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- W74697913 abstract "Jose Manuel Lucia Megias. Leer el Quijote en imagenes. Hacia una teoria de los modelos iconograficos. Madrid: Calambur, 2006. ISBN 84-96049-99-X As be himself notes, Jose Manuel Lucia Megias brings to the vast field of Cervantine iconography the conceptual tools and practices of the philologist. The sheer number of illustrated editions of Don Quixote from the seventeenth and eighteenth centuries poses a daunting task for the researcher interested in tracing and examining the Cervantine images according to the patterns of philological textual criticism. Whereas preparing a stemmata of a text for which there might be 5 or 6 versions is manageable, sifting through the literally thousands of book illustrations and other visual images related to Cervantes' masterpiece involves a methodological challenge of another degree. In general, the results of his research are both highly informative and illuminating. In theoretical terms, the mos innovative feature of his thought is the notion of the iconographic program (programa or jerarquia iconografica), according to which certain episodes of the novel are depicted in similar manners across various editions and by various artists. He rightly proposes this concept as a way to categorize and analyze the strikingly similar cast of depicted episodes across editions. Moreover, he also rightly states that these programs were often the choice of the publisher rather than the artist. In short, the model of the iconographic program allows for the analysis of coexisting approaches to the illustration of Don Quixote. It is a useful tool for capturing both the similarities and the contrasts between different general interpretive stances toward the novel. Lucia Megias associates these different iconographic programs with specific national traditions: the French, the Dutch, the English, and the Spanish. Whereas it is helpful to contextualize the first and/or the most dominant representatives of each program in their sociopolitical context (take, for example, Coypel as representative of the French and Vanderbank as representative of the English), it is also the case that visual images in general, and prints in particular, circulated much more freely across national and linguistic boundaries than would a text. Subsequently, Lucia Megias himself expands the notion of the Dutch iconographic program, for example, to include the illustrations of Spanish artists such as Diego de Obregon and Jose de Camaron. Given the general validity of the categories he has identified in their capacity to characterize specific iconographies, perhaps it would be more useful to label them according to their interpretive stance toward Don Quixote rather than their origins in a given nation. …" @default.
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- W74697913 date "2009-03-22" @default.
- W74697913 modified "2023-09-24" @default.
- W74697913 title "José Manuel Lucía Megías. Leer el Quijote en imágenes. Hacia una teoría de los modelos iconográficos." @default.
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