Proefschrift - Leiden.

Thesis (Ph. D.)--University of Washington, 1923. / Bibliography: p. 50-52.

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Du Roland furieux de l’Arioste (1516-1532) au Songe de Kepler (1634), cette thèse propose une étude des récits de voyages aériens dans la fiction narrative de la Renaissance (romans, poèmes épiques, satires) ainsi que des discours théoriques abordant la question du vol et de l’élévation (démonologie, cosmographie, astronomie, discours sur la possibilité du vol humain ou le vol des oiseaux, etc.). Trois principaux objets sont mis en valeur : les voyages célestes écrits dans la lignée de récits comme le Songe de Scipion de Cicéron ou l’Icaroménippe de Lucien de Samosate ; les voyages aériens de la fiction chevaleresque ; le motif du transport diabolique. L’étude montre ainsi l’importance prise par l’imaginaire du vol à la Renaissance, à la croisée de la fiction et des discours savants, et dessine une « pré-histoire » des fictions d’envol avant les récits de Godwin (The Man in the Moone, 1638) et de Cyrano de Bergerac (Etats et Empires de la Lune et du Soleil, 1657 et 1662). Au cœur de cette rêverie se loge tout à la fois le désir de prendre la mesure du monde et les inquiétudes suscitées par ce même désir. / From Ariosto’s Orlando furioso (1516-1532) to Kepler’s Somnium (1634), this thesis offers a study of aerial and celestial voyages in Renaissance narrative fiction (romances, epic poems, satires) as well as of learned treatises related to the question of flying (demonology, cosmography, astronomy, learned discourses on human and bird flight, etc.). It focuses on three main subjects: cosmic voyages in the tradition of Cicero’s Dream of Scipio or Lucian of Samosata’s Icaromenippus; aerial voyages in chivalric romance; diabolical transvection (eg. fly to the sabbath). It thus shows the extent to which flight captured the Renaissance imagination, at the cross-roads between fiction and learned discourse, and it traces a « pre-history » of fictional flying before Godwin’s Man in the Moone (1638) or Cyrano de Bergerac’s Etats et Empires de la Lune et du Soleil (1657 and 1662). At the heart of this fantasy lies a desire to measure the world from above – together with the anxieties produced by the same desire.

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Thesis (Ph. D.)--University of Chicago, Committee on Social Thought, Jun. 2003. / Includes bibliographical references (p. 187-196). Also available on the Internet.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura. / El Renacimiento Europeo de los siglos XV y XVI se plantea como un vaso comunicante entre dos épocas: culmina los profundos cambios en la percepción y definición del mundo iniciados en el medioevo tardío, para así inaugurar gran parte de las preocupaciones de la modernidad, al punto de llevar a algunos autores a hablar de “primera modernidad” en tal período. Entre los cambios producidos en aquél se encuentra la revaloración del sujeto como entidad individual y libre inserta en la vita activa. Con ello, el trabajo de letrados laicos en el período aumentó notablemente, producto de las nuevas formas de instrucción pero sobre todo por la revaloración de las fuentes latinas. A partir de ello, los autores incorporaron nuevos modos de expresión y releyeron los tópicos latinos según las necesidades de los nuevos tiempos, generando un nuevo imaginario. Nuestro Seminario tomó los conceptos de Locura y Carnaval como acercamiento a esta nueva concepción, pues son precisamente aquéllos los que instauran un campo de acción para las innovaciones formales y conceptuales que propiciaron este cambio en la actitud del hombre del Renacimiento en sus expresiones culturales.

Miguel de Cervantes’s novel El Ingenioso Hidalgo Don Quijote de la Mancha Part One (1605) and Part Two (1615) has delighted readers for centuries. The literary criticism analyzing just this one product of Cervantes’s literary genius is voluminous. In particular, the novel’s structure has received significant scrutiny, and discussions regarding its unity, or lack thereof, abound. This debate rages today with Cervantine experts still espousing various theories. Puzzling over this quandary and asking why a truly convincing explanation regarding the structure has not emerged, we arrive at a partial answer. We believe that there is unity in the Quijote and that Cervantes created a unified work by ingeniously taking full advantage of the elements of both the “Byzantine” and the chivalric literary traditions, combining them in a harmonizing synthesis. Moreover, he resolved the problem of unity within variety by establishing thematic consistency throughout. The purpose of our study is to explore the confluence of the “Byzantine” and chivalric literary traditions in works that precede Cervantes and to examine how Cervantes innovatively worked with this element in the Quijote of 1605. We present a panoramic view of works written between the thirteenth and the mid-sixteenth centuries, which reveal writers’ efforts to combine, consciously or unconsciously, the various characteristics of the “Byzantine” and chivalric literary traditions. For this project, we look at six representative works written in Spanish or Italian that represent significant antecedents to the Quijote and Cervantes’s unique method of synthesizing the traditions: Libro de Apolonio, Libro del caballero Zifar, Orlando innamorato, Orlando furioso, Palmerín de Olivia, Los amores de Clareo y Florisea y los trabajos de la sin ventura Isea. We investigate each author’s approach at coupling the two traditions and determine his/her degree of success in merging them artistically to produce a coherent whole. Our analysis reveals that not only does Cervantes systematically integrate the two literary traditions in his parody, but he also skillfully devises a way to unify thematically the delightful variety in his work. To wit, Cervantes embraces the theme of literature (fiction) and life (reality) and explores the need for distinguishing judiciously between them. / text