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Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Atalanta: Revista de las Letras Barrocas is the property of Atalanta Revista de las Letras Barrocas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Miguel de Cervantes had firsthand experience with spying techniques in North Africa, first as a captive in Algiers and later as a royal envoy on a secret mission in Oran. In this paper, I examine how the author articulated his knowledge on espionage in "La gitanilla" ("The Little Gypsy") (1613). Firstly, I propose that, by 1610, Cervantes found himself in an auspicious geopolitical context to bring to light, in the fictional realm, his knowledge on intelligence. Secondly, I argue that, in his novella, a group of Gypsy girls reveal practices and skills commonly associated with real seventeenth-century spies. Also, I claim that Preciosa and Andrés can be understood as ideal informants. In this way, I conclude that, although Cervantes had little direct participation in the Spanish intelligence services, his proximity has left important traces on his fictional work. [ABSTRACT FROM AUTHOR]

Le terme « désabusement » nous permet de revenir sur un aspect de la création littéraire de Cervantès : celui d’un écrivain qui suit le chemin et tire profit des ressources que lui offre la tradition. Il permet également d’examiner l’un des clichés qui a orienté le cervantisme quant à la possible évolution idéologique de son auteur, avant de proposer quelques remarques relatives à la trajectoire littéraire de Cervantès, laquelle fut bien comprise en son temps, mais moins au XXIe siècle.

One of AI's core abilities is the conjuring up of images that seem familiar to us, based on our individual visual and architectural preoccupations. This splicing of the known with the unknown can create a sense of déjà vu that is both centred and defamiliarised. Italian artist, architect and researcher in visionary architecture Cesare Battelli takes us through some of the characters of the past who have utilised such creative tactics. [ABSTRACT FROM AUTHOR]

Co-founder of the "Panic Movement" Fernando Arrabal created in 2005 a new cosmogony of his theatrical universe in a text, Pingüinas, that merges and mixes space and time, in an alchemic experiment that combines extracts from the works of Miguel de Cervantes with references that go beyond postmodernity. Hybridity and plurality, fiction and fantasy are all essential elements in the artistic vision of this playwright; in this essay, we aim to probe the theatrical modalities with which Arrabal translates, more than forty years after the "Panic Manifesto", his universe, with the intention not only of studying the possible worlds he proposes through his art, but also trying to investigate the concept proposed by Bauman of "retrotopia". [ABSTRACT FROM AUTHOR]

This work offers a reading of the character Luis from the Novel of the Jealous Extremaduran by Miguel de Cervantes that connects him with the cyclops Polyphemus from Book 9 of Homer's Odyssey. This study of the elements of wine, music, Luis's blackness, and his mule, reveals a subtle association between both characters. In addition, a diachronic study of the myth of Polyphemus shows him to be in love with the nymph Galatea. Galatea's rejection of Polyphemus's love forces him to show his musical mastery, which he does by singing of his heartbreaks accompanied by his musical instrument. By these means, Cervantes introduces a literary and parodic imitation of Polyphemus, who now appears to be transformed into the eunuch Luis. This essay explores the literary adaptation that Miguel de Cervantes makes of a well-known mythical encounter which he offers to his readers in a hidden and humorous way. [ABSTRACT FROM AUTHOR]

This article studies the conceptualization and transformation of friendship in Cervantes's "El curioso impertinente." The main focus of the essay is the correlation between friendship and time, stressing the importance of the image of a harmonious clock at the beginning of the novel and how the combination of a desire to be extremely fortunate and social imperatives of behavior dislocate and eventually destroy the clock of friendship. The essay demonstrates how a desire for antonomasia instrumentalizes friendship by requiring deception and ultimately transforming the friend into an other. [ABSTRACT FROM AUTHOR]

