26,435 research outputs found

    The Discovery of Cometary Activity in Near-Earth Asteroid (3552) Don Quixote

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    The near-Earth object (NEO) population, which mainly consists of fragments from collisions between asteroids in the main asteroid belt, is thought to include contributions from short-period comets as well. One of the most promising NEO candidates for a cometary origin is near-Earth asteroid (3552) Don Quixote, which has never been reported to show activity. Here we present the discovery of cometary activity in Don Quixote based on thermal-infrared observations made with the Spitzer Space Telescope in its 3.6 and 4.5 {\mu}m bands. Our observations clearly show the presence of a coma and a tail in the 4.5 {\mu}m but not in the 3.6 {\mu}m band, which is consistent with molecular band emission from CO2. Thermal modeling of the combined photometric data on Don Quixote reveals a diameter of 18.4 (-0.4/+0.3) km and an albedo of 0.03 (-0.01/+0.02), which confirms Don Quixote to be the third-largest known NEO. We derive an upper limit on the dust production rate of 1.9 kg s^-1 and derive a CO2 gas production rate of (1.1+-0.1)10^26 molecules s^-1. Spitzer IRS spectroscopic observations indicate the presence of fine-grained silicates, perhaps pyroxene rich, on the surface of Don Quixote. Our discovery suggests that CO2 can be present in near-Earth space over a long time. The presence of CO2 might also explain that Don Quixote's cometary nature remained hidden for nearly three decades.Comment: 40 pages, 8 figures, accepted by Ap

    Theory, praxis and puppet plays in Cervantes and Pirandello

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    Constantly throughout his literary career, the Italian writer Luigi Pirandello (1867- 1936) had always seen in Miguel de Cervantes Saavedra (1547-1616) a precursory inspiration of his own poetics. This paper delves into the complex nature of this literary influence, and particularly into the nature of the theoretical premonitions which CervantesÔÇÖ Don Quixote has pragmatically bequeathed to PirandelloÔÇÖs oeuvre. After a brief glance at various testimonies on Cervantes enunciated by Pirandello himself during his lifetime, this study tackles the meaning of two emblematic passages in PirandelloÔÇÖs long essay LÔÇÖumorismo, in which he traces the development of his very own poetics by linking it to CervantesÔÇÖ comic element in Don Quixote. Finally, the paper shall embark on a textual and thematic analysis of two emblematic puppet play episodes portrayed in Don Quixote and in PirandelloÔÇÖs novel The Late Mattia Pascal.peer-reviewe

    Love and Contracts in \u3cem\u3eDon Quixote\u3c/em\u3e

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    Viewing love as a contract seems, initially, like mistaking windmills for giants, or a peasant girl for a grand lady. This chapter seeks, like Don Quixote, to convince readers to suspend their practiced views of everyday relationships in order to see them in a new light. What seems crazy at first glance may come to look as good, and sometimes better, than the more conventional view. As a law professor, I usually write about love and contracts by focusing on legal opinions and statutes, and recently I have added real-life stories from books and newspapers, as well as my friends, family, colleagues, and students. But if I am right that love and contracts often complement instead of oppose each other, then my argument that contracts shape the beginning, middle, and demise of love relationships ought to hold true in fiction as well, especially for the jump-off-the-page characters and situations in Don Quixote. Applying this analysis to Don Quixote invites new readings, and may even bring yet more readers to this brilliant text

    Quixano as Reader, Quixote as Author

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    Cervantes\u27 17th century novel, Don Quixote, details the story of passive, stagnant Alonso Quixano, who then abruptly declares himself Don Quixote, a chivalric knight who goes on to fight passionately for his identity and reality. In his dying moments, however, he once more becomes Alonso Quixano, just as abruptly renouncing his previously-claimed identity. Cervantes\u27 work demands discussions of reality, identity, and above all, authenticity. The following paper explores the differences between Alonso Quixano and Don Quixote on these fronts, and argues that Don Quixote, author of his own life, demonstrates authenticity, while Alonso Quixano does not

    The Presence of \u3cem\u3eDon Quixote\u3c/em\u3e in Music

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    Many musical works have been based upon Don Quixote de la Mancha, by Miguel de Cervantes Saavedra. Since the publication of the novel in 1605 (Part I) and 1615 (Part II), composers of all eras have sought to translate the story of the knight-errant into the universal language of music. The genres and the musical interpretations have varied. But the interest in Cervantes\u27 masterpiece as a topic of musical expression has endured through nearly four centuries. After a brief introduction to the references to music in the novel itself, selected Quixote compositions from each century are discussed in this dissertation. Four major musical works have been chosen for specific study -- The Comical History of Don Quixote, the seventeenth century trilogy of musical plays, by Thomas D\u27Urfey, Henry Purcell, John Eccles, et al.; the eighteenth century orchestral work, Don Quixote Suite, by Georg Philipp Telemann; the nineteenth century symphonic poem, Don Quixote, by Richard Strauss; and Man of La Mancha, the twentieth century musical play, by Dale Wasserman, Joe Darion, and Mitch Leigh. A current chronology of Quixote compositions has been compiled and is placed in the Appendixes. There are also various other tables regarding the musical references in and musical pieces inspired by Don Quixote

