Bembo, Pietro y Pico della Mirandola, Giovanni Francesco II. "De imitatione. Sobre la imitación". Edición bilingüe de Oriol Miró Martí. New York: IDEA (col. «Batihoja», 42), 2017. (original) (raw)
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In this study, I undertake an analysis of Terry Gilliam's The Man Who Killed Don Quixote (2018), a cinematographic recreation of Cervantes's Don Quixote. I will scrutinise its themes, formal resources, and characterization in relation to other ways of recreation (primarily, the literary and musical ones), while paying special attention to the identity of the protagonists, the metafictional procedures, and the strategies employed in order to reword some of the main episodes of the original novel. In this sense, this study allows for an understanding of the Cervantine text from a transversal perspective.
«[Recensión nº] 42. Bianchi, Enzo. Otra forma de vivir. Paradojas de la vida monástica. Edición a cargo de Gabriella Caramore. Ediciones Narcea, Madrid 2008. 104 pp., 13,5 x 21 cm.»., 2009
Recensión (en español) de dicho libro (traducción española del original italiano).
Modern theory of translation arose during the classicist period, between the XV and XVIII centuries, in the course of a vast restructuring of knowledge. During this period, however, the conceptualizations about translation were not homogeneous, and it seems that we can distinguish two great theories of translation. The first of these theories was elaborated by the humanist authors between Leonardo Bruni and the great writers of the first half of the 16th century: Juan Luis Vives, Etienne Dolet, Faustus Longiano, Erasmus or Luther. The theory of translation in the Annotations to Garcilaso (1580), by Fernando de Herrera, is an heir and a development of this conception. The second of these theories was developed from the second half of the sixteenth century by authors such as Joaquim Du Bellay, John Dryden or Alexander Pope, in large mesure consisted in a critical elimination of the productive character of imitative writing, and can be considered as the basis of the dominat ideas about translation during the following centuries.
[2004] Retóricas de la 'imitazione' en el Renacimiento hispánico
El modelo italiano en las artes plásticas …, 2004
Durante el Renacimiento, la imitación era un precepto y una actividad juzgada como necesaria que englobó no sólo a la literatura sino también a la pedagogía, la gramática, la retórica, la historiografía, la política, la filosofía, la música, la estética y, por supuesto, las artes visuales 1 . La moderna superstición por lo «original» -aunque sí que gustaba lo «novedoso»-no existía en aquel momento, una época indulgente y hasta favorable hacia muchas obras que hoy son tiránicamente condenadas 2 .
«[Recensión nº] 84. Tonnelier, Constant. Le Livre de l'Imitation de Jésus-Christ et Thérèse de l'Enfant-Jésus. Éditions du Carmel (Vie intérieure), Toulouse 1999. 208 pp., 15 x 19 cm.»., 2003
Recensión (en español) de dicho libro (en francés).
Don Quijote y sus 'figuras': de la imitación al retablo de maese Pedro
Philologia hispalensis, 2004
The plastic representation of don Quixote's image (likewise its philological interpretations along different ages) are not innocent; and this image seems to have been induced by the multiple meanings of the tenn figure ("figura"), a very often used word by Cervantes in the work (fictional novel or drama character; ridiculous, clown or fool character, the actor's role in the cast of a play or, even, materialized figures as puppets). Don Quixote builds himself through a dialectical process of dignified artistic imitation opposite to the caricatura! vision of the others, a captived vision of the reality always defeated by the action (because don Quixote is mainly an acting, perfonning character). So, the Kinght of the "Triste Figura" faces up to altemative figures; he is urged by the artistic mimesis of models as Amadis of Gaula (when he meets Cardenio, the Knight of the "Rota Figura"), or because he rejects a debased model (the "moharracho" fool in the Death Carts episode) or because of his will to dominate the fiction as if it would be the truth (Maese Pedro's puppets). Don Quixote ' s image in arts evolves also from the naturalistic craft or from romantic fantasy to the abstrae! and analytical minimalism ofhisfigure. 1 Es lo que ha llamado J. L. Giménez Frontín "unidades de infonnación gráfica" relacionándolas con el ténnino meme de Richard Dawkins para explicar "la contagiosa y terca propagación de algunos conceptos, imágenes, melodías o ideas". Vid. "De la pedagogía al signo", en cal. exp.