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1
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Lo barroco como alternativa de modernidad. Entre los Molinos de Viento y la Ínsula Barataria

100%
González Martínez J. R.
Annales Universitatis Mariae Curie-Sklodowska, sectio I – Philosophia-Sociologia
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2015
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vol. 40
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issue 1
EN
The article tends to fathom the relations between the “baroque” as the certain identification of the Spanish World of the 16th and 17th centuries and the breathes of modernity that mere apparent in Europe, being under pressure of the iniciation of the scientific revolution, “religion reforms” and the historical background. We try to analyse this dispute by referring to some extracts from Cervantes’s Don Quijote de la Mancha and it’s influence on the formation of the proper of the ESP – American culture. 
ES
Esta comunicación pretende ahondar en la relación entre “barroco” como sustrato identitario del mundo hispánico en los siglos xvi y xvii y los aires de modernidad que se hacían presentes en una Europa convulsionada entre los inicios de la revolución científica, las “reformas religiosas” y las permanencias históricas. Trataremos de analizar ese debate mediante ciertos pasajes de la obra cervantina Don Quijote de la Mancha y su efecto sobre la gestación de una cultura propiamente hispanoamericana. 
2
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DON KICHOT CERVANTESA W KRYTYCE ROSYJSKIEJ I POLSKIEJ (NA MATERIALE PRAC VLADIMIRA NABOKOVA I ZOFII SZMYDTOWEJ)

99%
Karwacka M.
Acta Neophilologica
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2015
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vol. XVII/1
113-120
EN
The paper deals with the critical texts of two writers / researchers whose roots come from Russia and interests are focused on similar literature areas among other things on Don Quijote. Zofia Szmydtowa a Russian researcher whose career was developed mainly in Poland and Vladimir Nabokov, whose critical and literature analysis were conceived outside Russia decided to make an attempt to decode the Cervantes’ masterpiece. Both authors have their own concept concerning interpretation and analysis of the Cervantes’ novel. The author of the paper tries to find similarities in their understanding and critical idiom, discovering the justification of such different critical texts. Although texts were written in different circumstances and environments they have a lot in common what is shown in the paper.
3
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Transversal Connections: The Cervantes Quatercentenary in Spain and its Comparison with “Shakespeare Lives”

85%
Gregor K.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2019
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vol. 19
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issue 34
91-105
EN
Taking as its cue the 2016 quatercentenaries of the deaths of both Shakespeare and Cervantes, the essay offers some insights into the “transversal connections” between both events as celebrated in Spain and the UK. The questions it raises and attempts to resolve are fourfold: (1) What are the reasons and also the benefits of yoking together two such apparently disparate authors, whose strongest link is, arguably, the fact they both passed away in 1616? (2) What work is being done to restore these writers to life, especially in schools where, for a variety of reasons, literature has lost its core-curricular status, and in general society where the classics seem to have less and less import? (3) What might Shakespeare or Cervantes be said to stand for in their respective cultures, both in terms of the genres they wrote in (it is often forgotten, for instance, that Cervantes was also a poet and a dramatist) and the extra-literary values they are said to transmit? (4) What is the role of the State in the safeguarding and promotion of the nation’s cultural heritage?
4
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Cervantes and Shakespeare – the Poets of Singing Islands

85%
Mrowcewicz K.
Nauka
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2017
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issue 1
PL
The article corresponds to the 400th death annniversary of two famous European writers – Cervantes and Shakespeare – celebrated all around the world. The author tells about their lifes and takes into consideration the possiblility of their meeting together in Vailladolid. Besides, the author emphasizes on the qualities that are in common for Shakespeare’s and Cervantes’ works – among others the universality (their readers were both educated as well as simple), the ability to create symbolic figures and the application of colloquial language.
5
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«Nowy Donkiszot» albo Pornografia nowoczesności: O zapomnianym dramacie Jerzego Żuławskiego

80%
Dudek M.
Pamiętnik Teatralny
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2020
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vol. 69
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issue 1
163-184
EN
This article interprets Jerzy Żuławski’s Nowy Donkiszot (The New Don Quixote), an unfinished drama that has never been studied to date. On the formal level, the text may well be Żuławski’s boldest experiment as a playwright; it can be situated in the vicinity of Stanisław Wyspiański’s and Tadeusz Miciński’s theatre projects. But Nowy Donkiszot is above all an extremely interesting judgment of modernity: through a reinterpretation of the figure of the knight errant present in Polish literature, and in dialogue with Wyspiański’s The Wedding, Żuławski diagnoses the impotence of his contemporary intelligentsia in the face of the Revolution of 1905 and exposes the soporific effect of the nascent cultural industry. In the play, the modern Don Quixote undergoes an evolution: from an idealist, a utopian fantasist and revolutionary fighter, through a search for happiness in illusion and the role of a “Hamletic” hedonist, to a critical pornographer of modernity. The pornographic code, elevated to the rank of the construction principle of the play, is a literary strategy allowing the playwright to critically penetrate reality, here metonymically represented by an entertainment establishment in Rome.
PL
Artykuł jest próbą interpretacji Nowego Donkiszota Jerzego Żuławskiego, nieukończonego dramatu, który nigdy nie był przedmiotem badań. Na płaszczyźnie formalnej utwór stanowi najodważniejszy być może eksperyment Żuławskiego jako dramatopisarza, lokujący się w sąsiedztwie projektów teatralnych Stanisława Wyspiańskiego i Tadeusza Micińskiego. Ale Nowy Donkiszot to przede wszystkim arcyciekawy sąd epoki nad nowoczesnością, który przez reinterpretację obecnej w literaturze polskiej figury błędnego rycerza, a także w dialogu z Weselem Wyspiańskiego, diagnozuje impotencję współczesnej Żuławskiemu inteligencji w obliczu rewolucji 1905 i obnaża usypiający charakter rodzącego się przemysłu kulturalnego. Nowoczesny Don Kichot przechodzi w dramacie ewolucję od idealisty, utopijnego fantasty i rewolucyjnego bojownika, poprzez poszukiwacza szczęścia w iluzji i rolę „hamletycznego” hedonisty, aż po krytycznego pornografa nowoczesności. Kod pornograficzny, podniesiony do rangi zasady konstrukcyjnej dramatu, stanowi literacką strategię pozwalającą dramatopisarzowi krytycznie prześwietlić rzeczywistość, której metonimią uczynił rzymski lokal rozrywkowy.
6
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«Nowy Donkiszot» albo Pornografia nowoczesności: O zapomnianym dramacie Jerzego Żuławskiego

