Introduction. Viktor Shklovsky’s Heritage in Literature, Arts, and Philosophy

This book aims to examine the heritage of Victor Shklovsky in a variety of disciplines. To achieve this end, we drew upon colleagues from eight different countries across the world – USA, Canada, Russia, England, Scotland, the Netherlands, Norway, and Hong Kong – in order to bring the widest variety of points of view on the subject. But we also wanted this book to be more than just another collection of essays of literary criticism: we invited scholars from different disciplines – literature, cinematography, and philosophy – who have dealt with Shklovsky’s heritage and saw its practical application in their fields. Therefore, all these essays are written in a variety of humanist academic and scholarly styles, all engaging and dynamic

Mikhail Bakhtin’s Heritage in Literature, Arts, and Psychology. Introduction

This volume celebrates hundred years of Bakhtin’s heritage: in September 13 of 1919 in the literary journal Den Iskusstva (The Day of the Art) was published the first work of Mikhail Bakhtin, Art and Answerability, the work that became his literary manifesto. This book aims to examine the heritage of Mikhail Bakhtin in a variety of disciplines. To achieve this end, we drew upon colleagues from eight different countries across the world--United States, Canada, Spain, Great Britain, France, Russia, Chile, and Japan--in order to bring the widest variety of points of view on the subject. But we also wanted this book to be more than just another collection of essays of literary criticism. For this reason we invited contributions by scholars from different disciplines- -including theater, translation, and psychology--that is, those who have dealt with Bakhtin’s heritage and saw its practical application in their fields. Therefore, some of these chapters are not written in a typical humanist academic scholarly style. And that is as it should be

What Remains: Pseudotranslation as Salvage

Pseudotranslations are literary works which purport to be translations of lost or suppressed originals, i.e. to be ‘salvaged’ from oblivion or obscurity. Pseudotranslation has attracted a good deal of attention within translation studies in recent years, but as a practice it can be traced back a long way. This article discusses a number of examples of the type, from Cervantes’ Don Quixote and modern works treating Shakespeare as pseudotranslated (Star Trek VI, Tom Stoppard’s Arcadia) through notable eighteenth-century examples (Walpole’s The Castle of Otranto, MacPherson’s Ossian) to non-fictional fictions The Book of Mormon and ‘Nietzsche’s’ fraudulent late autobiography My Sister and I. Readers of translations usually trust that an original exists, and pseudotranslations abuse that trust. But even when an original does exist, translation performs a kind of salvage operation, acting as a kind of lifeboat which rescues a text from the passing of time and keeps it afloat for posterity

The chivalric world of Don Quijote : style, structure, and narrative technique

Includes indexBibliography: page 226-234The purpose of this book is to examine the characters, style, themes, structure, and narrative technique of that chivalric world. I hope to show, among other things, that Don Quijote begins to retreat from his chivalric fantasy and to reach an accord with reality in part I of the novel rather than in part II as is generally believed; that Sancho Panza both undermines and sustains his master's fantasy from the start; that the priest and the barber are not, as first presented, Don Quijote's friends, but rather his greatest enemies; and that Cide Hamete Benengeli becomes increasingly unreliable as a narrator and increasingly comic as a character in the second part of the novel.Part 1: El Ingenioso Hidalgo. Knighthood exalted -- Knighthood compromised -- Knighthood defeated. Part 2: Segunda Parte del Ingenioso Caballero. Knighthood imposed -- Knighthood deniedDigitized at the University of Missouri--Columbia MU Libraries Digitization Lab in 2012. Digitized at 600 dpi with Zeutschel, OS 15000 scanner. Access copy, available in MOspace, is 400 dpi, grayscale

Los embrujos del Quijote

La película intitulada "El embrujo del Quijote" presenta una nueva teoría sobre la autoría del Quijote. Partiendo del pretexto de esta película, Howard Mancing emprende un resumen histórico de obras literarias en las que también hay unas "teorías" originales al respecto, esto es, otros "embrujos" del Quijote. Resulta que Cervantes mismo fue el primero en sugerir que él no es el autor de la obra, llamándose "padrastro" y presentando a Cide Hamete Benengeli como autor, o "padre", de la historia de don Quijote y Sancho Panza. La novela como género literario, se sostiene en este artículo, siempre ha consistido en este tipo de juego metaficticio

Cervantes as Narrator of Don Quijote

Es una premisa casi unánimemente aceptada en la teoría literaria contemporánea que un autor histórico no puede aparecer de manera alguna en un texto ficticio. Esta actitud ejemplifica, a veces, lo que Bajtín ha llamado ¿teoreticismo¿: el confiar más en una bella teoría que en una realidad pragmática. En este ensayo se propone lo contrario: Miguel de Cervantes es el narrador de Don Quijote. Se critica especialmente la actitud binaria: algo puede ser o verdad o ficción (o autor histórico o personaje) pero no algo entre ambas cosas, ni una combinación de ellas

Camila's Story

¿El curioso impertinente¿ está dividido en dos partes casi iguales. La primera la dominan los varones Anselmo y Lotario, y en su discurso figuran análisis, razones y argumento. No se oye la voz de Camila. Todo cambia a partir de la frase ¿Rindiose Camila; Camila se rindió,¿ que aparece al centro de la narración. Después el enfoque pasa a ser femenino. Oímos a Camila y Leonela, en cuya conversación hay narración, intimidad y humor. Camila ya habla más que los hombres, controla la acción y con maestría trama la escena climáctica en la cual finge suicidarse para así manipular a su marido voyeur y a su amante atónito

SANCHO PANZA AND THE ETHICAL/MORAL NORM IN DON QUIXOTE

This article examines the character of Sancho Panza in Cervantes’s Don Quixote.  The argument is that Sancho emerges as the personification of the work’s ethical and moral norm.  The method is to identify specific textual clues that support this idea.  For example, Sancho most respects Don Quixote and does not mock or dehumanize him.  This is signaled textually by the phrase Sólo Sancho …,  Only Sancho …, and by the fact that he is the only character in the work who is described as having a buen natural, an innate goodness.  This stands out in contrast to other characters, such as the local priest and barber, Dorotea, and the Canon of Toledo, who play tricks at his expense, laugh openly at him, and treat him like a dog.  In Part II of the novel Sancho is the protagonist; he speaks most often and is most admirable.KEYWORDS: Sancho Panza. Cervantes. Norm. Ethics. Moral.Este artigo analisa o personagem cervantino Sancho Pança. O argumento é de que Sancho emerge como a personificação da norma ética e moral da obra. O método empregado é a identificação de pistas textuais específicas que apoiam essa ideia. Por exemplo, Sancho respeita Dom Quixote e não zomba dele ou o desumaniza. Isso é sinalizado textualmente pela frase solo Sancho ..., (somente Sancho ... ) e pelo fato de que ele é o único personagem na obra que é descrito como tendo um buen natural (uma bondade inata). Tal fato se destaca quando em contraste com outros personagens, como o padre local e o barbeiro, Doroteia, e o Cônego de Toledo, que pregam peças à sua custa, riem abertamente dele e o tratam como um cão. Na Parte II do romance Sancho é o protagonista; ele fala com mais frequência e é mais admirável.PALAVRAS-CHAVE: Sancho Pança. Cervantes. Norma. Ética. Moral