Dulcinea del Toboso à l’origine de la vie. Réécriture du mythe cervantin dans une pièce de théâtre sublime,satirique et féministe
Bibliographic record
Abstract
Abstract: The aim of this paper is to study, from a comparative perspective, the revision of the character of Dulcinea del Toboso in the play La complainte de Dulcinée, written by Dulcinée Langfelder (an artist living in Montreal). The aim is to identify the elements of such a revision. After having introduced the methodological frame, the analysis will show that the playwright, who follows the Cervantes’ novel, is able, not only to subvert some of the fundamental characteristics of Don Quixote and her muse, but moreover, she is able to surpass them, especially those referring to the creation of the new Dulcinea. Langfelder decides to give the floor to Dulcinea, who takes a way, which corresponds to the quest of her own identity. This search leads her to the encounter of several feminine symbols and figures, as well as a large amount of goddesses, which belong to old religions and civilizations. For the first time in a dramatization Dulcinea is given such a high status; she is represented as an image of the Mother Earth mythology. This identification means a turning point in the relationship between Dulcinea and Don Quixote and, by extension, between men and women. Besides, this play can be considered as a feminist one, due to the defense of women’s rights and the parity between men and women, which becomes the motto of the new Dulcinea. The last part of this paper is about some elements that make up this play and which help to define the understanding of theatrical art of Langfedler, an all-around artist: an inclusive sense of feminism, satire and sense of humor. Resumen: El objetivo de este artículo es estudiar, desde una perspectiva contrastiva, la reescritura del personaje de Dulcinea del Toboso en la obra de teatro La complainte de Dulcinée, de la artista de Montreal Dulcinée Langfelder, con el fin de poner de manifiesto los elementos que lo conforman. Tras la presentación del marco metodológico, el análisis muestra que la dramaturga, que se inspira de la novela de Cervantes, consigue, no solo invertir algunas características fundamentales de Don Quijote y de su musa, sino sobre todo superarlos, especialmente en lo que se refiere a la construcción de la nueva Dulcinea. Langfedler decide dar la palabra a Dulcinea, quien toma un camino que se corresponde con la búsqueda de su propia identidad. Esta búsqueda la conduce al encuentro de múltiples símbolos y figuras femeninas, al igual que de un gran número de diosas, que pertenecen a religiones y civilizaciones ancestrales. Por primera vez en una adaptación teatral Dulcinea adquiere un estatus tan digno; es representada como una manifestación del mito de la Diosa Madre. Esta identificación constituye un momento decisivo en la relación de Dulcinea con Don Quijote y, por extensión, entre hombres y mujeres. Además, esta obra de teatro puede ser considera como feminista, gracias a la defensa de los derechos de la mujer y de la igualdad entre hombre y mujeres, que se convierte en el lema de la nueva Dulcinea. La última parte de este artículo está dedicada a algunos elementos que constituyen la estructura de la obra y que también sirven para definir la concepción del teatro de esta artista con múltiples facetas: un feminismo inclusivo, la sátira y el humor.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.008 | 0.012 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.000 | 0.002 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.008 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".