Thesis (Ph. D.)--University of Texas at Austin, 2009. / Title from PDF title page (University of Texas Digital Repository, viewed on Sept. 9, 2009). Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

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

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisors: Elizabeth Richmond-Garza and Vance Holloway. Vita. Includes bibliographical references.

abstract: The purpose of this dissertation is to investigate the materiality of a unique text, Random House and The Illustrated Modern Library’s 1946 Don Quixote, illustrated by Catalonian painter Salvador Dalí. It analyzes Dalí’s classical trajectory, how Dalí and the text were received in mid-twentieth century North America, and how they both fit into the print history of illustrated editions of Don Quixote. Each is revealed to be unique in comparison with the history of the genre due to the publishing house’s utilization of Dalí’s high-quality illustrations in a small-sized text. Lavish illustrations traditionally have been reserved for larger, collectible editions. The contemporary material significance of the 1946 edition is revealed by examining organizations, people, and circumstances that were necessary for its production in the United States, and by contextualizing the text’s reception by North American popular culture, high art echelons, and art critics. The overarching history of illustrated editions of Don Quixote is examined, comparing Dalí and his illustrations with important thematic and methodological benchmarks set by illustrators within this 400-year period, especially regarding renderings of reality and fantasy. Analyses of the first three watercolor illustrations of Dalí’s 1946 Don Quixote reveal how the painter forms mythological imagery and composes the quixotic dichotomy of reality and fantasy through the metaphoric gaze of an inanimate figure representing the protagonist. Dalí at times renders the “real” Don Quixote as incapacitated, omitting from his illustrations universalized iconography utilized in previous centuries achieved by rendering Don Quixote’s perspective, gaze, and heroic interpretation of events. In these three illustrations, Dalí forms Don Quixote as a deflated figure based in burla (mockery) and engaño (self-deception) by negating Don Quixote’s gaze within the compositions, without compromising the painter’s trademark surrealist style. The text therefore challenges the genre’s print history while Dalí challenges French and German Romantic illustrators’ universalized iconography that traditionally highlights the nobility of the knight errant. By focalizing fantastic madness as interacting with burlesque reality, Dalí creates a new episteme within the genre of illustrated editions of Don Quixote, establishing his unique niche as an illustrator in this genre. / Dissertation/Thesis / Doctoral Dissertation Spanish 2017

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2010. / Submitted by Thaíza da Silva Santos (thaiza28@hotmail.com) on 2011-02-11T18:06:15Z No. of bitstreams: 1 2010_KarlaCalasansdeMello.pdf: 1915506 bytes, checksum: e2d7fe4a711d8968e3dcb1966f2f4c88 (MD5) / Approved for entry into archive by Daniel Ribeiro(daniel@bce.unb.br) on 2011-02-12T00:12:45Z (GMT) No. of bitstreams: 1 2010_KarlaCalasansdeMello.pdf: 1915506 bytes, checksum: e2d7fe4a711d8968e3dcb1966f2f4c88 (MD5) / Made available in DSpace on 2011-02-12T00:12:45Z (GMT). No. of bitstreams: 1 2010_KarlaCalasansdeMello.pdf: 1915506 bytes, checksum: e2d7fe4a711d8968e3dcb1966f2f4c88 (MD5) / O sujeito de estudo desta cantata é Dulcinea Del Toboso, a Dama sem-par criada por Dom Quixote na narrativa intitulada O Engenhoso Fidalgo Dom Quixote de La Mancha, escrita por Miguel de Cervantes Saavedra nos anos de 1605 (Livro primeiro) e 1615 (Livro segundo). A investigação dá-se a partir de dois princípios: o silêncio e o feminino em Dulcinea, que são cantados em diferentes melodias “Nos En(tre)cantos de Dulcinea Del Toboso- uma cantata cênica”. Ademais, a pesquisa ganha corpo a partir do jogo com a palavra canto, da qual derivam en(tre)cantos, recantos, encantada, decantada, cantada e cantata, que acabam constituindo os títulos de cada ária desta manifestação musical e textual dedicada à Dulcinea.Na ária de n°I, a Dama é cantada nos recônditos recantos de alguns estudiosos e pesquisadores de Dom Quixote. Na ária de n° II, ela é encantada pelos discursos de Dom Quixote, Sancho Pança e Duquesa. Na ária de n° III, Dulcinea passa a ser decantada por questões políticas, históricas, sociais e ideológicas da Idade Média. Na ária de n° IV, enquanto canto, a Dama é vista como o silêncio de uma música cantada em parceria com Dom Quixote, e juntos criam uma melodia arquetípica que ecoa ao longo de toda a trajetória da alma humana – a conjunção entre o masculino e o feminino. E por fim, em anexo, Dulcinea em cantata, a criação de uma performance cênica e paródica elaborada para cantar os recantos e os encantos, decantados e cantados ao longo desta cantata. _________________________________________________________________________________ ABSTRACT / The study subject of this cantata is Dulcinea del Toboso, the peerless Lady created by Don Quixote in the narrative called The Ingenious Gentleman Don Quixote de la Mancha, written by Miguel de Cervantes Saavedra in the years 1605 (first book) and 1615 (second book). The research is based on two principles: the concepts of “silence” and “female” extracted from the Dulcinea character. These principles are sung in different melodies of a scenic cantata (“Nos En(tre)cantos de Dulcinea Del Toboso- uma cantata cênica”). The research develops using the multiple meanings of the Portuguese word “canto”. The ideas of “songs”, “nooks”, “enchanted”, “decanted” and “cantata” are derived from the word “canto”. These ideas are used to create the titles of each aria of this musical and textual work dedicated to Dulcinea. In the first aria, the Lady is “sung” through the perspective of the innermost recesses of some scholars and researchers of Don Quixote. In the second aria, she is “enchanted” by the speeches of Don Quixote, Sancho Panza and the Duchess. In the third aria, Dulcinea is “decanted” from the Middle Age point of view of political, historical, social and ideological issues. In the fourth aria the Lady is represented as the silence of a song sung in partnership with Don Quixote. These two characters create an archetypal melody that echoes throughout the history of the human soul - the conjunction of “male” and “female” concepts. Finally, Dulcinea in the cantata, the creation of a theatrical performance, a parody, singing the nooks and charms decanted and sung along this cantata.

