VOLUME XX, NUMBER 2 |
FALL, 2000 |
Posada del PotroHospedería que remonta al siglo XVI,
o antes. El barrio del Potro aludido en Don Quijote, I, 3 y 17.
Foto de 1928, Cortesía Archivo Municipal de Córdoba.
Bulletin of the CERVANTES SOCIETY OF
AMERICA
THE CERVANTES SOCIETY OF
AMERICA
President
CARROLL B. JOHNSON
Vice President
EDWARD H. FRIEDMAN
Secretary-Treasurer
THERESA SEARS
Executive Council |
ELLEN ANDERSON |
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MW NINA COX DAVIS |
MARINA BROWNLEE |
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NE PATRICIA KENWORTHY |
ANTHONY CARDENAS |
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PC GEORGE MARISCAL |
MICHAEL MCGAHA |
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SE ILUMINADA AMAT |
ADRIENNE MARTIN |
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SW JOSEPH V. RICAPITO |
CERVANTES: BULLETIN OF THE CERVANTES
SOCIETY OF AMERICA
Editor: DANIEL EISENBERG
Managing Editor: FRED JEHLE
Book Review Editor: WILLIAM H. CLAMURRO
Editorial Board |
JOHN J. ALLEN |
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MYRIAM
YVONNE JEHENSON |
ANTONIO BERNAT |
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CARROLL B. JOHNSON |
PATRIZIA CAMPANA |
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FRANCISCO MÁRQUEZ
VILLANUEVA |
PETER DUNN |
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FRANCISCO RICO |
JAIME FERNÁNDEZ |
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GEORGE SHIPLEY |
EDWARD H. FRIEDMAN |
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ALISON P. WEBER |
AURELIO GONZÁLEZ |
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DIANA DE ARMAS WILSON |
Cervantes, official organ of the Cervantes Society of America,
publishes scholarly articles in English and Spanish on Cervantes's 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. $20.00 a year for individuals, $40.00 for institutions,
$30.00 for couples, and $10.00 for students. Membership is open to all persons
interested in Cervantes. For membership and subscription, send check in dollars
to DR. THERESA
SEARS, Department of Romance Languages, University of
North Carolina at Greensboro, Greensboro, NC 27402-6170. Manuscripts should
be sent in duplicate, together with a self-addressed envelope and return
postage, to
DR.
DANIEL EISENBERG, Editor, Cervantes,
Regents College, 7 Columbia Circle, Albany, NY 12203-5157. 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
DR.
WILLIAM CLAMURRO, Division of Foreign
Languages, Emporia State University, Emporia, Kansas 66801-5087.
Copyright © 2000 by the Cervantes Society of America.
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VOLUME XX, NUMBER 2
TABLE OF CONTENTS |
RINCÓN DEL EDITOR |
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The Possessive of Cervantes is Cervantes
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5 |
ARTICLES
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El ideal pro patria mori en La Numancia de Cervantes
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FRANCISCO VIVAR |
7 |
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The themes of sacrifice, death, and patriotism are interpreted
in terms of the Classical ideal of pro patria mori. I analyze the
relation between the land and its inhabitants, and how the destruction of
the land by the Romans demands the sacrifice of the numantinos, following
the model of the Christian martyr. Scipios first objective is to destroy
the land, so the numantinos have to purify his land with their blood
and achieve redemption with their death. Thus the river Dueros prophecy
and the predictions of Fame can be fulfilled in the new Spain. As with Christ,
the special destiny of Spain is marked by suffering and redemption.
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El Recueil Fossard, la compañía de los
Gelosi y la génesis de Don Quijote
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JULIO
VÉLEZ-SAINZ |
31 |
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A possible source for the creation of Don Quijote and Sancho Panza
is found in one of the most famous troupes of the commedia
dellarte: the compagnia di Gelosi. In order to do this,
it utilizes a Bakhtinian analysis of the Recueil Fossard, an iconographic
document that suggests that Cervantes knew the members of this
compagnia. First, their onomastics and physical appearance are very
similar to those of Don Quijote and Sancho. Moreover, Cervantes took the
plot for his entremés El viejo celoso from the
Gelosis homonymous Il vecchio geloso. Finally, some plots,
situations, and burlesque motifs of the aforementioned compagnia are
articulated in Don Quijote. In conclusion, Cervantes very likely knew
the compagnia either personally or through the Recueil Fossard,
and relied on some of their physical and psychological traits for the creation
of his characters.
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Consideraciones en torno al lenguaje en Don Quijote:
Bases para una aproximación estilística
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EDMUNDO ERNESTO
DELGADO |
53 |
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The purpose of this study is to provide a comprehensive theoretical
reflection on the criteria that organize Don Quijotes stylistic
diversity. All the linguistic levels in this novel are related to the diversity
of worlds under which events and characters are presented (and
therefore interpreted by the reader). For every world of reference there
is an attitude towards language, which is ultimately the consequence of a
reception process I define as narrative stylization. I intend to demonstrate
that the word style in Don Quijote (and therefore in this new framed
study of stylistics) must be understood as a process that involves not only
the use of language itself (its rhetorical praxis), but also the manner in
which the texts world of reference is presented. This process will
allow us to comprehend the underlying intention of the diverse styles present
in Don Quijote, which is closely connected to the main problem of
the novel: that of Alonso Quijanos belief in the continuity between
the word of his experience and the worlds described in the literature of
his time.