In 2015, the North American short story writer Lucia Berlin (1926–2004) was 'rediscovered' when her posthumous collection, A Manual for Cleaning Women, became a New York Times bestseller. It has since been translated into more than twenty languages, and has been received with particular enthusiasm in Spain and Latin America. Many of her stories are set in Chile or Mexico, where she lived for many years. This article proposes that Berlin's adolescence in Santiago, her bilingual education, and her studies with Spanish novelist Ramón J. Sender at the University of New Mexico had important impacts on her writing. This connection has yet to be made: Berlin is most often associated with North American 'dirty realism', or other anglophone movements. I argue that we are wrong to place her work exclusively in the context of her country of birth, and propose that we read her alongside the hispanophone writers she learned from. In my first section, I describe Berlin's experience in Santiago as a young, privileged North American, and explore how this formed her identity as an outsider–insider, or insider–outsider. In my next section, I focus on Berlin's undergraduate years in New Mexico, charting her interests in liminal and domestic spaces, which may have been encouraged by Sender. In my final section, I examine the stories with Chilean settings that she published in 1988, and ask what prompted her to return to the country of her adolescence on the page. [ABSTRACT FROM AUTHOR]

The complex mythological web of Miguel de Cervantes's novella "El celoso extremeño" has been extensively explored by scholars. However, despite the fact that most conducting myths referenced in the novel revolve around themes of vigilance, clandestine gaze, and visual deceit, these topics have not been systematically addressed yet. This present essay intends to bridge this analytical gap by exploring the ways in which mythological parables in "El celoso extremeño" connect with contemporary scientific preoccupations regarding perception, optical illusions, the nature of images and sounds and the ways the human eye and ear perceive them. [ABSTRACT FROM AUTHOR]

This article considers the significance of allusions to Miguel de Cervantes's Don Quixote (1605–1615) in Sefarad (2001) by Antonio Muñoz Molina. Understanding Cervantes's novel as a key instance of adaptive imitation, it argues that the narrator of Sefarad also relies on quixotic echoes and narrative patterns reminiscent of Cervantes's novel in the construction of his narrative. The narrator's allusions thereby reflect the aesthetic and narratorial practices which he employs in piecing together imagined memories and testimonies of the ravages of twentieth-century European history. Drawing on and extending previous analyses of the continuum of adaptive imitation that exists between the two writers, this article suggests that the echoes of Cervantes's masterpiece in Sefarad encapsulate and complicate the ambiguities, both aesthetic and ethical, of Muñoz Molina's narrative. By indicating metaphorical comparisons between both texts, this article reveals heretofore underexplored elements of the aesthetics and the narrative stakes of Muñoz Molina's novel. To the extent that quixotic echoes of adaptive imitation between these two literary works offer a mirror of textual composition, they also reflect constitutive tensions in Sefarad concerning the tapestry of traumatic experiences reimagined and woven together across the novel. [ABSTRACT FROM AUTHOR]

El presente artículo tiene como objetivo revisar algunos de los aspectos de la vida cotidiana de la época Moderna reflejados en una de las novelas ejemplares de Miguel de Cervantes Saavedra, ‘La ilustre fregona’ (1613), en la que, tras su análisis, se han identificado cuestiones relativas a la organización social de ese periodo, las estructuras familiares, el trabajo, el ocio o la vestimenta, lo que, sin duda, ayuda a un mejor entendimiento de la obra y del contexto en el que fue creada. A partir de esta novela se puede observar cómo era la vida de España en siglo XVII, tanto de las clases privilegiadas como de las menos favorecidas. También, se ha podido observar la evolución histórica que han tenido en la sociedad en su conjunto las relaciones laborales o bien las formas de entretenimiento. Asimismo, la mentalidad predominante se puede apreciar a través de los recursos literarios que utilizó el autor, como la alusión, pues como él mismo lo afirmó, sus ‘novelas ejemplares’, son muestras de la realidad.