    CERVANTESÔÇÖ─░N DON K─░┼×OT VE FIELDINGÔÇÖIN JOSEPH ANDREWS ADLI ROMANLARINA MET─░NLERARASI B─░R YAKLA┼×IM

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    CervantesÔÇÖ novel Don Quixote (1605) has been an inspiration for the works of many artists, and Henry Fielding himself on the title page of his novel accepts that Joseph Andrews (1742) was written in imitation of the manner of Cervantes, the author of Don Quixote. Moving from this point, the ideas developed in this paper are an attempt to study the thematic and formal similarities between Don Quixote and Joseph Andrews with an intertextual approach. In this respect, this article explores such literary elements as satire, parody, picaresque novel, and the Quixotic character employed both in Don Quixote and Joseph Andrews comparatively and this study, hence, argues that reading Joseph Andrews through Don Quixote and a comparison between them will provide the reader with a possibility of new insights about the text.CervantesÔÇÖin Don Ki┼čot (1605) roman─▒, bir├žok sanat├ž─▒n─▒n eseri i├žin ilham kayna─č─▒ olmu┼čtur ve bizzat Henry Fielding, Joseph AndrewsÔÇÖun, Don Ki┼čotÔÇÖun yazar─▒, CervantesÔÇÖin ├╝slubunun etkisi alt─▒nda kal─▒narak yaz─▒ld─▒─č─▒n─▒, roman─▒n─▒n kapak sayfas─▒nda kabul etmektedir. Buradan hareketle, bu makalede geli┼čtirilen fikirler, Don Ki┼čot ve Joseph Andrews aras─▒ndaki tematik ve bi├žimsel benzerlikleri metinleraras─▒ bir yakla┼č─▒mla inceleme ├žabas─▒d─▒r. Bu ba─člamda, makalede hiciv, parodi, pikaresk roman ve Ki┼čotvari karakter gibi her iki romanda da kullan─▒lan edebi unsurlar kar┼č─▒la┼čt─▒rmal─▒ olarak incelenmektedir ve dolay─▒s─▒yla bu ├žal─▒┼čma, Joseph AndrewsÔÇÖu Don Ki┼čot arac─▒l─▒─č─▒yla okuman─▒n ve bu romanlar aras─▒nda kar┼č─▒la┼čt─▒rma yapman─▒n, okuyucuya romanda yeni anlay─▒┼člar bulma olas─▒l─▒─č─▒n─▒ sa─člayaca─č─▒ fikrini ├Âne s├╝rmektedir

    2002-2003 The Lynn University Philharmonia Orchestra

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    Program Introduction - Graciela Helguero, Assistant Professor, Spanish Overture in G ( Burlesque de Quichotte ) / Georg Philip Telemann Don Quixote (Trombone Concerto No. 2) / Jan Sandstrom Mark Hetzler, trombone Don Quixote / Richard Strauss Johanne Perron, cellohttps://spiral.lynn.edu/conservatory_philharmonia/1135/thumbnail.jp

    La dimensi├│n biogr├ífica del Quijote cinematogr├ífico sovi├ętico: el caso de Nikolai Cherk├ísov

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    Actas del Segundo Congreso Internacional de Historia y Cine organizado por el Instituto de Cultura y Tecnolog├şa Miguel de Unamuno y celebrado del 9 al 11 de septiembre de 2010 en la Universidad Carlos III de MadridEl ensayo analiza dos obras que tratan el mito quijotesco en relaci├│n con la vida del famoso actor sovi├ętico Nikolai Cherk├ísov: sus diarios El cuarto Quijote. La historia de un rol y la pel├şcula documental Iv├ín el Terrible con el Alma de Don Quijote. En la primera parte del ensayo se define el paradigma del Quijote sovi├ętico con sus rasgos diferenciales m├ís importantes. Los diarios de Nikolai Cherk├ísov est├ín presentados como el documento ideol├│gico que en el actor inscribe al personaje cervantino en el modelo art├şstico sovi├ętico y de esta manera impone al p├║blico ÔÇťla interpretaci├│n espec├şficaÔÇŁ de la novela. En la pel├şcula documental Nikolai Cherk├ísov mismo se hace un mito quijotesco que se utiliza para manipular las nostalgias por la URSS.The paper focuses on two examples of Don Quixote myth used to interpret the biography of Nikolai Cherkasov, the famous actor of the Soviet time: his diaries The Fourth Don Quixote and documentary Ivan the Terrible with Soul of Don Quixote. In the first part of the paper the definition of the Soviet Don Quixote is provided. The diaries of the actor are presented as an important ideological document in which Nikolai Cherkasov tries to inscribe Don Quixote in the paradigm of the Soviet artistic model and to impose an ideological pro-Soviet reading of the novel. In the documentary Nikolai Cherkasov himself is made a Don Quixote myth, which is used to manipulate the pro-Soviet nostalgias.Publicad

    2002-2003 The Lynn University Philharmonia Orchestra

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    Program Overture in G ( Burlesque de Quichotte ) / Georg Phillip Telemann Don quixote (Trombone Concerto No. 2) / Jan Sandstrom Mark Hetzler, trombone Don Quixote / Richard Strauss Johanne Perron, cellohttps://spiral.lynn.edu/conservatory_philharmonia/1109/thumbnail.jp

    Guide to the classics: Don Quixote, the worldÔÇÖs first novel ÔÇô and one of the best

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    Completed by Cervantes when he was in prison, Don Quixote is the tale of a man so passionate about reading he leaves home to live the life of his fictional heroes
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