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De la sangre vuelta vino (Notas sobre la ideología de
la identidad en la primera parte de Don Quijote)
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JUAN VARELA-PORTAS
DE ORDUÑA |
79 |
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This article uses the Curioso impertinente, the story
of Fernando and Dorotea, and the adventure of the wineskins to clarify basic
questions about the concept of identity in Don Quixote, Part I. What
really lies behind the words Yo sé quien soy and other
formulae with which characters define themselves? There is a gap between
characters statements about their identity and their unconscious beliefs
about it. The article shows how this fragmented text, full of subtextual
contractions, resulted from the struggle between the feudal ideology of the
nobility and the newly emerging mercantile literalness.
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The Performance and Hermeneutics of Death in the Last Chapter
of Don Quijote
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RACHEL SCHMIDT |
101 |
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Se examina la muerte de don Quijote bajo la óptica de la
teoría speech-act: su fin es sacar a luz cómo el
protagonista representa su propia muerte para respaldar su fama mundana,
esto según las normas convencionales de la muerte cristiana tales
como se revelan en el Arte de ayudar y disponer a bien morir de Joan
de Salazar. Al morirse, el protagonista cede la palabra a los supervivientes,
quienes toman control de la historia de don Quijote, de manera que se reflejen
sus propios intereses e interpretación. El estudio concluye con un
análisis de varias perspectivas filosóficas sobre la muerte,
entre ellas las de Derrida, Ferrater Mora, Sartre y Simmel, lo que revela
que la muerte de don Quijote deja la novela abierta a lecturas especulares.
En ellas los lectores se ven a sí mismos en la novela y leen de manera
retrospectiva cierta significación en la vida del protagonista y en
la novela misma.
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Prototypes of Genre in Cervantes Novelas ejemplares
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HOWARD MANCING |
127 |
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Los lectores de las Novelas ejemplares de Cervantes suelen
dividir los doce cuentos en dos grupos genéricos, pero muchas veces
con criterios imprecisos o arbitrarios. Si empleamos los conceptos de
categorización que han desarrollado en recientes años Eleanor
Rosch y George Lakoff, entre otros, podemos describir dos prototipos de
género: romance y novela. Basándonos en estos prototipos,
podemos categorizar las doce novelas según dos modelos generales.
Lo que resulta no es un dualismo absoluto entre dos categorías mutuamente
exclusivas sino un continuo entre dos polos teóricos. Consideradas
así, las novelas cervantinas ilustran un principio genérico
que concuerda con la más reciente sicología cognitiva.
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Carta de guía, carto-grafía: fallas y fisuras
en El licenciado Vidriera
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FELIPE RUAN |
151 |
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By focusing on its fragmentary nature, an aspect that critics
have viewed either as deficiency or as rupture that must subjected to the
concept of textual unity, this article proposes a reconsideration of the
structure of Cervantes El licenciado Vidriera. I suggest
that the faults attributed to the novela may be better understood
in the sense of breaks and fissures, movements aimed toward discontinuity
that come to represent the narratives substratum. As basis or foundation
of the tale, the breaks and fissures are interpreted as an antistructure,
and in that sense in El licenciado Vidriera one finds a narrative
without basis or foundation similar to that of El coloquio de
los perros which grows and develops in a fragmentary manner.
The emphasis placed on breaks and fissures also leads to a reflection on
the question of the origin and purpose of the narrative. The end result of
such consideration is the realization that in this exemplary tale there is
a drive toward the displacement of beginnings and ends.
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REVIEWS
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Sliwa, K. Documentos de Miguel de Cervantes Saavedra.
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JOSÉ MONTERO
REGUERA |
163 |
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Finello, Dominick. Cervantes: Essays on Social and Literary
Polemics.
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MARÍA CRISTINA
QUINTERO |
165 |
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En un lugar de La Mancha: Estudios cervantinos en honor
de Manuel Durán, ed. Georgina Dopico Black and Roberto González
Echevarría.
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MICHAEL MCGRATH |
168 |
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Johnson, Carroll B. Cervantes and the Material World.
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DAVID R. CASTILLO |
172 |
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Bibliographical Notes and Announcements.
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WILLIAM H. CLAMURRO |
175 |
INDEX TO VOLUMES 1-20, 1981-2000
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FRED F. JEHLE |
177 |
[BACK COVER] |
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Posada del Potro, estado actual.
Sede del Área de Cultura del Ayuntamiento de Córdoba
Cortesía Archivo Municipal de Córdoba |