scholarly journals Multiliteracies and Multimodality in Teaching a Spanish Literature Classic: Don Quixote

Contingencies ◽  
2021 ◽  
Vol 1 (1) ◽  
pp. 1
Author(s):  
Loretta Fernández
Keyword(s):  
Spanish Literature ◽  
Don Quixote

scholarly journals Cervantes and Don Quixote de la Mancha

2016 ◽  
Vol 22 (6) ◽  
pp. 397-401
Author(s):  
Femi Oyebode
Keyword(s):  
Spanish Literature ◽  
Don Quixote ◽  
Fictional Characters ◽  
The Novel ◽  
Miguel De Cervantes ◽  
Modern Novel ◽  
La Mancha ◽  
Sancho Panza

SummaryMiguel de Cervantes, the most influential writer in Spanish literature, created two of the most recognisable fictional characters, Don Quixote de la Mancha and Sancho Panza, in 1605. His novel The Ingenious Hidalgo Don Quixote de la Mancha is regarded as the first modern novel and first international best seller. This article, in the 400th anniversary year of Cervantes' death, introduces Cervantes' biography, discusses the enduring features of his classic novel and explores the value and importance of the novel for psychiatry.

scholarly journals GENRES’ BALANCING IN E. MENDOZA’S NOVEL “THE AMAZING JOURNEY OF POMPONIUS FLAT”

2021 ◽  
Vol 6 (2) ◽  
pp. 141-150
Author(s):  
Anna A. Bagdasarova ◽  
Alexandr I. Slyshenko
Keyword(s):  
Spanish Literature ◽  
Historical Novel ◽  
Don Quixote ◽  
Historical Novels ◽  
The Novel ◽  
Historical Reconstruction ◽  
Detective Story ◽  
Eduardo Mendoza ◽  
Postmodern Novel

The article explores the genre specificity of the postmodern novel, “The Amazing Journey of Pomponius Flat” by the contemporary Spanish writer Eduardo Mendoza. The novel is based on the principles of a ludic literature tradition, one of the manifestations of which is a sophisticated interplay of various ‘high’ and ‘low’ genres in neo-baroque fashion. The novel develops an ironic detective story, but also represents different genre markers of the travel novel, the picaresque and historical novels, whose traditions and cliches are introduced in an ironic way. The journey of the heronarrator, which is mentioned at the beginning and at the end of the novel, in fact, has no significance for the plot. The image of the protagonist combines two archetypical figures, keys to Spanish literature – the trickster and Don Quixote. In accordance with the tradition of a historical novel, E. Mendoza’s work creates the illusion of historical reconstruction, but there is no true historicism in the novel, since reliable facts are interspersed with speculations and fantastic elements that question the reliability of the whole story.

Imaginative Authority in Spanish Literature

PMLA ◽  
1969 ◽  
Vol 84 (2) ◽  
pp. 209-216
Author(s):  
Otis H. Green
Keyword(s):  
Golden Age ◽  
Spanish Literature ◽  
Don Quixote ◽  
Literary Study ◽  
Lazarillo De Tormes ◽  
Religious Context ◽  
Literary Forms ◽  
Primary Literature ◽  
Moral Instruction ◽  
La Celestina

Spanish literature in the Golden Age was a primary literature that produced an impressive number of new literary forms that were admired, copied, and naturalized throughout the rest of Europe. Rojas' La Celestina, Torres Naharro's Comedia Serafina, the anonymous Lazarillo de Tormes, Tirso de Molina's El condenado por desconfiado, and Don Quixote provide examples of the “imaginative authority” of the older literature of Spain. This power of a piece of writing to assume a life of its own, its power to lead the audience wherever it pleases, is best understood in a religious context, since the authors of the works themselves wrote in a religious context. The end of literary study is not theological or moral instruction but elucidation of the intrinsic meanings of the work. Nevertheless, the proper model for the relation of the elucidator to the work is not that of the scientist to physical objects, but that of one man to another in charity. If the critic approaches the poem with this kind of reverence for its integrity, it will respond to questioning and take its part in the dialogue between reader and work which is the life of literary study.

Romanticism in Spain

PMLA ◽  
1940 ◽  
Vol 55 (1) ◽  
pp. 35-46
Author(s):  
F. Courtney Tarr
Keyword(s):  
Spanish Literature ◽  
Don Quixote ◽  
Language History ◽  
Creative Writers ◽  
Romantic Era ◽  
The Moment ◽  
Creative Artists ◽  
First Time ◽  
As If

During the romantic era Spain enjoyed for perhaps the first time in her history a genuine European vogue. The theorizers of romanticism in Germany, England, and France—especially Germany—discovered in Spanish literature, as they imperfectly knew it—chiefly the Don Quixote, the ballads, and the theatre of Calderón—ammunition for their critical and anticlassical campaign, while the creative writers of these countries found in the land and its people, their history, legends and letters, a new and rich store of themes and settings, made as if to order in response to the demand of the moment for the picturesque and the passionate, the chivalresque and the medieval. But having little interest in Spain for herself nor (Mérimée excepted) any real knowledge of her language, history, or culture, they recreated a conventional, literary Spain according to their own needs, desires and imaginations, that “romantic” Spain best typified perhaps in the Carmen of Mérimée and of Bizet, a conception which has persisted in the popular mind down to the present and against which Spaniards and Hispanophiles—then and now—have reacted more or less violently and in vain. (And, may I add, not with complete justification, for creative artists are hardly to be censured for not being exact historians or archeologists.)

Recent Scholarship in Spanish Literature

1968 ◽  
Vol 21 (1) ◽  
pp. 118-124
Author(s):  
Alexander A. Parker
Keyword(s):  
Spanish Literature ◽  
Recent Scholarship
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