{"title":"El Quijote en la calle: historia de un espectáculo","authors":"Pilar Serrano Sánchez de Menchén","doi":"10.30687/978-88-6969-579-7/024","DOIUrl":"https://doi.org/10.30687/978-88-6969-579-7/024","url":null,"abstract":"Don Quijote en la Calle (Don Quixote on the street) is a popular show that takes place in Argamasilla de Alba (Ciudad Real). It is currently performed during the town’s Cervantine Days (April-June). At the moment, around 150 locals take part in this show, bringing the adventures of Don Quixote to life: horses, live music, dances from the Golden Age, fireworks, etc. In doing so, this unusual type of show achieves a unique staging. Heir to Estampas del Quijote (a street theatre that was formerly performed in the town), the Town Council of Argamasilla de Alba has applied to the Junta de Comunidades de Castilla-La Mancha for Don Quijote en la Calle to be declared worthy of ‘Regional Tourist Interest’.","PeriodicalId":216765,"journal":{"name":"Admiración del mundo\n Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131342379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Las ciudades de Cervantes: corografías entre historia y ficción","authors":"A. Sáez","doi":"10.30687/978-88-6969-579-7/020","DOIUrl":"https://doi.org/10.30687/978-88-6969-579-7/020","url":null,"abstract":"In the context of the Cervantine interest in history, national identity, and travels, this paper aims to offer an overview of Cervantes’s cities. More specifically, this study focuses on the descriptions of cities in his novels, which constitutes small examples of corographies with different functions and meanings, which also connects with the historiographical genre.","PeriodicalId":216765,"journal":{"name":"Admiración del mundo\n Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas","volume":"205 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132785276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Magias parciales de Cervantes: Garcilaso contra Avellaneda","authors":"Clea Gerber","doi":"10.30687/978-88-6969-579-7/002","DOIUrl":"https://doi.org/10.30687/978-88-6969-579-7/002","url":null,"abstract":"This paper focuses on the references to Garcilaso de la Vega in Don Quixote, particularly in the second part, dated 1615. The aim of this study is to highlight the mechanism used by Cervantes to make Garcilaso’s verses an efficient tool for the dispute that his Quixote holds with Avellaneda’s text. From this perspective, I inquire into the way Cervantes builds himself as a reader of the classic writer, and sets his own writing on that trail. Garcilaso’s work is useful to him, among other things, to raise a discussion on the survival of texts for posterity.","PeriodicalId":216765,"journal":{"name":"Admiración del mundo\n Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126692542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Las deformaciones lingüísticas en los entremeses cervantinos","authors":"Guillermo Fernández Rodríguez-Escalona","doi":"10.30687/978-88-6969-579-7/007","DOIUrl":"https://doi.org/10.30687/978-88-6969-579-7/007","url":null,"abstract":"Cervantes shows a particular sensitivity towards some linguistic deformations. In the theatre, and more specifically in the short theatre, these deformations serve a comic purpose in dialogue, and aim to define characters. On the one hand, they concentrate on situations that manifest the vision of the world and attitudes of the language deformers. On the other hand, these traits connect with Cervantes’s specific conception of speech.","PeriodicalId":216765,"journal":{"name":"Admiración del mundo\n Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125155027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"«Nunca representados», siempre sobre las tablas: los Entremeses de Cervantes y la escena contemporánea","authors":"D. Migueláñez","doi":"10.30687/978-88-6969-579-7/012","DOIUrl":"https://doi.org/10.30687/978-88-6969-579-7/012","url":null,"abstract":"Throughout the twentieth century and until these days, a revival of the short theatre occurred, concerning textual studies and adaptations to the scene. The case of Cervantes’s Entremeses offers an unparalleled example of this resurgence. This study will approach the details of this recovery through scenic examples that will help illustrate the reasons that make today’s playwrights look back at Cervantes’s minor works.","PeriodicalId":216765,"journal":{"name":"Admiración del mundo\n Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124888098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Verdad, mentira y poesía en la historia de Timbrio y Silerio en La Galatea","authors":"S. Santa-Aguilar","doi":"10.30687/978-88-6969-579-7/023","DOIUrl":"https://doi.org/10.30687/978-88-6969-579-7/023","url":null,"abstract":"The story of Timbrio and Silerio is the only one openly presented as a story of courtiers in La Galatea. The two Spanish courtiers and the two Italian ladies star a plot where poetry has a fundamental role. In this story, poetry exceeds the possibilities it has in the bucolic tradition. The courtier’s compositions oscillate between the spontaneous and self-referential characteristics of pastoral poetry and tailor-made poetry. Both possibilities intertwine unexpectedly to arrive at a paradoxical ending: tailor-made poems recited in Naples anticipate the outcome this story has in the middle of the arcadia, while spontaneous and sincere poetry ends up being part of a staging which aims to artificially