Project MUSE®: Cervantes: Journal of the Cervantes Society of America - Latest Articles
https://muse.jhu.edu/journal/643
Project MUSE®: Latest articles in Cervantes: Journal of the Cervantes Society of America.daily12026-05-17T00:00:00-05:00text/htmlen-USVol. 31 (2011) through current issueLatest Articles: Cervantes: Journal of the Cervantes Society of AmericaTWOProject MUSE®Cervantes: Journal of the Cervantes Society of America1943-38400277-6995Latest articles in Cervantes: Journal of the Cervantes Society of America. Feed provided by Project MUSE®In Memoriam: Francisco Rico (1942–2024)
https://muse.jhu.edu/article/976782
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Francisco Rico era un sabio. No un mero erudito, ni un distinguido profesor o un solvente intelectual, sino un sabio de los de verdad. De esos que asoman de higos a brevas y dejan tras de sí una huella inolvidable y un magisterio ejemplar. Solo algunos elegidos tocaron ese techo. Pienso, entre los estudiosos de la literatura, en Marcelino Menéndez Pelayo, en Ramón Menéndez Pidal, en Américo Castro, Marcel Bataillon, Eugenio Asensio o Fernando Lázaro Carreter. Las tareas que desplegó en su vida fueron muchas y hasta contradictorias en apariencia. Indagó en la literatura hispánica y universal, editó obras medievales y áureas; fue crítico, traductor, poeta, gestor de proyectos como el Centro para la Edición de los
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmallIn Memoriam: Francisco Rico (1942–2024)2025-12-11text/htmlen-USIn Memoriam: Francisco Rico (1942–2024)2025-12-112025TWOProject MUSE®152412026-05-17T00:00:00-05:002025-12-11In Memoriam: George Haley (1927–2024)
https://muse.jhu.edu/article/976783
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George Haley, Professor of Romance Languages and Literatures Emeritus at the University of Chicago, passed away Thursday, June 6, 2024, at his home in Chicago, Illinois, at the age of 96 after a brief illness. He was born on October 19, 1927, in Lorain, Ohio. After receiving his BA degree from Oberlin College, he embarked on graduate studies at Brown University to earn his MA and PhD in Romance Languages. Haley spent his entire career from 1959 to 1996 in the Department of Romance Languages and Literatures at the University of Chicago, serving from 1970 to 1973 as Department Chair. Among his awards, Haley was named a Guggenheim Fellow in 1962 for Spanish and Portuguese literature and received the University of
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmallIn Memoriam: George Haley (1927–2024)2025-12-11text/htmlen-USIn Memoriam: George Haley (1927–2024)2025-12-112025TWOProject MUSE®174572026-05-17T00:00:00-05:002025-12-11La épica imposible de Cervantes
https://muse.jhu.edu/article/976784
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A la Cervantes Society of America, por un reconocimiento inmerecidoEl 27 de octubre de 1580 y tras diez años largos repartidos entre Italia y Argel, Cervantes regresó a España con tres propósitos bien definidos: uno cortesano, otro político y otro literario. Respecto al designio cortesano, se propuso, como era común entre los militares de la época, obtener una recompensa por los servicios prestados a la corona. Por eso se dirigió de inmediato a Lisboa, donde, a la sazón, estaba Felipe II, tras haberse coronado como rey de Portugal ante las cortes de Tomar.Su propuesta política pasaba por el ideario plasmado en textos como la Epístola a Mateo Vázquez o la comedia de El trato de Argel, donde se invita a concentrar
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmallLa épica imposible de Cervantes2025-12-11text/htmlen-USLa épica imposible de Cervantes2025-12-112025TWOProject MUSE®940462026-05-17T00:00:00-05:002025-12-11“¡Dulcinea!...” o la reivindicación de un sueño: El Quijote de Ricardo López Aranda, 1973
https://muse.jhu.edu/article/976785
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“On nous aprens à vivre quand la vie est passée.”1Dentro de la historiografía de las adaptaciones teatrales del Quijote en los escenarios españoles del siglo XX hay una que parece haberse quedado en la retaguardia del panorama cultural, sin haber recibido la atención que merece. Me refiero a la versión del insigne dramaturgo y guionista Ricardo López Aranda (1934–1996), estrenada en el Teatro María Guerrero de Madrid, el 17 de noviembre de 1973 y dirigida por Ángel Fernández Montesinos. Esta omisión no puede explicarse si no es como un acto de amnesia voluntaria debido a dos prejuicios que, todavía hoy, siguen arrastrando muchas de las obras españolas producidas durante la pasada centuria.El primer prejuicio se