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of De Computis is the property of Asociacion Espanola de Contabilidad y Administracion de Empresas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Reseña del libro Miguel de Cervantes. El poeta que fue novelista (Madrid, Sial Pigmalión, 2021), de José Montero Reguera.

Copyright of Acta Medica Colombiana is the property of Acta Medica Colombiana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Comics adaptations of literary classics often struggle to step out of the shadow of their model. This article explores how the recent adaptation of Miguel de Cervantes's Don Quixote by German comics artist Flix transposes the Golden Age classic to a contemporary German setting, updating the story to speak to some of postmodern society's concerns. Flix's approach is marked by an ironic distance from his textual and pictorial sources, which he repurposes without losing sight of the Spanish novel's story arc, character constellation, and narrative devices. The adaptation restores the original comicality to a classic that has mostly been read as a tragic story. While the adaptation inscribes itself into Germany's cultural fabric, it proposes a Don Quixote that transcends traditional notions of clearly delimited, monolithic national cultures. [ABSTRACT FROM AUTHOR]

In Cervantes’ Don Quijote (1605), Dulcinea does not participate in any dialogue, and yet still appears a vivid character as real as the other female characters who do speak in the novel. Dulcinea, a figment of others’ imaginations, forms a sharp contrast with the character of Marcela, who fashions an authoritative self through dialogue with other characters. Marcela’s self, like Dulcinea’s, is relational to others’; however, her self-fashioning frees her from the objectification of Dulcineism and instead Marcela makes herself a character that transgresses conventional narratives, both cultural and literary. Likewise, a similar rejection of Dulcineism and a desire to craft her life story through her dialectical exchanges with the rest of the characters enables Miren, a principal female character in Aramburu’s Patria (2016), to fashion a self that actively contravenes the general perspective of her son’s supposed crimes as an etarra. In this analysis, I consider the Cervantine technique of rhetorical self-fashioning in characters such as Marcela and I trace this technique in the development of the character of Miren in Aramburu’s contemporary novel, Patria. Cervantes’ Marcela inaugurates the self-fashioning character in Western fiction, which is expanded by Aramburu four-hundred years later with his female character, Miren. Like Marcela, Miren must fashion herself against a polyphony of voices, frequently male, that provide a variety of narratives shaping the events of her life. I argue that Aramburu’s character, like Cervantes’, is empowered to author her own narrative to contravene an undesired outcome. Furthermore, both female characters use dialogue to reject the common literary tendency towards Dulcineism and, through relational rhetoric, disregard conventional narratives in favor of creating their own: a remarkable choice for female characters, both then and now.

Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyses, with the specific tools of comparative literature, the way Mabel Dearmer's play Don Quixote. A Romantic Drama (1916) revisits Miguel Cervantes's novel The Ingenious Gentleman Don Quixote of La Mancha (1605/1615). It discusses the work of this less known English novelist and playwright as a modern adaptation which successfully offers the Knight of the Sad Countenance the ending she believed he deserved, imbuing her text with intertextual echoes from the English pastoral tradition and the Byzantine adventure novel. [ABSTRACT FROM AUTHOR]

Miguel de Cervantes Saavedra estuvo en la sevillana ciudad de Carmona en 1590, y quizás también en 1593, cuando prestaba sus servicios al rey Felipe II y a sus proveedores generales en calidad de comisario real de abastos, con el fin de obtener aceite, trigo y otras provisiones para el abastecimiento de las Armadas Reales. A finales del siglo XIX, Jorge Bonsor, arqueólogo e historiador inglés, halló en el Archivo Municipal de Carmona una carta autógrafa de Cervantes fechada el 12 de febrero de 1590. En ella, el comisario solicitaba la colaboración del Concejo de la ciudad para conseguir 4000 arrobas de aceite. A mediados del siglo XX, Luis Astrana Marín descubrió entre los protocolos notariales de Carmona una veintena de documentos, hasta entonces inéditos, relacionados con dicha comisión. Ahora, setenta años después que Astrana, hemos podido localizar en el Archivo Histórico Provincial de Sevilla otros doce documentos notariales, hasta ahora inéditos, relacionados con Cervantes y Carmona, que nos ofrecen más detalles sobre la recogida de aceite de 1590, los cuales se publican en esta revista por vez primera.