71%
Dudek M.
Pamiętnik Teatralny
|
2020
|
issue 1(273)
163-184
EN
This article interprets Jerzy Żuławski’s Nowy Donkiszot (The New Don Quixote), an unfinished drama that has never been studied to date. On the formal level, the text may well be Żuławski’s boldest experiment as a playwright; it can be situated in the vicinity of Stanisław Wyspiański’s and Tadeusz Miciński’s theatre projects. But Nowy Donkiszot is above all an extremely interesting judgment of modernity: through a reinterpretation of the figure of the knight errant present in Polish literature, and in dialogue with Wyspiański’s The Wedding, Żuławski diagnoses the impotence of his contemporary intelligentsia in the face of the Revolution of 1905 and exposes the soporific effect of the nascent cultural industry. In the play, the modern Don Quixote undergoes an evolution: from an idealist, a utopian fantasist and revolutionary fighter, through a search for happiness in illusion and the role of a “Hamletic” hedonist, to a critical pornographer of modernity. The pornographic code, elevated to the rank of the construction principle of the play, is a literary strategy allowing the playwright to critically penetrate reality, here metonymically represented by an entertainment establishment in Rome.
7
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Don Quijote: jiná modernita

70%
Sánchez Fernández J. A.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
116-124
EN
Is it possible to read Don Quijote de la Mancha as a work representing modernity, and if so, in which sense? So sounds the question that this essay tries to answer. On the one hand, Close has warned about the problems of the romantic reading of Don Quijote, like, for instance, to assert that the book symbolizes Spain or an epoch. But, on the other hand, Cervantesʼ major work is in contact, through Huarte de San Juan, with the problem of truth, developed by renaissance thought in 16. century. That problem of truth, and the origin of knowledge criticism, is interpreted by Kundera as characteristic of modernity, even if different to the tradition founded by Descartes.
8
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Cervantes a tolerance

70%
Sánchez J. A.
Slovo a smysl - Word & Sense
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2019
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vol. 16
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issue 31
25-39
EN
The treatment of the morisco theme in Don Quixote could be understood as an index — a proof — of the philosophical and spiritual differences between Cervantes and the official ideology of his time. In his discourse, Ricote (the morisco character in Don Quixote II, 1615) names the ‘freedom of conscience’, an important theme in European religious discourse of the 16th and 17th centuries. This article deals with the interpretation of that expression in the literary and ideological context of Cervantesʼ novel and Cervantesʼ world. It seems that the expression refers to the Peace of Augsburg, and it could be interpreted as an appeal for tolerance, in this case regarding the morisco question (the moriscos were banned in 1609, before the publication of the second volume of Don Quixote). Yet this is a problematic interpretation: in Spain, the expression was commonly associated with heresy. It is in this sense that Lope de Vega uses the expression. This in turn is what allows us to characterize Lope de Vegaʼs literary work as conservative and Cervantesʼ as liberal.
9
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Hispánská literatura v Českých teoriích překladu Jiřího Levého

70%
Uličný M.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2016
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vol. 54
165-173
EN
The article, dedicated to the founder of Czech translation theory and history, Jiří Levý, on the occasion of the 90th anniversary of his birth (1926), seeks and finds examples of his interest in Czech translators from Spanish and their critics in the 19th and the first half of the 20th centuries. Levý’s greatest merit is based on drawing the attention to the problem of the Czech versions of the Spanish romance form, particularly with regard to assonance.
10
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Remote Islands as Fictional and Metaphorical Places in Cervantes, Fletcher and Shakespeare

57%
González J. M.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2017
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vol. 15
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issue 30
133-145
EN
Islands have always occupied a significant place in literature and have been a source of inspiration for the literary imagination. Fictional islands have existed as either lost paradises, or places where law breaks down under physical hardships and a sense of entrapment and oppression. Islands can be sites of exotic fascination, of cultural exchange and of great social and political upheaval. However, they are more than mere locations since to be in a place implies being bound to that place and appropriating it. That means that the islands narrow boundaries, surrounded by the sea and cut off from mainland, can create bridges between the real and the imaginary as a response to cultural and social anxieties, frequently taking the form of eutopias/dystopias, Edens, Arcadias, Baratarias, metatexts, or cultural crossroads, deeply transforming that particular geographical location. This article is concerned with insularity as a way of interrogating cultural and political practices in the early modern period by looking at the works of Cervantes, Fletcher and Shakespeare where insular relations are characterized by tensions of different sort. The arrival of Prospero and Miranda, Periandro and Auristela (The Trials of Persiles and Segismunda), and Albert and Aminta (The Sea Voyage) to their respective islands take us to a different world, revealing different political and cultural interests and generating multiple perspectives on the shifting relationship between culture, society and power.
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