Thesis (Ph. D.)--Johns Hopkins University. / "Extrait de la Revue Hispanique, tome XIX."

Thesis (Ph. D.)--University of Hong Kong, 2006.

Thesis (M.A.)--Miami University, Dept. of Spanish and Portuguese, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 44-45).

My intellectual interests span the Atlantic and are anchored in early modern narrative. Balancing original research, literary analysis and humanist literary criticism, my dissertation, “The Conundrums of Narrative: Cervantes in the Context of the Crónicas de Indias” attempts to bring a fresh understanding on the reciprocal relationship between emerging discourses of the New World and Spain –in particular, the kinds of narrative that coalesce into the (early) modern novel and the equally complex and imaginative forms of narrative on display in the Crónicas de Indias. My inquiry takes up two key sixteenth-century historiographical accounts of the Americas which include Gonzalo Fernández de Oviedo’s Sumario de la natural historia de las Indias and Bernal Díaz del Castillo’s Historia verdadera de la conquista de la nueva España. I deploy these texts, which problematize the relationship of history to ‘poetry’ (a category which for early moderns included imaginative prose), to shed new light on the narrative strategies employed in Don Quixote and the Persiles. Along the way, I argue that the significant role that memory and mnemonics play in Cervantes’s imitation of literary models contributes to the epistemological and narratological concerns produced by the New World encounter, and I examine the use of memory in the construction of textual authority. For example: the first portion of my dissertation analyzes the writings of Juan Luis Vives (1492- 1540) as a means to explore the humanist thinking on the writing of history. Vives’ contribution to the practice and rhetoric of history allows me to examine difficulties and paradoxes posed by the interplay of history and poetry in Cervantes.

abstract: Miguel de Cervantes Saavedra created the character of Don Quixote in his book El ingenioso hidalgo Don Quijote de la Mancha, published in 1605. Since its creation, stories from the book have been reimagined in art, in literature and in music. Frequently, Cervantes – the man and author – and Quixote – the novel’s protagonist and hero – have been inextricably linked in character. Subsequent adaptors of the novel have been influenced by this connection: composers Jules Massenet (1842-1912), Jacques Ibert (1890-1962) and Mitch Leigh (1928-2014) all wrote their own versions of the Quixote saga. Though their approaches to the story are varied, the basic characteristics of it remain: Love, Life and Dreams. Those themes are reflected in the old knight’s death scene in each of their respective works. Here, the lives of the adaptors are briefly discussed and a dramatic and musical (Schenkerian), analysis of Quixote’s last hours are presented. / Dissertation/Thesis / Doctoral Dissertation Music 2016

En el prólogo de las Novelas ejemplares (1613), Miguel de Cervantes señalaba que hubiera preferido colocar su retrato en la primera página de su libro antes que escribir dicho prólogo, ya que esta práctica editorial era “uso y costumbre” en su época. Este artículo analiza el diálogo intertextual entre la práctica de la écfrasis o “retrato hablado” que ejecuta Cervantes en el prólogo mencionado y el retrato grabado que coloca Mateo Alemán en cada una de las dos partes del Guzmán de Alfarache (1599 y 1604). Se busca de esa forma iluminar la relación establecida entre un aspecto de la manufactura del libro y el texto mismo, así como su carácter de estrategia discursiva para ambos narradores auriseculares.---In the prologue of his Novelas ejemplares (1613), Miguel de Cervantes says that he would have preferred to place his portrait on the opening page of the book, rather than writing its prologue, since the former editorial practice was “uso y costumbre” in his age. This article analyses the intertextual dialogue between the “spoken portrait” written by Cervantes in his prologue and the engraved portrait of Alemán in both parts of Guzmán de Alfarache (1599 and 1604). I intend to study the relationship between the process of book manufacturing and the text itself, as well as the discursive devices underlying this operation.

Este trabalho parte do pressuposto de que, ao longo dos séculos, a imagem das personagens Dom Quixote e Sancho Pança se consolida de tal maneira a converter tais personagens em um mito com forte apelo visual. Por outro lado, essa consolidação não ocorre com a imagem da personagem Dulcinéia del Toboso, a qual não assume nenhuma forma imageticamente definitiva. Nosso objetivo é mostrar que tal fenômeno ocorre graças a dois fatores que estão intimamente relacionados: determinados expedientes cervantinos na construção dessas personagens e a tradição iconográfica da obra formada ao longo dos séculos pelos inúmeros ilustradores que recriaram as personagens de Cervantes. A partir da análise literária dos procedimentos cervantinos na construção das três personagens e do cotejo entre texto e imagens e entre imagens de diferentes séculos, chegamos a alguns resultados interessantes: a grande força icônica e a maior pontualidade do autor ao construir os protagonistas Dom Quixote e Sancho Pança propiciam uma série de leituras das personagens que convergem em direção a uma espécie de ideogramização da dupla; paralelamente, o maior perspectivismo e imprecisão na construção da personagem Dulcinéia del Toboso resulta em uma pluralidade de leituras, dentre as quais tanto coexistem fusões e justaposições de perspectivas com recriações muito particulares da personagem. / Este trabajo parte del presupuesto de que, a lo largo de los siglos, la imagen de los personajes Don Quijote y Sancho Panza se consolida de tal manera que se han convertido en un mito con gran fuerza visual. Por otra parte, esa consolidación no ocurre con la imagen de Dulcinea del Toboso, la cual no asume ninguna forma imagéticamente definitiva. Nuestro objetivo es mostrar que tal fenómeno ocurre debido a dos factores que están íntimamente relacionados: determinados procedimientos cervantinos en la construcción de esos personajes y la tradición iconográfica de la obra formada a lo largo de los siglos por los inúmeros ilustradores que recrearon gráficamente los personajes de Cervantes. A partir del análisis literario de los procedimientos cervantinos en la construcción de los tres personajes y del cotejo entre texto e imágenes y entre imágenes de diferentes siglos, llegamos a algunos resultados interesantes: la gran fuerza icónica del caballero y su escudero y la mayor precisión del autor al construir los dos personajes propician una serie de lecturas que converge hacia una especie de ideogramización de la imagen de los protagonistas; paralelamente, el mayor perspectivismo e imprecisión en la construcción del personaje Dulcinea del Toboso resulta en una pluralidad de lecturas, entre las cuales coexisten fusiones y yuxtaposiciones de perspectivas con recreaciones muy particulares del personaje.

This thesis describes the how Miguel de Cervantes used proverbs and popular sayings to help compose his work, Don Quijote.

No description available.

The objective of this study is to concentrate on the topic of education in the Cervantine works, by examining the importance and significance from a global perspective using a 17th century text, Don Quixote of La Mancha, as part of the teachings in the 21st century classroom. In order to fulfill this objective, the following exegesis will consider specific episodes of Don Quixote and it will delve into the following questions: How do specific episodes reflect how education influences those surrounding Don Quixote? How do Don Quixote and his squire Sancho have a continuous learning process of what is considered real versus what should be considered ideal? How are Don Quixote's values reflected in the 21st century? How the text Don Quixote impacted the 21st century's education? In order to answer these questions, this study will include cultural aspects of the period and its historical and social context.