{"title":"塞万提斯的哥特人","authors":"Adrián J. Sáez","doi":"10.30687/RI/2037-6588/2018/110/002","DOIUrl":null,"url":null,"abstract":"The present work aims to trace a panoramic view of the presence and function of Visigothic elements in Cervantes’ work. The article pays attention to appearances of Gothic characters and episodes in theatre (La Numancia), the Quijote and poetry, which is crucial to examine the evocation of Spain’s Gothic past in the Persiles (III, 8), a passage which is meant as a minichorography that replies to Toledo’s efforts to recover its symbolical power (political and religious), in a new area of conflict with Lope and Avellaneda.","PeriodicalId":185030,"journal":{"name":"41 | 110 | 2018","volume":"56 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Goths of Cervantes\",\"authors\":\"Adrián J. Sáez\",\"doi\":\"10.30687/RI/2037-6588/2018/110/002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The present work aims to trace a panoramic view of the presence and function of Visigothic elements in Cervantes’ work. The article pays attention to appearances of Gothic characters and episodes in theatre (La Numancia), the Quijote and poetry, which is crucial to examine the evocation of Spain’s Gothic past in the Persiles (III, 8), a passage which is meant as a minichorography that replies to Toledo’s efforts to recover its symbolical power (political and religious), in a new area of conflict with Lope and Avellaneda.\",\"PeriodicalId\":185030,\"journal\":{\"name\":\"41 | 110 | 2018\",\"volume\":\"56 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-12-11\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"41 | 110 | 2018\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.30687/RI/2037-6588/2018/110/002\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"41 | 110 | 2018","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30687/RI/2037-6588/2018/110/002","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
The present work aims to trace a panoramic view of the presence and function of Visigothic elements in Cervantes’ work. The article pays attention to appearances of Gothic characters and episodes in theatre (La Numancia), the Quijote and poetry, which is crucial to examine the evocation of Spain’s Gothic past in the Persiles (III, 8), a passage which is meant as a minichorography that replies to Toledo’s efforts to recover its symbolical power (political and religious), in a new area of conflict with Lope and Avellaneda.
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