Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura. / Seminario de grado: Desde la escritura: imágenes y representaciones del Islam y los musulmanes / En La ‘mancha’ de don Quijote: el trasfondo islámico, se intentará poner de manifiesto una posibilidad de lectura, en donde el texto cervantino se nos presenta como un corpus empapado de tópicos, motivos y problemáticas árabes e islámicas luego de la expulsión de los moros de la Península, además de postular una nueva interpretación basada en la identificación de esos elementos orientales en el juego ficcional interno de la obra. Este ensayo intenta de-velar lo que la crítica tradicional occidental ha omitido, ignorado o negado de El Quijote, respecto a la influencia musulmana y/o árabe que, durante la convivencia con cristianos en España, debió de introducir a la literatura medieval y posterior. Así, en este trabajo veremos cómo, incluso entrado ya el siglo XVII, los residuos de la cultura islámica se dejan ver en la literatura española con una voz más potente y determinante de lo que muchos podrían esperar o querer.

Zugl.: Buenos Aires, Univ., Diss.

Thèse de doctorat : Littérature comparée : Paris 12 : 2006. Thèse de doctorat : Littérature comparée : Université Masaryk, Brno : 2006. / Thèse soutenue en co-tutelle. Titre provenant de l'écran-titre. Pagination : 317 f. Bibliogr. f. 284-314. Index.

No description available.

Fictional characters who mistake reality for fiction can be considered as parodies, beings invented by the author to denounce the illusions of which they are victims. But this viewpoint is not valid if the novels in which those "mistaken readers" exist suggest, to the contrary, that reality is problematic; it is therefore impossible to judge the characters without "afterthoughts", since these characters, in a way, are pointing to the fact that the reality they live in is "unreal". / Such is the case with Madame Bovary and Don Quijote. These two novels, as a result of different "techniques", essentially tell their readers to be suspicious about what is "true" and what is "false". These are novels without a strong authorial voice, novels that speak more about how characters conceive reality than about reality itself, which remains in both cases a complete mystery. / This viewpoint can be extended into a definition of the novel, in terms of what it says (or doesn't say) about the world. And in fact, a novel doesn't say anything about the world, at least not directly. It could be described as "a machine" made from what the characters say. Obviously, such a machine cannot be taken too seriously, since nobody (that is to say no real person) is actually saying what is being said in its pages. But at the same time, by refusing to show the fictional world in itself, (by always showing it through the eyes of fictional characters), the novelist reminds his reader that the real world itself is inescapably ambiguous.

The purpose of this study was to identify Smollett's use of Quixote figures and of allusions to Don Quixote in his five novels. Smollett was busy translating Don Quixote as early as 1748, and he was very much engaged in or had completed translating Don Quixote when he was writing Roderick Random, Peregrine Pickle, and Ferdinand Count Fathom, Smollett's translation being published in 1755.

Zugl.: Berlin, Freie Univ., Diss., 2007

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.