generate an archetypal scene of recognition between the four characters.","PeriodicalId":216765,"journal":{"name":"Admiración del mundo\n Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130856678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"El arte de la novela de Cervantes a Zayas","authors":"Emre Özmen","doi":"10.30687/978-88-6969-579-7/013","DOIUrl":"https://doi.org/10.30687/978-88-6969-579-7/013","url":null,"abstract":"The claim of a Cervantes’ effect in Zayas’s narrative might be regarded as contradictory, especially considering the formal differences in their novelistic structure. At first, one might argue that the absence of a frame in Exemplary Novels places the novel in the opposite category to Honesto y entretenido sarao’s Boccaccian use of a frame tale. However, after a more detailed analysis, I will argue that these works are two sides of the same coin in their way of dealing with narrative problems. In Zayas, the interrelation between the frame story and inserted novels reveals a novelty. Zayas aligns with Cervantes in the rejection of the conventional use of narrative formula, although Zayas opts for the extreme opposite to the omission of the framework. Considering the Cervantine lesson about the internal ties of the novels, Zayas creates a structure where unity is established by the frame story.","PeriodicalId":216765,"journal":{"name":"Admiración del mundo\n Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123627383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"El hombre que mató a don Quijote de Terry Gilliam (2018) desde la transversalidad de la recreación","authors":"S. L. López Navia","doi":"10.30687/978-88-6969-579-7/009","DOIUrl":"https://doi.org/10.30687/978-88-6969-579-7/009","url":null,"abstract":"In this study, I undertake an analysis of Terry Gilliam’s The Man Who Killed Don Quixote (2018), a cinematographic recreation of Cervantes’s Don Quixote. I will scrutinise its themes, formal resources, and characterization in relation to other ways of recreation (primarily, the literary and musical ones), while paying special attention to the identity of the protagonists, the metafictional procedures, and the strategies employed in order to reword some of the main episodes of the original novel. In this sense, this study allows for an understanding of the Cervantine text from a transversal perspective.","PeriodicalId":216765,"journal":{"name":"Admiración del mundo\n Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129393394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"El cardenal Espinosa y Mateo Vázquez de Leca: su influencia en la actividad teatral de Miguel de Cervantes","authors":"José Luis Gonzalo Sánchez-Molero","doi":"10.30687/978-88-6969-579-7/008","DOIUrl":"https://doi.org/10.30687/978-88-6969-579-7/008","url":null,"abstract":"When Cervantes returned from his captivity in Algiers, he began a prolific period as a theatrical playwright. It was then, between 1581 and 1591, that he wrote numerous comedies, tragedies, and sacramental autos. Cervantes’s theatrical training, however, is a mystery. He only remembers his youthful attendance of theatrical performances by Lope de Rueda, but he does not write anything about the Italian Commedia dell’arte, for example. In this article, I propose to study the influence of the ‘confessional’ politics of Cardinal Espinosa and Mateo Vázquez (1565-1591) on the theatrical conception of Miguel de Cervantes, as well as the influence of Juan López de Hoyos and Alonso Getino de Guzmán on his theatrical apprenticeship.","PeriodicalId":216765,"journal":{"name":"Admiración del mundo\n Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas","volume":"132 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120868743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Los Ludeña, regidores madrileños y familia hidalga principal de la Mancha\u0000 Una relación clientelar de Miguel de Cervantes","authors":"J. Sánchez Sánchez","doi":"10.30687/978-88-6969-579-7/022","DOIUrl":"https://doi.org/10.30687/978-88-6969-579-7/022","url":null,"abstract":"In La Mancha region there is no record of any visit by Cervantes. The reiteration of literary references to two towns in Toledo’s La Mancha leads us to search the biography of Cervantes for connections with Quintanar de la Orden and El Toboso. I explore a line of research focusing on the years of his marriage (1584-1586). In the relaciones of 1586, there is a client relationship with Pedro de Ludeña, born in Madrid, and his godfather. The Ludeña family is also the main linage of noblemen in the town of Quintanar de la Orden during those years. For his part, in 1584, Cervantes made a deal with the attorney Ortega Rosa to process the publication of Laínez’s El Cancionero. At that time, Ortega Rosa was the representative of seventeen owners of windmills in El Toboso. Still in 1584, and after forty years of exile for murdering a member of the Ludeña family, the nobleman Cepeda returned to Quintanar de la Orden. At this point, there are biographical parallels with the Persiles plot. These data, together with the literary ones, allow to argue that Cervantes had a special knowledge of these two places: Quintanar de la Orden and El Toboso.","PeriodicalId":216765,"journal":{"name":"Admiración del mundo\n Actas selectas del XIV Coloquio Internacional de la Asociación de Cervantistas","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116941259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}