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Like Borges's narrator, continuators of the Quijote in the eighteenth century had to sort through many texts to address questions relevant to the life of the author, his sources, reception, and canon formation; in their particular case, they also wished to rectify the direction that quixotism was taking in Spain and abroad.
The second half of the book brings in much less known texts, by marginal authors, but whose contribution to both the shapes of Quixotism and the generic and political shapes of the novel is defended by the author.
No such quixotism, however, had any charms for the vast majority of the media.
Following the path trodden by Lennox and seven years prior to the translation into Spanish, Tabitha Gilman Tenney published the novel Female Quixotism in 1808, providing yet another revision of the Spanish popular text by a woman.
This clinical quixotism is but a cervantine play (ludic quixotism) to lead us to a symbolic quixotism: agony after an ideal and trascendental values, and to a search for a project of heroic humanity, a road to liberty and to an illusion of an individual conscience sustained by mystery and by the miracle of a subjective perception of an imaginary world: in other words, of the eternal and immutable.
Our beginning assumption on this level of application is that the romance-faith treatise of Unamuno's quixotism parallels Christianity as a stand-in for the unrealized and unconsummated kingdom of God, seeking to establish a new spiritual base for Spain's self awareness and reform.
A very useful and straightforward account of that peculiar eighteenth-century English phenomenon, female versions of Don Quijote, is propounded by Amy Paul in "Feminine Transformations of the Quijote," in which she presents Charolett Lennox's romance/novel The Female Quijote as the work most akin to Cervantes, its successors in the play Polly Honeycomb by George Colman, in Maria Edgeworth's novella "Angelina," in Jane Austen's Northanger Abbey, in Tabitha Tenney's Female Quixotism, and in Eaton Stannard Barret's The Heroine (these last two American works of the early nineteenth-century) as less in the spirit of their presumed model.
Pascalian Quixotism in Umberto Eco's L'isola del giorno prima.
The Government of Burma', he wrote, 'now propose with alarming suddenness to abandon an attitude of disingenuity for one of quixotism.
Gines notes the irony that Colonel Sellers's quixotism is forward-looking rather than reactionary, but provides no rationale for placing him alongside more traditionally Southern Quixotes such as Quentin Compson, or for how such contradictory quixotism came about at all.
Calderon de la Barca was born within the lifetime of Miguel de Cervantes; and with Conrad's obvious interest in Quixotism and the hidalgo tradition, his familiarity with Calderon's plays is apparent.
Novel, romance and quixotism in Richardson's Clarissa".