue du commandeur : étude sur Dom Juan ou le festin de pierre de Molière." Societe d'Etudes Franco-Coreennes 83 (January 31, 2018): 109–30. http://dx.doi.org/10.18812/refc.2018.83.109.

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25

Krasovec, David. "When living statues give death: voices, movements, protests." Actographe 1, no. 4 (November 30, 2020): 67–98. http://dx.doi.org/10.24249/2490-9459-4-1-67-98.

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When living statues give death: voices, movements, protests The myths of living statues are numerous, and studies devoted to them are frequent. The aspect that interests us most is nuisance or revenge, statues that cause death are indeed far from rare. All of this takes place in a fairly broad context and we have decided here to focus on the events of 2020, the year which saw a movement of demands for the removing of many statues around the world. But beyond the theme of the killing by a statue, we rather wanted to open up perspectives on the debates which go back and forth between myths, news, and questions about direct democracy. In this first part (this article is in two parts), we look more particularly at the statue of the Commander in Don Juan, Athena, Pandora, statues related to Bolshevism, and their avatar, the robot.
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26

Gournay, Aurélia. "Formes et enjeux de l’hybridité dans deux réécritures contemporaines du mythe de Don Juan : Dom Juan ou le Festin de Pierre de M. Bluwal et L’Ambigu de R. Topor." Babel, no. 33 (April 5, 2016): 181–95. http://dx.doi.org/10.4000/babel.4479.

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27

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

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28

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

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29

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

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30

Newman, Mary Ann, Àngels Carabí, and Josep M. Armengol. "Beyond Don Juan." Men and Masculinities 15, no. 4 (August 16, 2012): 343–45. http://dx.doi.org/10.1177/1097184x12454103.

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31

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

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32

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

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33

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

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34

ROSA, G. M. "DON JUAN, 'DON PARDO', AND 'A. IMAGINATION'." French Studies Bulletin 9, no. 33 (January 1, 1989): 5–9. http://dx.doi.org/10.1093/frebul/9.33.5.

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35

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

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36

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

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37

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

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38

de Maistre, Henri. "Tristan et Don Juan." Commentaire Numéro 64, no. 4 (December 1, 1993): 899. http://dx.doi.org/10.3917/comm.064.0899.

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39

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

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40

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

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41

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

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42

Novianti, Nita. "The Heroines of Don Juan." ATAVISME 18, no. 2 (December 25, 2015): 221–31. http://dx.doi.org/10.24257/atavisme.v18i2.117.221-231.

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In spite of the large number of female characters who play the major part in the life of the main character in Byron’s Don Juan, it is still the main character himself, Don Juan, who has garnered great attention from the critics. Hence, the present research will focus on the female characters of Byron’s Don Juan and reveal how their sexuality and femininity are represented. It is found that while there are subversion and challenging of femininity and sexuality, such as female unusual sexual prowess exhibited by Gulbeyaz and some other female characters, it is precisely the challenging of feminine conventions and the inability to suppress their sexuality that lead the female characters to their doom. Meanwhile, the female characters who successfully suppress their sexuality have a better ending, or at least, manage to survive. Abstrak: Meskipun terdapat banyak karakter perempuan yang berperan penting dalam kehidupan karakter utama Don Juan karya Byron, tetap saja yang selama ini menjadi pusat perhatian para kritikus sastra adalah karakter utamanya, yaitu Don Juan. Oleh karena itu, penelitian ini akan fokus pada karakter-karakter perempuan dalam Don Juan karya Byron dan mengungkap bagaimana femininitas dan seksualitas mereka direpresentasikan. Ditemukan bahwa meskipun ada sub versi dan penentangan terhadap konvensi femininitas dan seksualitas perempuan, seperti yang ditunjukkan oleh kekuatan seksual Gulbeyaz dan beberapa karakter perempuan lainnya, justru sub versi dan penentangan serta ketidakmampuan mereka menahan seksualitasnya yang membawa karakter-­karakter perempuan ini pada kesengsaraan. Sementara itu, karakter perempuan yang berhasil menahan seksualitasnya hidupnya berakhir bahagia, atau setidaknya bisa bertahan hidup. Kata-­kata Kunci: Don Juan; feminitas; karakter perempuan; seksualitas
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43

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

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44

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

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45

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

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46

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

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47

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

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48

Wilkes, G. A. "Don Juan, IV. 52–53." Notes and Queries 42, no. 2 (June 1, 1995): 184–85. http://dx.doi.org/10.1093/notesj/42.2.184.

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49

Moura Junior, João. "Velhice de Don Juan / Sabedoria." Remate de Males 26, no. 2 (November 12, 2012): 241–42. http://dx.doi.org/10.20396/remate.v26i2.8636037.

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50

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

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