One of the most salient characteristics of Cervantes's literary production is his fascination, one might even say his obsession, with the human capacity for transformation. Nearly all of his plays, novellas, and novels feature characters that adopt alternative identities and disguise or dissimulate their true, original selves. The Novelas ejemplares (1613) encompass a veritable cornucopia of characters that pass themselves off as another. There are women who pass as men, Christians as Turks, Catholics as Protestants, and noblemen as gypsies, among many others. Identity, or at least its appearance, is represented as fluid and malleable. By creatively controlling the signs that they project in public, the characters of the novellas demonstrate a remarkable ability to adapt to innumerable contingencies. Similarly, subjects of the Spanish empire, driven particularly by ethno-religious and socio-economic motives, utilized craft and guile to conceal their identity or simulate another. On a theoretical level, both in Spain and throughout Europe, intellectuals explored the human capacity for transformation, and there emerged a new sense of interiority. As Stephen Greenblatt observes, in the Renaissance, "there appears to be an increased self-consciousness about the fashioning of human identity as a manipulable, artful process" (2). In this study I examine the abundance of deceit and disguise in Cervantes's collection of twelve novellas within the work's sociohistorical context. Specifically, I analyze how the novellas are embedded in two particular threads of cultural discourse on human identity: Spanish social history and early modern European intellectual history. / text

Tesis para optar al grado de Doctora en Literatura, mención Literatura Chilena e Hispanoamericana / No autorizada su publicación a texto completo, según petición de su autor. / En términos generales, esta investigación propone, en primera instancia, interpretar y revelar analíticamente los aspectos culturales, literarios y sociales que rodearon la publicación de la primera edición del Quijote publicada en Chile, además de entregar los datos materiales y prácticos de ésta; y, en segunda instancia, se pretende analizar la recepción e interpretación del Quijote de Miguel de Cervantes en Chile entre los años 1863 y 1947. Se hará especial hincapié en el análisis de los textos críticos que tienen a la obra cervantina como el motivo principal de análisis. Sin embargo, no se dejará de mencionar algunos textos, escritos, poemas y publicaciones varias que abordan tanto al escritor, Cervantes, y al personaje, don Quijote.

Köln, Universität, Thesis (doctoral), 2001.

This study aims at a reassessment of Turgenev's article "Hamlet and Don Quixote" in light of the literary sources which might have inspired it, and to analyze its relevance to novels and stories most directly related to it. Thus, the main purpose of the study is to highlight Turgenev's world view as contained in his article and illustrated by his chief male protagonists, some of his heroines and their interrelationship. / We also demonstrate the way in which Turgenev's original, avant-garde interpretation of Don Quixote played a key role in his literary career and made an important contribution to the study of Cervantes in nineteenth-century Russia. The psychological ideal proposed by Turgenev in his interpretation of Don Quixote challenges the commonly-held view of Turgenev as a pessimistic writer.

This work of research aims to elucidate the structure and meaning of the "Quixotic rhetoric", that is, persistent patterns in the protagonist's delivery of discourses. Through a close reading of select episodes in the novel, the study explores their style, structure, with a particular attention devoted both to their connections to the rhetorical thought of Renaissance Spain and departures from the rhetorical tenets of the time. This thesis is focused on the following questions: 1) How exactly do Don Quixote's discourses function (and/or fail to function)? What are the mechanisms used by Cervantes to create an impression of the protagonist's rhetorical competence (or lack thereof)? How do the audience's reaction, narrator's comments, and further developments show that a particular speech is effective (ineffective)? Are there any discernible patterns in Don Quixote's discourses that consistently lead him to rhetorical triumph or failure? 2) How does Don Quixote depart from the rhetorical rules and expectations of the Spanish Golden Age? What do the subject and style of his discourses have in common with the rhetorical thought of of his day, and 'specialised' forms of rhetoric in particular (forensic, courtly, religious, etc.)? How does moving beyond the typical confines of rhetorical discourse affect the audience's (and the reader's) perception? 3) To what extent does the nature of Don Quixote as a work of fiction, and a putative originator of the novelistic genre, affect its representation of rhetorical discourse? Is the mad hidalgo's mishandling of rhetorical rules a satire of rhetoric as a whole? What is the meaning of the protagonist's use (and misuse) of rhetoric for the relationship between rhetoric and the novel?