The complex mythological web of Miguel de Cervantes’s novella “El celoso extremeño” has been extensively explored by scholars. However, despite the fact that most conducting myths referenced in the novel revolve around themes of vigilance, clandestine gaze, and visual deceit, these topics have not been systematically addressed yet. This present essay intends to bridge this analytical gap by exploring the ways in which mythological parables in “El celoso extremeño” connect with contemporary scientific preoccupations regarding perception, optical illusions, the nature of images and sounds and the ways the human eye and ear perceive them.

This article is divided into two parts. Part I presents the origins and the research objectives of the authorial project Don Kichot Open Gallery/Don Quijote - galeria abierta. Its first product is a book titled identically to the project and published in collaboration with the POSET Foundation. It contains Miguel de Unamuno's essay 'El caballero de la triste figura' (1896), translated into Polish by Carlos Marrodán Casas, and quality reproductions of nearly fifty artworks on the theme of Don Quixote (some of them shown for the first time) produced over a period of over 250 years. The album features the work of thirty Polish artists. Part II presents an interpretation of Marian Nowiński's painting 'Don K[ichot] trwa dalej. W cieniu 2' (Don K[Quixote] is still going on: In the shadow 2). A closer examination of this picture reveals a wealth of creative references to the European and Polish tradition (Andrea Mantegna, Annibale Carracci, Orazio Borgianni and Jacek Malczewski respectively) and an artistic affinity for the cinema of Grigori Kozintscev, Orson Welles and Terry Gilliam. The fusion of two aesthetics (painting and film) and diverse styles of painting (Renaissance, Baroque, twentieth-century symbolism) is testimony to both Nowiński's erudition and the boldness of his artistic ambition. [ABSTRACT FROM AUTHOR]

Esta es una primera aproximación al estudio de la noción de justicia de Miguel de Cervantes en su novela Don Quijote de la Mancha. Para esto se reflexiona respecto de la aplicación de la justicia, en particular en torno a tres jueces que aparecen de una u otra forma: don Quijote, Sancho Panza y el propio Cervantes. En el personaje de Don Quijote vemos un modelo de justicia ya superado, mientras que en Sancho Panza se nos presenta un modelo de juez, el cual tristemente no es más que una gran burla. Por último, se analiza a Cervantes en cuanto juez para preguntarse si el autor condena o absuelve a la justicia como un ideal.

Existe una tensión entre la cordura y la locura en el hecho mismo de la justicia, tensión que don Quijote encarna. En sus momentos de locura, el Quijote es un justiciero; en los de cordura, un jurista. Estos dos Quijotes aparecen y reaparecen a lo largo de la novela, pero cobran especial significado ante el testimonio de damas ultrajadas, como también al final, cuando el caballero recupera la cordura y resuelve sus problemas patrimoniales previo a testar. Finalmente, el artículo propone que para Cervantes la locura es una condición de posibilidad de la justicia en el mundo.

In the celebration of the III Centenary of Don Quixote, scheduled for the spring of 1905, there will be two current affairs on those dates: on the one hand, the crisis in which Spain has sunk after losing the last colonies in 1898, and on the other, the rise of the feminist movement, which will provoke an unusual interest in the women of Don Quixote, while reflecting on the keys to the recovery of the country. Therefore, our objective is to analyse how the female characters of Don Quixote and the figure of Cervantes were interpreted in light of these two circumstances and what role the scholars attributed to women in both the decline of Spain and its future regeneration.

