Cervantes in Seventeenth-century England garners well over a thousand English references to Cervantes and his works, thus providing the fullest and most intriguing early English picture ever made of the writings of Spain's greatest writer. Besides references to the nineteen books of Cervantes's prose available to seventeenth-century English readers (including four little-known abridgments), this new volume includes entries by such notable writers as Ben Jonson, John Fletcher, William Wycherley, Aphra Behn, Thomas Hobbes, John Dryden, and John Locke, as well as many lesser-known and anonymous writers. A reader will find, among others, a counterfeiter, a midwife, an astrologer, a princess, a diarist, and a Harvard graduate. Altogether this broad range of writers, famed and forgotten alike, brings to light not only sectarian and political tensions of the day, but also glimpses of the arts-of weaving, singing, acting, engraving, and painting. Even dancing, for there was a dance called the "Sancho Panzo". The volume opens with a wide-ranging Introduction that among other things traces the English reception of both Cervantes's Don Quixote and his Novelas ejemplares, including the part they played in English drama. In the main body of the work, individual items are arranged chronologically by year and, within that framework, alphabetically by author, thus providing little-known seventeenth-century evidence regarding the nature and breadth of British interest in Cervantes in various decades. Thorough annotation helps readers to place individual entries in their historical, social, political, and in some instances religious contexts. The volume includes twenty-nine germane seventeenth-century pictures, an index of references to chapters in Don Quixote, and a full bibliography and index.

Explores the impact of early Spanish and English illustrations of the novel Don Quixote, arguing that these visual images presented critical interpretations that both formed and represented the novel's historical reception. Examines several iconographic traditions represented in the illustrations, including the burlesque, the satirical, and the sentimental, and discusses canon formation, visual semiotics, and the impact of visual media on public opinion. Annotation copyrighted by Book News, Inc., Portland, OR

How did the tall, lanky Don Quixote and the short, stout Sancho Panza become staple figures of Western iconography, so well known that their silhouettes are easily recognizable in Picasso's famous work? How did the novel Don Quixote, a parody of the romances of knight errantry, become a paean to the long-suffering, impotent nobility of its deluded protagonist? According to Rachel Schmidt, the answers to both questions are to be found in the way in which the novel's characters and episodes were depicted in early illustrated editions. In Critical Images Schmidt argues that these visual images presented critical interpretations that both formed and represented the novel's historical reception. Schmidt analyses both Spanish and English illustrations, including those by William Hogarth, John Vanderbank, Francis Hayman, José del Castillo, and Francisco de Goya y Lucientes, and explores several of the iconographic traditions present in the illustrations: the burlesque, which focuses on the work's slapstick humour; the satirical, which emphasizes Cervantes's supposed didactic, Enlightenment message; and the sentimental, which highlights Don Quixote's purity of heart and purpose. Schmidt demonstrates that the illustrations offset the neoclassical criticism contained in the same volumes and reveals an intriguing variety of historical readings, highlighting the debates, controversies, and conflicts of interests surrounding interpretations of Don Quixote. Dealing with such topical issues as canon formation, visual semiotics, and the impact of visual media on public opinion, Critical Images will be of great value not only to literary scholars and literary historians but also to art historians and those engaged in cultural and media studies.

Finalist for the 2019 Whistler Independent Book Awards, Semi-finalist for 2019 Kindle Book Awards, Literary Fiction, and Honorable Mention 2020 Writers' Digest Self-Published Book Awards. In this family saga, love and loss are bound together by a country always at war During WWI, Lukia Mazurets, a Ukrainian farmwife, delivers her eighth child while her husband is serving in the Tsar’s army. Soon after, she and her children are forced to flee the invading Germans. Over the next fourteen years, Lukia must rely on her wits and faith to survive life in a refugee camp, the ravages of a typhus epidemic, the Bolshevik revolution, unimaginable losses, and one daughter’s forbidden love. Sunflowers Under Fire is a heartbreakingly intimate novel that illuminates the strength of the human spirit. Based on the true stories of her grandmother’s ordeals, author Diana Stevan captures the voices of those who had little say in a country that is still being fought over.

Ziolkowski explores the religious implications of the figure of Don Quixote in Western literature from Cervantes to the present.While scholars and critics in the past have often called attention to the secularizing tendency of modern literature, to the numerous fictional adaptations of the Christ figure on the one hand, and the innumerable literary descendants of Don Quixote on the other, this study is the first to examine a lineage of characters in whom the images of the alleged savior and the mad knight are combined.After considering Don Quixote as the first modern novel, and taking into account its relationship to religion, society, and censorship in seventeenth-century Spain, Ziolkowski traces the history and fate of Don Quixote, the character, through a series of religious transformations over the centuries, focusing on three novels that adapt the Quixote figure: Henry Fielding's Joseph Andrews, Fyodor Dostoevsky's The Idiot, and Graham Greene's Monsignor Quixote. Ziolkowski argues that, given the increased secularization and decline of religious consciousness over the last several centuries, any pursuit of religious values or ideas becomes questionable and this appears &"quixotic&" insofar as it stands in contradiction to the sociohistorical context. He concludes that religious existence, for the few who pursue it in suffering, which means that the religious person feels temporally displaced for adhering to a seemingly obsolete faith and lifestyle.