ALMEIDA, Raimundo Batista. Dom Quixote à luz da análise do discurso de Michel Pêchux. 2013. 86f. Dissertação (Mestrado) - Universidade Católica de Pernambuco, Pró-Reitoria Acadêmica, Mestrado em Ciências da Linguagem, Recife (PE), 2013. / Submitted by Maria Josineide Góis (josineide@ufc.br) on 2013-11-05T16:44:56Z No. of bitstreams: 1 2013_Dis_RBALMEIDA.pdf: 743561 bytes, checksum: 169c81bebbd835bdff89d8116e5fb75b (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2013-11-05T16:45:52Z (GMT) No. of bitstreams: 1 2013_Dis_RBALMEIDA.pdf: 743561 bytes, checksum: 169c81bebbd835bdff89d8116e5fb75b (MD5) / Made available in DSpace on 2013-11-05T16:45:52Z (GMT). No. of bitstreams: 1 2013_Dis_RBALMEIDA.pdf: 743561 bytes, checksum: 169c81bebbd835bdff89d8116e5fb75b (MD5) Previous issue date: 2013 / This study is an analysis of discursive clippings of Chapters II, III, IV, V and VIII of Volume I in Don Quixote de la Mancha by Miguel de Cervantes. The choice of this work was made because it is the most important of Spanish literature, and moreover, an important fiction book of world literature. Therefore, we based on several works of Cervantes scholars, among them Basanta, Rico and Riquer; leaders of commemorative editions of 400 years of the work in study. The boldness of this work is to understand the work in question, from the perspective of discourse analysis of the French line, theory and device of the analysis in study. We emphasize that the theory was founded by Michel Pecheux, in France, in the late sixties and developed in Brazil by Eni Orlandi and followers. Thus, the study aims to examine some specific discursive segments of a few chapters of Volume I in the above mentioned work. It aims specifically, to identify effects of interdiscourse, discursive, ideological and imaginary formations in the cutouts as well as to establish approaching between Don Quixote and Discourse Analysis. The analyzes indicate that Don Quixote the knight’s speech creates the effect of combating social injustice and that Cervantes worked with the novels of chivalry in the form of humor, aiming to pass by the Inquisition without censorship. We so conclude the thesis stating that this work does not end here, and must be deepened in future doctoral studies and scientific articles. Likewise, we hope it will be a path for further research, involving Discourse Analysis and literature. / Este estudo trata de uma análise de recortes discursivos dos capítulos II, III, IV, V e VIII do tomo I da obra Dom Quixote de La Mancha de Miguel de Cervantes. A escolha desta obra se deu por ser a mais importante da literatura espanhola, e ademais, um importante livro de ficção da literatura mundial. Para tanto, fundamentamo-nos em vários estudiosos da obra de Cervantes; entre eles, Basanta, Rico e Riquer, por serem dirigentes das edições comemorativas dos 400 anos da obra em estudo. A ousadia deste trabalho é compreender a obra em questão, sob a ótica da Análise do Discurso de linha francesa, teoria e dispositivo de análise do estudo. Salientamos que a teoria foi fundada por Michel Pêcheux, na França, em fins dos anos sessenta e desenvolvida no Brasil por Eni Orlandi e seguidores. Dessa forma, o trabalho pretende analisar segmentos discursivos específicos de alguns capítulos do tomo I da obra indicada acima. Especificamente, visa a identificar efeitos da interdiscursividade, formações discursivas, ideológicas e imaginárias nos recortes constituídos, bem como estabelecer uma aproximação entre Dom Quixote e a Análise do Discurso. As análises realizadas indicam que o discurso do cavaleiro Dom Quixote gera o efeito de combater as injustiças sociais e Cervantes trabalhou com as novelas de cavalaria em forma de humor, visando a passar, sem censura, pela Inquisição. Concluímos a dissertação afirmando que este trabalho não finaliza por aqui, devendo ser aprofundado em futuros estudos de doutorado e em artigos científicos. Da mesma forma, esperamos que seja um caminho para novas pesquisas, que associem a Análise do Discurso e a literatura.

