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In(di)visible Dream: Rhetoric, Myth, and the Road in America

Reading a number of post-Revolutionary works alongside a range of social, political, and cultural phenomena (such as Barbary conflicts, the Alien and Sedition Acts, yellow fever epidemics, and the cult of George Washington), this thesis contends that fiction of the early republic repeatedly deployed the contradictory figure of the quixote in order to test the conflicting ideals of the founders, to interrogate the political instabilities and social upheavals of the new republic, and to question both the possibility and the desirability of an isolationist United States and an independent 'American' literature. Chapter 1 discusses changing perceptions of Don Quixote in eighteenth-century British literature, charting his assimilation into British culture and his transformation from deluded fool to romantic hero: it was this complex figure, as much as his Spanish original, who crossed the Atlantic in the influx of British literary imports into America both before and after independence. Chapter 2 presents a survey of quixotic figures from colonial and Revolutionary America, before suggesting some reasons why 'misreadable' quixotes might have proved particularly compelling for writers of the early republic. Chapters 3 to 7 discuss works by Hugh Henry Brackenridge, Royall Tyler, Charles Brockden Brown, Tabitha Gilman Tenney and Washington Irving. In Modern Chivalry (1792-1815), Brackenridge shows readers how the discourses of republicanism and quixotism could be co-opted to resist change and naturalise existing power relations. Brown's Arthur Mervyn (1799-1800) recounts the rise and fall of a republican quixote, engaged in extending the limits of public service at the very moment in American history when the idea of 'virtue' was retreating to the private sphere. Royall Tyler's The Algerine Captive (1797) tells the story of a literary quixote whose narrative reveals a subtle indictment of the US republic and an untimely attachment to North African ways. Tenney's Female Quixotism (1801) exploits the interpretative instability of the quixotic figure to produce a double-talking text, a romantic satire that ridicules the self-deluded spinster while critiquing the period's self-sacrificing ideals of republican wife and mother. Irving's A History of New York (1809) burlesques the idealising tendencies of American historiography, introducing a surplus of quixotic patriarchs in order to challenge the continuing presence of the founding fathers and confront the difficulties faced by the early republic's post-heroic generation.

Broken heads and bloated tales: Quixotic fictions of the USA, 1792-1815

Unamuno’s Niebla [translated into English as Mist] has been the object of many critical interpretations. Few critics have linked Mist to Kierkegaard, contending that the narrative plot of Mist was mainly influenced by Kierkegaard, and randomly pointing out coincidences between Unamuno’s novel and Kierkegaard’s works. This article quantifies the influence of Kierkegaard’s Diary of a Seducer on Mist and concludes that Kierkegaard’s novel has strong bearing on Unamuno’s The Tragic Sense of Life and Mist. The main thesis posited by Unamunuo in Niebla is here identified and found to be inspired by Kierkegaard’s Diary of a seducer: spiritual love is the true sense of life. Kierkegaard’s Diary must be regarded as the literary and philosophical source of Mist.

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Nueva lectura de Niebla : Kierkegaard y el amor

The gaze of history when it is penned by Western scholars is often undergirded by a layer of violence through which the historian imposes his own view and perceptions upon another people and their places. During the early modern period (14921800), Europeans sought to describe the peoples and places they had encountered for European audiences, which gave rise to increased interest in the science of describing people (and then to the fields of anthropology and ethnography), and the invention of race. This article meditates on how the gaze imposes race while also structuring non-white people within the Enlightenment concepts of civilization and culture. Using casta paintings as well as literature drawn from the Spanish literary canon, we furthermore demonstrate how race became inscribed as a civilizing tool wielded in the nineteenth century by other Europeans against Spain as a means of othering and de-occidentalizing it from without the so-called civilized world.

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Civilizing the Pre-Modern Spanish World through the Gaze of Modernity

This first comprehensive history of Spanish literature to be published in English since the 1970s brings together experts from the USA, the United Kingdom, and Spain. Together, the essays cover the full range of Spanish poetry, prose, and theatre from the early Middle Ages to the present day. The classics of the canon of eleven centuries of Spanish literature are covered, from Berceo, Cervantes and Calderón to Garcı́a Lorca and Martı́n Gaite, but attention is also paid to lesserknown writers and works. The chapters chart a wide range of literary periods and movements. The volume concludes with a consideration of the influences of film and new media on modern Spanish literature. This invaluable book contains an introduction, more than fifty substantial chapters, a chronology (covering key events in history, literature, and art), a bibliography, and a comprehensive index for easy reference.

