1
An earlier version of this paper was read at a session of the Kentucky Foreign Language Conference (University of Kentucky, Lexington), April 23, 1982.1.1
(N. from the A.)
| 1.1 | Note: this study was continued in «Cervantes' Portraits and Literary Theory in the Text of Fiction», Cervantes, 6.1 (1986): 57-80. (N. from the E.) | |
2
«La dimensión autobiográfica del Viaje del Parnaso», Cervantes, (1981), 37. (N. from the A.)
3
Demetrios Basdekis, «Cervantes in Unamuno: Toward a Clarification», RR, 60 (1969), 178-85. (N. from the A.)
4
F. Navarro y Ledesma (Madrid, 1905). (N. from the A.)
5
R. de Garciasol (Madrid: Editorial Nacional, 1944). (N. from the A.)
6
Luis Astrana Marín (Madrid: Reus, 1948-58), 7 vols. (N. from the A.)
7
William Byron, Cervantes. A Biography (Garden City, N. Y.: Doubleday, 1978). Another extreme, product of continental psychoanalytic criticism, is Louis Combet's Cervantès ou les incertitudes du désir (Lyons: Presses Universitaires, 1980), which uses portraits of authors in Cervantes' texts to make a composite portrait of Cervantes the man. (N. from the A.)
8
Ruth El Saffar, Distance and Control in «Don Quixote»: A Study in Narrative Technique (Chapel Hill: Department of Romance Languages, 1975). See also Helena Percas de Ponseti, «Authorial Strings: A Recurrent Metaphor in Don Quijote», Cervantes 1 (1981), 51-62. Percas suggests that Cervantes opposes the «strings» of pseudo-authority to his own authentic creative power. (N. from the A.)
9
The Romantic Approach to «Don Quixote» (Cambridge: Cambridge University Press, 1977). (N. from the A.)
10
«Linguistic Perspectivism in the Don Quixote», in Linguistics and Literary History (Princeton: Princeton University Press, 1967), p. 41. (N. from the A.)