#elquijote

[fernandovicenteprints]

“El que lee mucho y anda mucho, ve mucho y sabe mucho” #TalDíaComoHoy en 1547 nace #Cervantes(la fecha exacta no se ha podido averiguar) Considerado la máxima figura de la #literatura española y universalmente conocido por haber escrito #ElQuijote #FGSR #libros #fernandovicente https://www.instagram.com/p/CUZ2IxAosB3/?utm_medium=tumblr

[aelimes]

Cerveza

[studious-fhionnuisce]

The literature classics in a nutshell (via Gocomics)

[tiltering-at-windmills-blog]

Don Quixote, By the Fans

cw: sexualization of minors

Perhaps the most fun I get out of fan fiction, aside from high-quality writing and queer representation, are in the zany combinations people create. One such bizarre mixture is a Reylo fanfic that places Rey and Kylo Ren (here as "Reyla" and Ben Solo, respectively) into Terry Gilliam's The Man Who Killed Don Quixote, in which a director goes on a series of misadventures after the star of his Quixote film believes himself to be Quixote. It is worth going over a couple quotes from the story to see the cultural encounter staged in this author's imagination.

"'Hola hermoso!' Ben called in out to her in on fluent Spanish. Although he wasn’t native to their tongue—he was able to recite a few words."

I find it fascinating that the author unwittingly depicts a clash of cultures with this excerpt. Ben Solo, transplanted from the Star Wars universe, is presented as Spanish-fluent despite being unable to master gender agreement. Just as Solo is a stranger to Gilliam's film-world, the director character is a stranger to Spain, operating in a world in which he is unfamiliar.

"'And we will, my turtle dove, my muse, my little Reyla.' Said Ben; brushing his hands against her cheek."

The author chooses the reductive approach for portraying Dulcinea. A great irony: rather than bumbling around failing to fulfill the (masculine) chivalrous ideal, the author's Quixote stand-in is an assured seducer. Dulcinea, represented rather than abstracted, occupies the object status that is further problematized by the author's frequent use of highly ethnicized adjectives to describe her ("sun kissed skin" being one example).

"'She’s fifteen, Solo. You might want to start picking up girls your own age—not to mention her father is a crew member on my production.'"

The author makes clear his horrific intent with this line. He claims at the beginning of the film to have seen only the trailer to Gilliam's film, so it is unclear whether he is operating from that text or his own imagination. The author has taken characters with much more fractured psychologies and flattened them into patriarchal archetypes. This is fundamentally a self-serving text; this is fan-fiction as a fulfillment of the author's (tired, uninteresting) fantasy rather than the treading of new ground.

[loreazen]

Photo:El Quijote by soyelcote http://flic.kr/p/QDqskL

[vittaquinn]

#ElQuijote, Est. 1930 at the #HotelChelsea, #NYC ⭐️ #chelsea #manhattan #spanish #restaurant #vintage #newyork #1930s #cocktail #lounge #newyorkcity #vintagevitta #holidayvitta (at El Quijote Restaurant)

[tiltering-at-windmills-blog]

Don Quixote, Musical

Sometimes crossing mediums means crossing into new realms of intention as well. Man of La Mancha, a musical with a book by Dale Wasserman, employs a new context to use the narrative of Don Quixote for its own reflections on art and art-making. Rather than the fictional author Cide Hamete Benengeli, the in-text author is Cervantes himself, imprisoned by the Spanish Inquisition and set upon by his fellow prisoners. Don Quixote becomes a practical text, a play put on by the prisoners so Cervantes can defend himself as an artist.

The musical thus stands at an odd points where the play-within-a-play is the adaptation and the musical provides the context for the adaptation. Creating art becomes an act of survival amidst political repression. And beyond the communal act of spectating, characters within the text itself join in as viewers with radically different contexts of experience (even if we consider them as actors instead).

Such an adaptation places Quixote as a firmly sympathetic character in contrast to Cervantes' more ambiguous humor. His exaltation emerges in the motif of "The Impossible Dream," the most important number. Describing the pursuit of seemingly unachievable goals, the song's tune first occurs in the overture and is sung throughout the musical. The interaction with music as a medium provides a fundamental difference between Wasserman's text and Cervantes'. Cervantes' original Quixote dies having renounced his knighthood, but Wasserman has "Dulcinea" rush in and reminds him of "The Impossible Dream," leading him to remember and sing before dying.

Wasserman thus uses Cervantes' text as a paean to perseverance: art enables a person to remember who they truly are and to continue striving for their desires. At the end of the musical, the prisoners sing "The Impossible Dream" after Cervantes is led to the Inquisition, itself positing the affective and material impact of art on its audience.

[lidrauniverse]

El Caballero de la Triste Figura. Find full printed designs only available with Hoodie Lab online shop : https://hoodielab.com/product/el-caballero-de-la-triste-figura-hoodie/