The Cambridge History of Spanish Literature

The Romantic Approach to Don Quixote

Preface Abbreviations 1. Don Quixote as a burlesque novel 2. The Romantics 3. Cervantes and the chivalresque ideal 4. Symbolic and allegorical criticism 5. Unamuno, 'Azorin', Ortega 6. 'El pensamiento de Cervantes' 7. Perspectivism and existentialism Conclusion Appendix Bibliography Index.

The Romantic Approach to 'Don Quixote': A Critical History of the Romantic Tradition in 'Quixote' Criticism

The purpose of this book is to help the English-speaking reader, with an interest in Spanish literature but without specialised knowledge of Cervantes, to understand his long and complex masterpiece: its major themes, its structure, and the inter-connections between its component parts. Beginning from a review of Don Quixote's relation to Cervantes's life, literary career, and its social and cultural context, Anthony Close goes on to examine the structure and distinctive nature of Part I (1605) and Part II (1615), the conception of the characters of Don Quixote and Sancho, Cervantes's word-play and narrative manner, and the historical evolution of posterity's interpretation of the novel, with particular attention to its influence on the theory of the genre. One of the principal questions tackled is the paradoxical incongruity between Cervantes's conception of his novel as a light work of entertainment, without any explicitly acknowledged profundity, and posterity's view of it as a universally symbolic masterpiece, revolutionary in the context of its own time, and capable of meaning something new and different to each succeeding age. ANTHONY CLOSE, now retired, was Reader in Spanish at the University of Cambridge.

A companion to Don Quixote

Paulson's book is about the influence of Don Quijote on the evolution of the aesthetics of laughter and satire in eighteenth-century England. Cervantes' novel was immensely popular in that period, being a key reference-point for its foremost writers; and, because of the rise of empiricism and the decentralizing of political power, they used it in a way that was unmatched in contemporary France and Spain. It put in question--Paulson argues--the conventional equation of comedy with satire and laughter with ridicule, as expounded by Hobbes in his Leviathan. For the royalist and Anglican Jonathan Swift, Don Quijote's madness symbolizes the Moderns' quest to change the world: using the norm of common experience, it exposes the folly of the unfettered enthusiasm of Dissenters and radical nonconformist sects. The Whig Joseph Addison, on the other hand, in the Spectator (1711-12), takes Quixotic madness as a model for revaluing the imagination that Swift treats as transgressive, and transforms Swiftian satiric ridicule into pure comedy, based on an aesthetics of pleasurable response or sympathetic laughter, an area which he designated as the Novel, New, or Uncommon. In this Addison follows the Earl of Shaftesbury, who, in his "Letter Concerning Enthusiasm and Sensus Communis: An Essay on the Freedom of Wit and Humour," upholds civilized, good-humored raillery, which he sees as a test of gravity, and while criticizing Enthusiasm in its fanatical religious form, defends it, in poetry, as an instrument of the Sublime. The engraver and cartoonist William Hogarth, a prominent figure in Paulson's story, adopts a position akin to Addison's. His transformation of religious symbols into aesthetic equivalents involves secularizing and humanizing them, assimilating them to a Sanchopanzine ideal of blemished but living beauty, which is experienced as Novelty and grounded in a response of laughter. Many other writers and themes figure in Paulson's account: Henry Fielding's debunking and transformation of Richardson's Pamela, the Quixotism of the hero of Daniel Defoe's Robinson Crusoe, Sterne's conception of the hobby-horse in Tristram Shandy, and the conversion of Marcela (Don Quijote I, 14) into the heroine of Charlotte Lennox's The Female Quixote (1742). Cervantes' masterpiece is a paradigm in all these cases, which bring four contentious problems into play: the madness of the imagination, the cruelty of laughter and ridicule, the question whether there are objective norms of beauty, and the extension of madness to religious belief. Paulson's book takes its cue from two seminal texts. The first is Milan Kundera's essay "The Day Panurge No Longer Makes People Laugh," in which the Czech novelist defines humor as bound up with the birth of the novel and as an imaginary terrain where moral judgement is suspended. …

Don Quixote in England. the Aesthetics of Laughter

Contents: The Cervantes' game of the work's fictional authors - Ridicule of literary affectation - The nature of the connections to chivalric romance - Seeing both sides of human behaviour - The ironies inherent in insisting on the truth of a narrative - Perspectives on the two protagonists - The relevance of the inserted tales - Don Quixote as meta-literature and as a work of entertainment - The widely divergent readings that it has provoked.

Anthony Close

Papers

The Romantic Approach to Don Quixote

The Romantic Approach to 'Don Quixote': A Critical History of the Romantic Tradition in 'Quixote' Criticism

A companion to Don Quixote

Don Quixote in England. the Aesthetics of Laughter

Cervantes on Don Quixote