Made available in DSpace on 2015-04-09T12:28:31Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-02-10Bitstream added on 2015-04-09T12:47:16Z : No. of bitstreams: 1 000813471.pdf: 609790 bytes, checksum: 40eb2347a59c5773191e581f00bcaa80 (MD5) / Queremos discutir, por meio de episódios escolhidos do romance Dom Quixote de La Mancha, de Miguel de Cervantes Saavedra, como ocorre a representação de realidades e o consequente jogo entre ficções no interior desse romance. Partindo do princípio de que o protagonista de Cervantes, Alonso Quijano, é um fidalgo que decide se transformar em um herói de cavalaria, Dom Quixote, criando uma realidade e um personagem diferentes, torna-se simples entender a ocorrência, durante todo o enredo, do jogo entre a representação da realidade não cavaleiresca e da realidade cavaleiresca. Tal jogo se intensifica com a descoberta de que as primeiras aventuras do cavaleiro e daquele que se tornará seu escudeiro fiel, Sancho Pança, foram escritas por um historiador mouro e rodam o mundo. Ao se apresentar no enredo a ficção da própria ficção – a história criada por Dom Quixote e a escrita a partir dessa sua criação – ocorre a representação de diversos acontecimentos tipicamente cavaleirescos, por obra também de personagens secundários, ampliando o jogo no romance. Analisaremos a representação de realidades e a ficção aproveitando as contribuições de Aristóteles sobre a mímesis, assim como as de Erich Auerbach, Kate Hambürguer, Michael Riffaterre e Paul Ricoeur. Para tratar da ficção enquanto ―vida alternativa‖ do homem, utilizaremos as ideias de Vargas Llosa e, sobre a ficção como mecanismo narrativo, serão úteis os estudos de Umberto Eco, Gustavo Bernardo, entre outros / Queremos discutir, partiendo de episodios elegidos de Don Quijote de La Mancha, de Miguel de Cervantes Saavedra, como ocurre la representación de realidades y el consecuente juego entre ficciones en su interior. Tomando por principio que el protagonista de Cervantes, Alonso Quijano, es un hidalgo que decide convertirse en héroe de caballería, Don Quijote, creando una realidad distinta de la suya y un personaje también diferente de si mismo, se hace fácil comprender que ocurre, en el enredo, el juego entre la representación de la realidad no caballeresca y la representación de la realidad caballeresca. Ese juego se intensifica al descubrirse que las primeras aventuras del caballero y del personaje que se convertirá en su escudero fiel, Sancho Panza, fueron escritas por un historiador moro y que rodean el mundo. Al presentarse en el enredo la ficción de la propia ficción – la historia creada por Don Quijote y la que es escrita a partir de ésta – ocurre la creación y la representación de diversos hechos típicamente caballerescos, por obra de personajes secundarios, ampliando el juego en la novela. Analizaremos estos problemas teóricos aprovechando las contribuciones de Aristóteles acerca de la mimesis, así como las de Eric Auerbach, Kate Hambürguer Michael Riffaterre y Paul Ricoeur. Para hablar de la ficción como ―vida alternativa‖ del hombre utilizaremos las ideas de Mario Vargas Llosa, y, acerca de la ficción como mecanismo narrativo, recorreremos a los estudios de Umberto Eco, Gustavo Bernardo y otros más