De entre todas las aventuras del Quijote, la de los molinos de viento que el personaje ve (o se empeña en ver) como gigantes en el capág. VIII de la Primera Parte es de las más cinematográficas de toda la obra. El objetivo de este artículo es analizar de qué forma Orson Welles y Terry Gilliam reescriben esta famosa escena a través de su peculiar uso del lenguaje cinematográfico. En particular, se analizará el significado que adquiere la presencia de algunas obras emblemáticas de Francisco de Goya en ambos textos fílmicos. Se demostrará cómo tanto las pinturas negras como El Coloso y El gigante contribuyen a elaborar un discurso perspectivista sobre la locura de Don Quijote y a reescribir la famosa escena de los molinos de viento a partir también de los citados hipotextos pictóricos.

Afin de donner une expression littéraire à ses expériences dans les camps de concentration du Vernet d’Ariège et de Djelfa après la Guerre Civile espagnole, l’écrivain Max Aub a eu recours à divers procédés narratifs. Dans son Manuscrito Cuervo, on remarque l’utilisation du dispositif narratif utilisé par Cervantès dans Don Quichotte, dispositif avec lequel la question de l’autorité sur le texte devient un jeu de rôle controversé entre différentes instances. En réutilisant cette ressource pour saisir une expérience face à l’extrême sans perdre la distance nécessaire, Max Aub crée un autre quichottisme avec lequel l’ironie narrative devient définitivement instable et abyssale, mais non pas à cause d’un manque d’éthique comme Wayne Booth le soupçonnait au sujet de l’ironie instable, mais comme conséquence de la fissure qui s’est ouverte au sein de l’humanisme à l’ère des extrêmes.

The goal of this paper is to analyse the opinion that women writers such as Emilia Pardo Bazán, Blanca de los Ríos, Concepción Saiz Otero and María Lejárraga expressed at the dawn of the twentieth century, in line with the celebration of the III centenary of Don Quixote, on the new data provided by Documentos cervantinos, published by Pérez Pastor in 1897 and 1902, in relation to a very controversial issue: The women of the Cervantes family. These first Cervantist women had to face the fact that Cervantes’ sisters, Andrea and Magdalena, his niece Constanza and even his daughter Isabel were “damas servidas”, i.e., “honest courtesans” as they were styled in their time. We shall clarify what role this circumstance plays in Blanca de los Ríos’ hypotheses about the authorship of Quijote de Avellaneda, what relevance Pardo Bazán gives the discoveries of Pérez Pastor in order to dissent from official Cervantism, and how María Lejárraga and Concepción Saiz Otero reflect on “the angel in the house”, about the “maintained woman”, who contrasts with the modern and independent woman, embodied in the teaching professional that was Saiz Otero herself. [ABSTRACT FROM AUTHOR]

The article considers Cervantes’s classical work through the prism of retrotopia, as understood in late Bauman. Retrotopia is a double negation of utopia, an attempt to return to an imaginary past, which usually happens in the face of an uncertain future. The first part of the article indicates a clear analogy between the conceptualization of retrotopia and Don Quixote’s key themes. These include the issue of nostalgia for times past, the problem of violence, or a return to tribal thinking in terms of “us” versus “them.” The second part of the text briefly examines Don Quixote as an expression of retrotopian longing for an imaginary past of a Golden Age, an idyllic era of justice and humanism. [ABSTRACT FROM AUTHOR]

El reciente hallazgo entre los protocolos notariales del Archivo Histórico Provincial de Sevilla de un nuevo e inédito documento cervantino, otorgado en la capital hispalense el 11 de marzo de 1593 y vinculado a la novedosa comisión que Cristóbal de Barros, el primer proveedor general de la Armada de la Guardia de las Indias, encomendara el 21 de febrero de ese mismo año a Miguel de Cervantes Saavedra para el acopio de provisiones, vendría a confirmar un hecho que algunos de los más insignes biógrafos cervantinos siempre habían supuesto pero que nunca pudieron corroborar documentalmente: la estancia personal de Miguel de Cervantes en la villa ducal de Osuna. Cumpliríamos así el sueño de Francisco Rodríguez Marín, el insigne cervantista que dedicó la mayor parte de su vida a la búsqueda de alguna prueba documental que demostrara la presencia real del autor del Quijote en Osuna y justificar así las menciones que de ella, de sus duques y de su vilipendiada Universidad, hiciera Cervantes en su obra literaria más universal.