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmall“¡Dulcinea!...” o la reivindicación de un sueño: El Quijote de Ricardo López Aranda, 19732025-12-11text/htmlen-US“¡Dulcinea!...” o la reivindicación de un sueño: El Quijote de Ricardo López Aranda, 19732025-12-112025TWOProject MUSE®840202026-05-17T00:00:00-05:002025-12-11Intersectional Identities of Maritornes in Don Quijote
https://muse.jhu.edu/article/976786
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The term intersectionality has been useful to consider the various identifying categories through which individuals have historically been marginalized. In her consideration of the issue of domestic violence as experienced by Black women, for example, Kimberlé Williams Crenshaw addresses “the effects of multiple subordination” (“Mapping the Margins” 11) in addition to the fact that Black women are “multiply-burdened” (“Demarginalizing the Intersection” 140) when feminist theory and antiracist politics fail to address their intersectional identities as both women and Black simultaneously by way of a “single-axis analysis that distorts these experiences” (139). Critical elements of identity such as race, gender, and
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmallIntersectional Identities of Maritornes in Don Quijote2025-12-11text/htmlen-USIntersectional Identities of Maritornes in Don Quijote2025-12-112025TWOProject MUSE®963212026-05-17T00:00:00-05:002025-12-11Esperanza’s Silver Hair in Cervantes’s La tía fingida
https://muse.jhu.edu/article/976787
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The study of hair, I found out, does not take you to the superficial edge of our society, the place where everything silly and insubstantial must dwell. It takes you, instead, to the centre of things.La plata de las canas del viejo, a los ojos de Leonora, parecían cabellos de oro puro.Esperanza’s “cabellos plateados” has been, by and large, overlooked by critics. It is true that the unusual color is mentioned only once in the Porras text, and none of the characters seem to pay particular attention to it.1 In spite of this, the narrator does notice the color and includes it in his detailed description of Esperanza’s appearance, and for that reason alone, it warrants further examination. From head to toe, the
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmallEsperanza’s Silver Hair in Cervantes’s La tía fingida2025-12-11text/htmlen-USEsperanza’s Silver Hair in Cervantes’s La tía fingida2025-12-112025TWOProject MUSE®1114432026-05-17T00:00:00-05:002025-12-11New Directions in Literature, Science, and Medicine
https://muse.jhu.edu/article/976788
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…unamos a la Pluma de Avicena la Lyra de Garcilaso…All centuries are long, but few were longer than the 19th century in the fields now called “Literature and Science” and “Literature and Medicine.” From the pioneering studies of Antonio Hernández Morejón, who published Bellezas de medicina práctica, descubiertas en “El ingenioso caballero don Quijote de la Mancha” in 1836, and Felipe Picatoste y Rodríguez, whose Calderón ante la ciencia marked the 1881 bicentenary of the playwright’s death, until well into the twentieth century, the relationship of science and medicine to literature changed very little.1 The story went like this: first, serious men (scientists) discovered things, and second, rather more frivolous
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmallNew Directions in Literature, Science, and Medicine2025-12-11text/htmlen-USNew Directions in Literature, Science, and Medicine2025-12-112025TWOProject MUSE®1665552026-05-17T00:00:00-05:002025-12-11Introducción al Quijote: Cursillo para la televisión puertorriqueña by Federico de Onís (review)
https://muse.jhu.edu/article/976789
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El filólogo, hispanista y profesor universitario Federico de Onís (Salamanca, 1885 - Puerto Rico, 1966) fue uno de los miembros destacados de la llamada generación del ’14. Tras ejercer como catedrático de literatura española en las universidades de Oviedo y Salamanca, se trasladó a la Universidad de Columbia, en nueva York, donde ocupó la cátedra de Estudios Hispánicos desde 1916. A lo largo de su estancia y hasta su jubilación, además de su labor como docente e investigador, destacó muy especialmente su significativa actuación como difusor de la cultura española en el mundo. Finalizada la guerra civil española, Onís operó como mentor y guía de numerosos exiliados que llegaron a América. Tras su retiro como