Orientador: Carlos Eduardo Ornelas Berriel / Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T22:22:07Z (GMT). No. of bitstreams: 1 WitezeJunior_Geraldo_M.pdf: 905275 bytes, checksum: b3695ea6baf8a1fc1789c9c7a4e9cf06 (MD5) Previous issue date: 2010 / Resumo: O objetivo deste trabalho é estudar as relações entre a utopia e o romance "Dom Quixote". Mais especificamente a hipótese testada é a de que o governo de Sancho Pança na ínsula Baratária poderia ser entendido como uma utopia. Para tanto busca-se primeiramente delimitar o significado da utopia, discutindo as suas transformações ao longo da história desde sua origem no Renascimento. Além disso examina-se a sua percepção como gênero literário e como corrente de pensamento, recorrendo à diferenciação entre utopia e utopismo. Como o significado da utopia mudou após as críticas de Marx e Engels, procura-se esclarecê-las através de uma análise direta da obra dos dois pensadores, estabelecendo uma diferença entre os escritos de Marx, os de Engels e as interpretações marxistas posteriores. Após o percurso teórico sobre a utopia é feita uma breve discussão bibliográfica perpassando pelos principais nomes da crítica literária cervantina para, na sequência, analisar o texto de "Dom Quixote", em especial as partes da obra diretamente relacionadas ao governo de Sancho. / Abstract: The objective of this work is to study the relationship between utopia and the novel "Don Quixote". More specifically, the hypothesis tested is that the government of Sancho Panza in the insula Barataria could be understood as an utopia. To this end we first seek to delimit the meaning of utopia, discussing its transformations throughout history since its origins in the Renaissance. Furthermore we examine it perception as a literary genre and as a current of thought, using the distinction between utopia and utopianism. Because the eaning of utopia has changed after the criticism of Marx and Engels we sought to clarify the through a direct analysis of two thinkers' work making a difference between the writings of Marx, Engels and later marxist interpretations. After the theoretical course on utopia, we do a brief bibliographical discussion perpassing the top names in Cervantes literary criticism in order to thereupon analyze the text of "Don Quixote", specially the parts of the work directly related to the government of Sancho. / Mestrado / Historia e Historiografia Literaria / Mestre em Teoria e História Literária

M.A. / This dissertation explores On The Contrary by Andre P. Brink against the backdrop of creative reading with emphasis on interpretation of the text as a process rather than as a product. The title On The Contrary is already indicative of the author's intention to unlock a myriad of interpretative possibilities in stead of tangibilitating a conclusion. The title also illuminates the principle that what is written is not necessarily what is said, that none of the content is cast in concrete and that the work concerns itself with the offering of contrasts: truth and untruth, imagination and reality, guilt and innocence. A symbiosis of dualism and parallelism is portrayed in order to enrich the potential for multiple text interpretations. Various texts are incorporated into the text of On The Contrary on an inter-textual basis, for the purpose of facilitating the interpretative process in an explicit and/or implicit manner. This study investigates and discusses the following three specific texts: • Don Quijote by Cervantes. Several explicit references are made to this canonised novel of Western literature, but it is the subtle, implied similarities between the lives of the characters Estienne Barbier and Don Quojote that serve as interpretative keys. • Jeanne d' Arc and her history. • The life history of Estienne Barbier, the historical 18 th century Cape figure. Remarkable documented similarities between the historical characters, Barbier and Jeanne d'Arc invite the analytical reader to try and establish the extent and purpose of incorporating the Jeanne d'Arc text into On The Contrary. Through the process of creative reading, the reader's assessment and understanding of Estienne Barbier, as a character in the novel, is moulded and formed by the life story and philosophy of Jeanne d'Arc. Barbier is constructed from a compound of historical facts and fictitious incidents. Historical "gaps" in the life of Estienne Barbier are compensated for through the introduction of elements from the life history and philosophy of Jeanne d'Arc. To that extent Barbier is a consequential character whose life and philosophy inextricably reflects examples derived from Jeanne d'Arc. The inter-textual process imbues a linear Estienne Barbier with depth in regard to the events that effect him and allows him to grow in the eyes of the reader, through fruitful application of parallels between the histories of Jeanne d'Arc and Estienne Barbier. The use of Jeanne d'Arc inter-textually and the virtual "retelling" of Jeanne, profoundly tell the story of a rebellious Barbier's "crusade" in pursuit of righteousness. In similar fashion the historical character Estienne Barbier is "told" into the romantic character Barbier in an attempt to transcend from imagination to reality. The reinterpretation of history, with the view of arriving at an alternative historical interpretation, becomes possible through the use of fiction. In primary instance this study investigates the manner in which the abovementioned three texts are incorporated inter-textually in the novel On The Contrary. Secondly an attempt is made to identify the narrative strategies that are used to arrive at a possible interpretation of the text and lastly it indulges in an exploration of the healing effect that the process of (imaginary) storytelling has in the lives of characters such as Don Quijote and Estienne Barbier.

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