Table of Contents 8.2 (1988)   9.2 (1989) ISSN 1943-3840

Cervantes


VOLUME IX, NUMBER 1 SPRING, 1989


Cover Graphic

Bulletin of the Cervantes Society of America


Cervantes

Bulletin of the CERVANTES SOCIETY OF AMERICA


THE CERVANTES SOCIETY OF AMERICA

President
JAVIER HERRERO (1991)

Vice President
RUTH EL SAFFAR (1991)

Secretary-Treasurer
ALISON WEBER (1991)

Executive Council

JOHN J. ALLEN PC CARROLL B. JOHNSON
PETER DUNN SW FREDERICK DE ARMAS
RUTH EL SAFFAR MW HOWARD MANCING
HELENA PERCAS DE PONSETI SE INÉS AZAR
ELIAS L. RIVERS NE MARY M. GAYLORD

Cervantes: Bulletin of the Cervantes Society of  America

Editor: MICHAEL MCGAHA

Assistant to the Editor: THOMAS A. LATHROP

Book Review Editor: HOWARD MANCING

Editor's Advisory Council

JUAN BAUTISTA AVALLE-ARCE     EDWARD C. RILEY
JEAN CANAVAGGIO ALBERTO SÁNCHEZ

Associate Editors

PETER DUNN     LUIS MURILLO
RUTH EL SAFFAR LOWRY NELSON, JR.
ROBERT M. FLORES HELENA PERCAS DE PONSETI
EDWARD H. FRIEDMAN GEOFFREY L. STAGG
CARROLL B. JOHNSON BRUCE W. WARDROPPER
FRANCISCO MÁRQUEZ VILLANUEVA

Cervantes, official organ of the Cervantes Society of America, publishes scholarly articles in English and Spanish on Cervantes' life and works, reviews, and notes of interest to cervantistas. Twice yearly. Subscription to Cervantes is a part of membership in the Cervantes Society of America, which also publishes a Newsletter. $17.00 a year for individuals, $20.00 for institutions, $28.00 for couples, and $9.00 for students. Membership is open to all persons interested in Cervantes. For membership and subscription, send check in dollars to Professor ALISON WEBER, Secretary-Treasurer, The Cervantes Society of America, Department of Spanish, Italian, and Portuguese, University of Virginia, Charlottesville, Virginia 22903. Manuscripts should be sent in duplicate, together with a self-addressed envelope and return postage, to Professor MICHAEL MCGAHA, Editor, Cervantes, Department of Modern Languages, Pomona College, Claremont, California 91711-6333. The SOCIETY requires anonymous submissions, therefore the author's name should not appear on the manuscript; instead, a cover sheet with the author's name, address, and the title of the article should accompany the article. References to the author's own work should be couched in the third person. Books for review should be sent to Professor HOWARD MANCING, Book Review Editor, Cervantes, Department of Foreign Languages, Purdue University, West Lafayette, Indiana 47907.

Copyright © 1989 by the Cervantes Society of America.



Cervantes
VOLUME IX, NUMBER 1
TABLE OF CONTENTS


ARTICLES
      El “diálogo de recuerdos” y la anácrisis en el Quijote
      ALBERTO RODRÍGUEZ

3

           Frequently, the words spoken by a character in the conversations of the Quijote show the train of thought latent in the conscience of the speaker. The type of conversation that best presents this inner level is the “dialogue of memories.” By using “anacrisis” (a rhetorical form found in Socratic dialogue), one character induces another to break his silence and reveal some thoughts or even perhaps his most intimate memories. In the Quijote, the anacrisis appears in three forms: 1) as a means for obtaining an intimate revelation; 2) as the incorporation of a third interlocutor; 3) as a “tertius gaudens.” Cervantes' use of the anacrisis grants the conversations of the Quijote a great vigor because a character's surprising revelations constantly renew the eagerness to speak.

      El concepto de admiratio y lo grotesco en el Quijote
      EDUARDO URBINA

17

           This is a study the role of admiratio in the Quijote in connection with the reactions elicited by the knight and the creation of a parodic text capable of producing at once wonderment and laughter. The many instances of the use of admiratio are analyzed and classified into three categories: positive, negative, and ambivalent. This last one is then seen as the means to reconcile the marvelous and the verisimilar in the narrative, and is associated with the ambivalence in response characteristic of the grotesque mode.

      “La palabra hecha nada”: Mendacious Discourse in La gitanilla
      LESLEY LIPSON

35

           Cualquier lectura de La gitanilla tiene forzosamente que reconocer su ensalzamiento de la poesía y la importancia de Preciosa como encarnación de este arte. Sin embargo, este estudio enfoca la cuestión del lenguaje como medio de comunicación fidedigno con más escepticismo. Este modo de acercarse al diálogo de la obra se inspira en la personalidad paradójica de la dama principal. En varias escenas divertidas su elocuencia y su espontaneidad inventiva hacen resaltar la credulidad del público con relación a la palabra creadora. Por contraste, fuera de tales representaciones delante del público, Preciosa desconfía absolutamente de la palabra. Este es el punto capital de la obra que distingue entre la palabra sincera y la artística, y la mayoría de los diálogos vibran de esta oposición fundamental. La ironía dramática y la mentira —lugares comunes en las historias de amor— sirven para realzar aun más en su significado literal, y así de recelosa influye en la sensibilidad del lector. En fin, la infraestructura de la obra constituye una red intricada de poesía, vida e identidades disfrazadas, que no se puede desmarañar sino con un análisis verban intensivo.

      Rojas' Celestina and Cervantes' Cañizares
      PATRICIA S. FINCH

55

           Fundamental para la caracterización de la protagonista de La Celestina es su representación como hechicera o bruja. Aunque en las obras de Cervantes la magia y la brujería no desempeñan un papel tan central, Cervantes también introduce repetidas veces episodios que ejemplifican una amplia gama de prácticas mágicas; las semejanzas entre cierta escena de La Celestina y otra de El coloquio de los perros, entre Celestina y Cañizares, son más que coincidencias. Más allá de las similaridades y el uso del tema de la brujería, lo que parece más significativo es que Cervantes utiliza en la escena entre Cañizares y Berganza una técnica irónica (culpar por medio de la alabanza) idéntica a la de La Celestina, mostrando otra vez la sutileza de Cervantes y el efecto indirecto que La Celestina ha tenido en la creación de la novela moderna.

      El lenguaje emblemático en el Viaje del Parnaso
      ELLEN LOKOS

63

           This study offers a new reading of the Viaje del Parnaso based on a vigorous labor of reconstruction of its emblematic images. The focal point of our analysis is the episode featuring the appearance of Lope de Vega, which constitutes the central emblematic image of the poem. Emblem literature, familiar to any learned reader of 1614, provided a powerful tool which allowed Cervantes to create levels of meaning using a language of innuendo and relativity. After “decoding” the emblematic language of the Viaje, we are able to understand more fully the literary and social satire that lie beneath the surface of the text. What emerges is one of the finest examples of Cervantine wit, where every word and image is ripe with veiled meanings.


CRITIQUE / DIALOG
      More on the Sadness of Don Quixote: The First Known Quijote Illustration, Paris, 1618
      A. G. LO RÉ 75


Prepared with the help of Sue Dirrim
8.3 (1988) 9.2 (1989)
Fred Jehle jehle@ipfw.edu Publications of the CSA HCervantes
URL: http://www.h-net.org/~cervantes/csa/bcsas89.htm