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmallIntroducción al Quijote: Cursillo para la televisión puertorriqueña by Federico de Onís (review)2025-12-11text/htmlen-USIntroducción al Quijote: Cursillo para la televisión puertorriqueña by Federico de Onís (review)2025-12-112025TWOProject MUSE®146692026-05-17T00:00:00-05:002025-12-11Un-Deceptions: Cervantine Strategies for the Disinformation Age by David R. Castillo (review)
https://muse.jhu.edu/article/976790
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In his recent publication, David R. Castillo delves into the concept of truth in the writings of Miguel de Cervantes and its intersections with popular culture. The book is organized into two sections: “Cervantine Fiction” and “Cervantine Readings of Popular Culture,” each containing three chapters. Through his deep understanding of Spanish Golden Age literature and culture, Castillo provides insights into contemporary political climates and social discourses shaped by disinformation.In chapter one, titled “Where Did the Truth Go When We Most Need It?,” Castillo compares Cervantes’s handling of Christian superiority myths in 17th-century Spain to Slavoj Žižek’s critique of the ideology of capitalism in “How Did
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmallUn-Deceptions: Cervantine Strategies for the Disinformation Age by David R. Castillo (review)2025-12-11text/htmlen-USUn-Deceptions: Cervantine Strategies for the Disinformation Age by David R. Castillo (review)2025-12-112025TWOProject MUSE®75212026-05-17T00:00:00-05:002025-12-11Inventing the Romantic Don Quixote in France. Jansenists, Rousseau, and British Quixotism by Clark Colahan (review)
https://muse.jhu.edu/article/976791
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Según sostiene Anthony J. Close en uno de los más destacados clásicos del cervantismo, The Romantic Approach to Don Quixote (Cambridge University Press, 1978), la inmensa mayoría de las interpretaciones del Quijote a partir de finales del siglo XVIII es de estirpe romántica, y esta corriente le debe mucho a las lecturas que del libro hicieron los autores ingleses de ese finales del siglo XVIII y comienzos del XIX (Coleridge es uno de los más destacados), quienes comenzaron a leer el libro de manera trascendental e incluso trágica. De modo parecido, en Critical Images: The Canonization of Don Quixote through Illustrated Editions of the Eighteenth Century (McGill-Queen’s University Press, 1999), Rachel Schmidt
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmallInventing the Romantic Don Quixote in France. Jansenists, Rousseau, and British Quixotism by Clark Colahan (review)2025-12-11text/htmlen-USInventing the Romantic Don Quixote in France. Jansenists, Rousseau, and British Quixotism by Clark Colahan (review)2025-12-112025TWOProject MUSE®124352026-05-17T00:00:00-05:002025-12-11Drawing the Curtain: Cervantes’s Theatrical Revelations ed. by Esther Fernández and Adrienne L. Martín (review)
https://muse.jhu.edu/article/976792
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This volume’s title is a contronym. To “draw” a curtain means both to open it and to close it. The editors, in appropriately Cervantine fashion, never specify which of the meanings they intend. The cover art is similarly ambiguous, featuring a Dutch Golden Age painting that depicts a half-drawn—neither fully open nor closed—curtain in the foreground, simultaneously revealing and concealing a domestic scene in the background. The dual meaning of this metaphor proves apt for describing Cervantes’s work: often he, his narrators, and his characters conceal as much as they disclose.While Cervantes may be both an opener and a closer of curtains, this book throws back the curtain on a relatively neglected aspect of
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Project MUSE®https://muse.jhu.edu/2026-05-17T00:00:00-05:00https://muse.jhu.edu/journal/643/image/coversmallDrawing the Curtain: Cervantes’s Theatrical Revelations ed. by Esther Fernández and Adrienne L. Martín (review)2025-12-11text/htmlen-USDrawing the Curtain: Cervantes’s Theatrical Revelations ed. by Esther Fernández and Adrienne L. Martín (review)2025-12-112025TWOProject MUSE®79902026-05-17T00:00:00-05:002025-12-11