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First functioning as image based text and then as a widely illustrated book, the impact of the literary figure Don Quixote outgrew his textual limits to gain near-universal recognition as a cultural icon. Compared to the relatively small number of readers who have actually read both extensive volumes of Cervantes´ novel, an overwhelming percentage of people worldwide can identify an image of Don Quixote, especially if he is paired with his squire, Sancho Panza, and know something about the basic premise of the story. The problem that drives this paper is to determine how this Spanish 17^(th) century literary character was able to gain near-univeral iconic recognizability. The methods used to research this phenomenon were to examine the character´s literary beginnings and iconization through translation and adaptation, film, textual and popular iconography, as well commercial, nationalist, revolutionary and institutional appropriations and determine what factors made him so useful for appropriation. The research concludes that the literary figure of Don Quixote has proven to be exceptionally receptive to readers´ appropriative requirements due to his paradoxical nature. The Quixote’s “cuerdo loco” or “wise fool” inherits paradoxy from Erasmus of Rotterdam’s In Praise of Folly. It is Don Quixote´s paradoxy that allows readers and viewers to choose the aspects of the protagonist that they find most useful. Some of that difference in interpretation has been diachronic, starting with a burlesque view of Don Quixote as the insane hidalgo, later developing a romantic interpretation of the protagonist as a noble knight. Much of that difference has been geographical, with Spanish appropriators tending to reflect Don Quixote as a heroic reflection of national character, and many outside of Spain choosing to use the knight as a symbol of impracticality and failure. Ultimately, Don Quixote´s long lasting influence has been due to his ability to embody the best of the human spirit; the desire to fashion oneself into a more noble identity and achieve greater deeds than one´s cultural environment would normally allow.

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.

Readers have associated Don Quixote and St Ignatius of Loyola for centuries. Many have inferred an intentional parody of Loyola in Cervantes’ classic novel, El ingenioso hidalgo don Quijote de la Mancha. The first part of this thesis traces reader associations of Don Quixote and St Ignatius since the publication of Part I of Don Quixote in 1605. The second part analyzes two texts commonly cited as sources for reader associations of St Ignatius and Don Quixote, Loyola’s Autobiografía (1555) and Pedro de Ribadeneyra’s Vida de Ignacio de Loyola (1583), and proposes a hypothesis for how Cervantes may have intended to parody the founder of the Society of Jesus. The third part analyzes narrative, substantive and thematic parallelisms in Don Quixote, the Autobiografía and Vida and discusses the likelihood of Cervantes intentionally parodying Loyola in his most famous and enduring work. / Graduate / 0679 / 0401 / 0318 / pdavidso@uvic.ca

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

Este trabalho tem o objetivo de verificar a presença do conceito de discrição em três capítulos da obra Don Quijote de la Mancha, de Miguel de Cervantes. Tais capítulos estão localizados na segunda parte da obra e se referem aos conselhos dados por Dom Quixote ao seu fiel escudeiro, Sancho Pança, antes que este assumisse seu governo na ilha Barataria. O conceito de discrição é bastante amplo e complexo. Fazem parte dele atitudes morais e sociais que visam a uma adequada atuação social do indivíduo no universo em que ele se encontra. O exercício da discrição requer o conhecimento de alguns elementos que funcionam como uma espécie de pré-requisito para a sua prática. Entre eles estão a prudência, o discernimento, a cultura e a erudição. Contribuem para a apreensão do conceito de discrição os tratados sobre comportamento social dos séculos XVI e XVII, sobre os quais teceremos comentários específicos, relacionando-os, sempre que possível, ao Quixote de Cervantes. Em nossas considerações, também verificaremos a maneira específica como Cervantes trabalha o conceito de discrição em sua narrativa. Por vezes, o autor subverte as regras do decoro literário, promovendo a quebra da rigidez do conceito, utilizando-o de uma maneira que demonstra variedade em sua aplicação. / This dissertation aims at examining the presence of the concept of discretion in three chapters of Don Quijote de la Mancha by Miguel de Cervantes. Such chapters belong to the second part of mentioned book and they refer to the pieces of advice given by dom Quixote to Sancho Pança, before his faithful squire assumed the government of Barataria island. The concept of discretion is quite vast and complex. It includes moral and social attitudes wich provide for the individual\'s proper social behavior within the universe where he lives. In order to be put into practice, the exercise of discretion demands the knowledge of some elements that function as a kind of pré-requirements, such as prudence, discernment, education and erudition. Treatises on social behavior in the 16th and 17th centuries contribute to the understanding of the concept of discretion, and we are making specific comments on them in search, as far as posible, of their connections with Cervantes\'s Quixote. Along this study we are also examining the specific way Cervantes deals with the concept of discretion in his narrative. There are instances in which the writer subverts the rules of literary decorum causing a rupture in the rigidity of the concept by using it in such a way that demonstrates variety in its application.

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

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This thesis examines a new reading of Cervantes’s immortal Don Quixote: reading the Quixote as eucharistic art. Just as the Catholic Eucharist, when consumed by the believer, is transubstantiated into the literal flesh and blood of Jesus Christ, so too is this proposed reading of the Quixote. Using Michel Foucault’s work in The Order of Things, the author employs Foucault’s statement—that Don Quixote is “the book in flesh and blood” (48)—to explore a eucharistic reading of the novel as the reader’s internalization of Don Quixote’s being. The end of the novel is read not as Don Quixote’s return to sanity, but rather a sacrifice of the self, sealing the text to his being. The “disciple reader” then, through eucharistic reading, metaphysically internalizes the text that is Don Quixote transubstantiated, acquiring his madness in the process: a new Don Quixote. The author lays out a theory for eucharistic reading, noting the Quixote’s singular place in world literature as a prime novel fit for this type of mystical reading. The thesis then examines and analyzes the theory and its effects on intratextual metafictional readers of the novel. As a kind of measuring tool, the author looks at painted representations of Don Quixote within the novel as eucharistic self-portraits of the metafictional disciple reader’s “quixotic” self. The thesis closes with a proposal for future studies regarding artistic representations outside of the text as products of eucharistic reading worthy and in need of future analysis.

Cervantes' Don Quixote (1605, 1615) is one of the most significant works of European literature. In the 20th century, the two-part novel became one of the fundamental texts for literary and cultural theorists, on which they based their theoretical studies on writing, literature, and culture in general. But do external theoretical views agree with a specific literary history? The diploma thesis presents three selected interpretations of Don Quixote (by V. Shklovsky, M. Bakhtin, and M. Foucault), which are compared with the findings from Spanish studies and with the novel in the original. At the same time, the reading of theoretical works should not be primarily revisionist; the thesis has a comparative character, and the aim is to express the relation between external and internal views of Cervantes' novel.