El III Centenario del Quijote en 1905 fue la efemérides que vino a canalizar las ansias de regeneración nacional tras el desastre del 98, pero lo que hasta ahora no se ha señalado, ni se le ha dado la importancia que merece, es que algunas escritoras españolas reinterpretaron en clave feminista los símbolos nacionales de esa regeneración, es decir, convirtieron a don Quijote y a Dulcinea en la divisa de sus reivindicaciones, se valieron de ellos para reclamar un cambio en la vida de las mujeres, para defender el acceso a la educación superior, y aprovecharon además la ocasión para tejer redes de mujeres eruditas y para ejercer el magisterio sobre otras mujeres, dando lugar a un centenario paralelo, a otro centenario, que se desarrolló en los márgenes del oficial y que, como tal, merece ser analizado.

Rectificación de algunos errores en una nueva edición de los Entremeses de Cervantes a cargo de Adrián J. Sáez.

Este artículo propone un estudio comparado entre el Coloquio de los perros de Cervantes y la continuación de Ginés Carrillo Cerón de 1635 centrándose en sus tres divergencias principales: la omisión en la segunda parte del vínculo temático entre El Casamiento engañoso y el Coloquio, las diferencias con que Cervantes y Cerón se aproximan al género picaresco y el rechazo por parte de Cerón de los elementos maravillosos del primer Coloquio. Estas discrepancias no solo nos permiten entender mejor el texto de Cervantes, sino también estudiar la problemática literaria e ideológica que planteaban sus novelas a los lectores del siglo XVII.

This article focuses on the transnational nature of two Cervantes’ centennials: that of the publication of Don Quijote de la Mancha, in 1905; and that of the death of its author, in 1916. Both of them became the symbols of Spanishness and the Hispanic word, so these celebrations helped to build a Spanish identity based on language and culture, an ethnic international community called la raza (the race), and some national identities linked to it throughout Latin America. Many countries organized similar commemorations where transnational forces have played a leading role, as have Spanish intellectual networks and migrant communities. The article goes into more detail on two cases: Cuba, where Cervantes’ admirers are divided between hispanophiles and hispanophobes; and Spain, where commemoration initiatives depend on American collaborations and where Spanish nationalism is subordinated to this foreign aid.

Copyright of Dicenda: Cuadernos de Filologia Hispanica is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Inaugural class that presents aspects of the book The Quixotesque Reader (Working title) to be released in 2022. [ABSTRACT FROM AUTHOR]

Desde que Isidoro Bosarte descubriera el manuscrito compuesto por el racionero Francisco Porras de la Cámara, al servicio del arzobispo de Sevilla don Fernando Niño de Guevara, ha llamado la atención una Novela de la tía fingida anónima contenida en la miscelánea. García de Arrieta la publicó por vez primera atribuyéndola a Cervantes. Hasta la fecha la crítica ha mostrado tres opiniones sobre la autoría: hay quien la defiende a ultranza, quien la niega con no menor convicción y quien se abstiene de tomar partido. Analizamos las coincidencias lingüísticas halladas por seis cervantistas (Julián Apraiz, Adolfo Bonilla y San Martín, José Toribio Medina, José Luis Madrigal, Alfredo Rodríguez López-Vázquez y Adrián J. Sáez) para llegar a la conclusión, tras pormenorizados cotejos con textos coetáneos, de que ninguna de las analogías expuestas se da de forma aislada en Cervantes. Así pues, es imposible añadir la novela a las compuestas por este autor.