Esta tesina tiene como objetivo considerar la historia de Marcela y Grisóstomo desde una perspectiva feminista en la obra de Miguel de Cervantes El ingenioso hidalgo don Quijote de la Mancha. La investigación se enfocará en la situación de Marcela y su voluntad de poder decidir sobre su propia vida y su destino. Como ayuda a nuestra investigación nos apoyaremos en reconocidos teóricos literarios feministas que nos ayudarán a analizar la imagen estereotipada de la mujer, entre ellos Simone de Beauvoir. El objetivo de nuestro estudio ha sido investigar el personaje de Marcela y la visión estereotipada de la mujer en ese momento concreto, y buscar la respuesta al porqué de su manera de actuar. En el trabajo también hemos querido investigar si Marcela fue una víctima de la visión patriarcal existente y si se deja regir por las normas y expectativas de la sociedad de su época. Como resultado de nuestra investigación podremos afirmar que Marcela sí fue una víctima del sistema patriarcal y, pese a no ser un ejemplo representativo de la imagen de la mujer en aquel momento, fue juzgada por los hombres y por la sociedad. También hemos podido demostrar cómo los hombres y la sociedad reaccionaron durante esa época a la elección de Marcela

The work focuses on the study of Spanish pastoral novels presenting their two fundamentally different aspects. On the one hand, the thesis describes the idealised world of shephards living in harmony with nature, singing about their unrequited love. On the other, the work points out, that these novels also include some realistic elements, corrupting the mentioned idealism. It aims to answer the question, to what extent these elements appeare in the studied novels, and what is their function. Powered by TCPDF (www.tcpdf.org)

abstract: Dulcinea del Toboso es todo un misterio, ya que no es una persona real, sino un personaje ficticio que nunca llega a aparecer en la novela Don Quijote de La Mancha, de Miguel de Cervantes (1605, 1615). Aunque Dulcinea no dice una sola palabra en el libro, existe en la imaginación de su protagonista, Don Quijote. Este hombre de edad avanzada, aficionado a la lectura de libros de caballería, fantasea con la idea de ser un caballero en busca de aventuras, motivado en todo momento por el pensamiento de su dama idealizada. La descripción que ofrece Cervantes al presentar a Dulcinea en la novela es ambigua, ya que la asocia con una campesina llamada Aldonza, pero sin llegar a emplear elementos de certeza. Dulcinea no es un ser humano, ni tampoco un verdadero personaje literario, así que la única imagen que uno puede formarse de ella reside en la imaginación. Esta investigación se centra en probar que esa imagen ha tenido una impactante evolución a través de los siglos hasta convertirse hoy día en una especie de marca distintiva. Varios intelectuales han estudiado el enigma de Dulcinea. Miguel de Unamuno la interpretó como gloria eterna, Menéndez Pidal como puro ideal, Pedro Salinas como la sombra de un personaje que nunca llegó a ser. Más recientemente Anne Cruz la describía como el cuerpo inmaterial más famoso de todas las obras de Cervantes, y Frederick de Armas como imaginación mítica en pleno desempeño. Entonces, ¿cómo se representan los cuerpos inmateriales? ¿Cómo ser Dulcinea y Aldonza y ninguna de ellas a la vez? ¿Cómo alcanzar tanta fama sin tener si quiera una voz real? El propósito de mi estudio es reinterpretar la Dulcinea de Don Quijote desde la perspectiva de los productos audiovisuales y culturales del siglo XX y XXI. La idea es abrir nuevas perspectivas a los enfoques contemporáneos de lecturas clásicas. Los estudios interdisciplinarios y las interpretaciones modernas, como las usadas en este trabajo, atraerán a los estudiantes actuales, los cuales tienden a visualizar las humanidades y el estudio de los libros clásicos como una materia intangible difícil de entender (algo así como la percepción convencional de la elusiva Dulcinea del Toboso). Esta tesis quiere contribuir a cambiar ese sentimiento. / Dissertation/Thesis / Doctoral Dissertation Spanish 2020

Thesis Comparison of selected Czech translations of Cervantes's Don Quixote Vojtěch Kolomý Abstract The aim of this thesis is to compare the last two translations of Cervantes's Don Quixote: the translation realised by Václav Černý in 1931 and the translation of Zdeněk Šmíd from 1952. Although the thesis focuses on the original versions of both translations, the later changed editions are taken into account too. The structure of the thesis is as follows: First, the thesis analyses Cervantes's original text with respect to the translation and after a short chapter about the first Czech translators of Don Quixote and their translations, it describes the translations of Černý and Šmíd and the circumstances of the genesis of both translations. Then, the core of this thesis is a detailed parallel comparison of certain passages from Don Quixote. In the final chapter, the findings are applied. Keywords: Don Quixote, Cervantes, translation criticism, Václav Černý, Zdeněk Šmíd