In this study, the interpretation of Don Quixote has been examined within the work of three artists: Honore Daumier, Salvador Dali, and Joan Pon9. Each artist has represented Don Quixote in a uniquely modern artistic style that questions the artistic discipline in itself, while using it to portray the concepts and ideology of modern times. While these interpretations may not portray Don Quixote in the parodic way its author intended him to be, they are not completely romantic versions of the hero either. Don Quixote, as shown through the eyes of these three artists, has escaped the constraints of the text and has become not the nobly suffering hero of the Romantics, but the internalized hero representative of man himself in an increasingly isolated and modern society. The recurring theme of alienation from the others is then presented in this study as three different visions of Don Quixote. The first chapter seeks to examine the traces of modernity within the portrait painting of Don Quixote done by Honore Daumier. By taking the first steps towards abstraction and expressionism, as well as presenting a solution of withdrawn indifference that begins to question the state reality, Daumier sets the foundation for the modern interpretation of Don Quixote. In the second chapter, Salvador Dall depicts a Surrealist Don Quixote, illustrating a version that has completely submitted himself to the internally-based and absolute surreality. Dali reconciles the opposing internal and external realities in the figure of Don Quixote. Finally, Don Quixote faces the interior battles of existence in the work of Joan Pony. This modern, isolated depiction of Don Quixote in front of the infinite unknown marks the final transition from the external internal dialectic to that of yo vs. yo mismo . The conclusion then summarizes and confirms Don Quixote's textual liberation translated into both a modern style and concept.

After 1885, Richard Strauss began to create program music due to Alexander Ritter¡¦s suggestion. Among these works, the most important were the 7 tone poems. Tone poem ¡mDon Quixote¡n was composted according to the play created by the Spanish writer Cervantes. Richard Strauss not only expressed the story by leading motive and tone painting, but also satirized the society. Furthermore, he unleashed his angry by the meaning of the story. My essay is divided into two major parts. The first is the biography of Richard Strauss as well as the characteristic of this tone poem. The second is the analysis of variation structure, motive development, tone painting skill, orchestration timbre and harmony disposition. I still discuss the rhythm, skill and terminology in advanced.

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The aim of this thesis is to offer a comparative analysis of the nineteenth-century translations of Don Quixote into English, which have received little critical attention to date. During this process I will focus on the issue of translating irony, in order to engage in the discussion regarding reader response to Don Quixote in England during the nineteenth century. This reader reception represents another area of research yet to be studied in any significant detail. This thesis will take the following structure: in the first chapter I will provide a background into the existing problems and working concepts as they have been researched so far. In the course of this I will look at the work of Allen (2008) in particular, as the critic who has provided the longest known, though by no means exhaustive, list of examples of irony identified in Don Quixote. This will be followed by a review of reader response along the centuries, beginning with the seventeenth and eighteenth and then an overview of the nineteenth. I will then engage in an analysis of specific examples of irony, using a representative sample taken from Allen’s selection. The conclusions this analysis will offer will shed further light on the importance of studying irony in Don Quixote, and also on how irony can be used as an explanation as to why so many translations of it were produced in such quick succession in the 1880s, after so long without any new versions. This research also considers the question of the transience of irony and the extent to which what constitutes irony changes over time, as reflected by a similar list of examples of irony compiled by Albert Calvert (1905). My analysis will also add further evidence to the two main debates surrounding critical opinion on Don Quixote in the nineteenth century; firstly, that Ormsby’s is justified in being regarded as the best translation of the three produced in that century, if not of all time, and secondly, the ongoing debate over whether or not Don Quixote was or should still have been regarded as a Romantic novel during the 1880s. By tracking trends and shifts in critical thinking down the centuries since Don Quixote first appeared at the start of the seventeenth century, my analysis will also offer some comment on the novel’s subsequent twentieth-century reception. Moreover, as the first study of all three of the nineteenth-century translations of Don Quixote into English, my conclusions make an important and original contribution to the emerging area of study into Cervantes in a transnational context.

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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.

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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?