The concept of the frame has received much attention in recent years in such varied fields as linguistics, philosophy, cognitive science, art history, and literary studies. In spite of the numerous differences in terminology in these areas of study, a common notion emerges of framing as that which makes human signification possible. That is to say, there has to exist some kind of basic schemata before there can be any experience of communication, understanding, perception or identity. Although art history has often taken for granted the frames of paintings, Derrida has suggested that the very (im)possibility of an art workís meaning may hinge on its ambiguous relationship to its own frame. Cervantesí masterpiece contains many examples of the frame in literature, which Genette describes as the framing devices of paratexts: prefaces, introductions, mises en abyme, and frame-stories. The objective of the conference is to spotlight the myriad manifestations of framing in the Quijote. How does the protagonistís unique view of the world square with the basic schemata of agreements and conditions that govern so-called ordinary perception? What is the relation between the charactersí traversing of narrative frames in Don Quijote and the deconstruction of framing in the visual arts? In what ways do the numerous episodes of ethnic or gender performance in the novel serve to problematize or subvert identities rigidly enframed by the conservative religious and political ideologies of Cervantesí world? In what literary, artistic or musical works constituting part of the legacy of the Quijote do we find possibilities of re-crossing the frame of Cervantesí text in ways that would enable us to read it anew?
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