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1

DON QUIXOTE'S WOMEN (Kobiety Don Kichota)

100%
Krupecka I.
Przegląd Filozoficzno-Literacki
|
2010
|
vol. 9
|
issue 1(26)
235-254
EN
The purpose of this essay is to present the most important female protagonists in their interaction with Don Quixote. The vision of Golden Age introduces significant ambiguity into the woman's image: she is essentially related to fertile Mother Nature and, at the same time, is to fulfill the ascetic ideal unceasingly menaced by bodily passions. Both the ideal and Don Quixote are put to the test by particular female protagonists using their body, literary conventions and social relations. Marcela chooses the pastoral romance to gain the autonomy but at once needs to leave the society, Dorothea gets identity inside the social order through the chivalric romance, while Duchess takes her power from the social status. The Death's figure connected with Duchess shows that the real opposition organizing the novel might not be idealism/materialism or mind/body but both these elements put against the social order.
2

Don Quijote como figura de experiencia en Cyprian Kamil Norwid

80%
Nowicka J. C.
Estudios Hispánicos
|
2010
|
vol. 18
41-52
EN
The poem Epos-nasza.1848 by C.K. Norwid is probably the first Polish literary allusion to Don Quixote. It is the evidence of the poet᾽s childhood reading of Cervantes with all the sensuality of this experience and melancholic clarity of perception it created in adult author. It is also the evidence of the significance of this experience in author᾽s art and life, taking into account both artistic and historical context (biography of the whole generation). Reading as such is the key to Norwid᾽s way of comprehending all phenomena of culture and civilisation. The figure of Don Quixote expresses values professed by the poet as well as modern world conflicts (individual vs crowd). The lyrical subject-poet᾽s identification with Don Quixote crosses the boundary between reality and fiction, drawing attention to the fundamental importance of literariness in the poem, which makes significant the opposition literariness/truth, and not fiction/reality.
3

THE HEIRS OF CERVANTES (Spadkobiercy Cervantesa)

80%
Barbaruk M.
Konteksty - Polska Sztuka Ludowa
|
2009
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vol. 63
|
issue 3(286)
188-191
EN
The author reviewed the conversations of two famous Argentinian writers: Ernesto Sabato and Jorge Luis Borges, published in Buenos Aires as Diálogos (2007). The book offers the Polish reader new information about the relations between the two men of letters. The author characterised the universally known differences between them and then captured the breakthrough moment in the dialogues conducted in 1974: the attitude towards Don Quixote. Borges admitted that for many years he erred in his assessments of Cervantes and the hero of the novel (this was one of the reasons for Sabato's enmity). This important confession becomes a key to capturing the 'secret and genuine similarity' of the antagonistic writers, expressed in the metaphor: 'the heirs of Cervantes'. The review is thus also a polemic with the image of Borges and a victory of the 'concealed', 'second' Borges (Sabato). The author enclosed a translation of a fragment of Dialogos illustrating the central thesis of the article (the problem of Don Quixote) and a fragment of a conversation about the tango. Music was probably the only phenomenon towards which Borges remained indifferent, but about which he spoke surprisingly often. Here, in the company of Sabato, he kept silence and admitted to helplessness, betraying only a taste for music and a familiarity with the phrases of the 'Rio de la Plata songs'.
4

Don Kichote jako homo culturalis

70%
Barbaruk M.
Prace Kulturoznawcze
|
2011
|
vol. 12
173-190
EN
The author makes Don Quixote a patron of today’s theory of culture — which increasingly draws on an etymological understanding of culture — in order to demonstrate how the modern, hegemonic notion of culture can be undermined through him. We can pass from the Ciceronian metaphor of culture as cultivation of the spirit to the quixotic practising of values, the most important among them is freedom — the basis of man’s second birth in culture. Don Quixote as a model of homo culturalis is the subject who creates himself and builds his own authenticity in axiocentric madness. This authenticity is expressed by: “I know who I am.” A reflection on the quixotic “cultivation of the spirit” leads to a definition of quixotism as the maximum level of culturing the individual. The article ends with a presentation of the figure and work of the Spanish humanist Juan Luis Vives, who restored the term cultura animi, forgotten in the Middle Ages, to the reflection on human nature, thus giving an impulse to reflection on culture becoming independent in modern European thought.
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