Slav N. Gratchev is associate professor of Spanish at Marshall University.Howard Mancing is professor of Spanish at Purdue University.

• Acknowledgements Introduction by Howard Mancing and Slav N. GratchevPart I: Re-accentuation: Theoretical IntroductionChapter I: On Re-accentuation, Adaptation, and Imitation of Don Quixote by Tatevik GyulamiryanPart II: Imagery and IdeologyChapter 2: Don Quixote Re-depicted by Eduardo Urbina & Fernando González MorenoChapter 3: Don Quixote in the Rise of Modern Novel: The Satirical Interpretation by Emilio Martínez MataChapter 4: Don Quixote and the Chivalric Ideal in Classics Illustrated Comics (1941-1971)by Ricardo CastellsChapter 5: A Horse of a Different Color: Salvador Dalí and the Re-imagining of Clavileño by S. Alleyn SmytheChapter 5: Image not Found: Portraiture, Identity, and the future of Cervantismo by Stephen HesselPart III: LiteratureChapter 6: Borges and the Hermeneutics of the Novel by J. A. Garrido ArdilaChapter 7: World War and the Novel: Responding to Don Quixote in 1914 and 1934 by Rachel SchmidtChapter 8: The Don Quixotes of Science Fiction by Howard MancingPart IV: FilmChapter 9: The Art of re-accentuation: Don Quixote by Grigori Kozintsev by Slav N. GratchevChapter 10: Surviving the Hollywood Blacklist: Waldo Salt's adaptation of Don Quixoteby William ChildersChapter 11: Crouching Squire, Hidden Madman: Ah Gan’s Don Quixote and Postmodern Chinaby Bruce BurninghamChapter 12: Amélie as Re-accentuation of Cervantesby Jonathan WadeChapter 13: Extracting the Essence of Don Quixote for a Puppet film by Steven Ritz-BarrPart V: Theater and TelevisionChapter 14: The Spanish Knight Among the Soviet People: Dramatic Re-accentuations ofDon Quixote as a Doomed Performer by Margarita Marinova & Scott PollardChapter 15: A Russian Lancelot and His Don Quixote by Victor FetPart VI: Don Quixote in The New WorldChapter 16: The Visionary’s Quixote by Roy H. WilliamsBibliographyIndexAbout the Editors

The 17 essays in this volume, which also includes an introduction by Gratchev (Marshall Univ.) and Mancing (Purdue Univ.), take as their point of departure the concept of re-accentuation, initially proposed by Mikhail Bakhtin in The Dialogic Imagination (1975; Eng. tr., 1981). The interpretive and analytical openness of key works of prose fiction allow for re-reading and re-imagination in subsequent ages and through different media and approaches. In particular cases, the possibilities seem infinite. A primary example for Bakhtin was Cervantes’s Don Quixote and its eponymous protagonist. The present collection is divided into sections on imagery and ideology, literature, film, and theater and television. The great majority of the contributors are academics (in various fields), but one is a professional puppeteer and another a marketing consultant. A special pleasure of this text lies in the diversity of references and juxtapositions: Doré, Dalí, Fielding, Unamuno, Borges, Thomas Mann, Waldo Salt, Kathy Acker, Jean-Pierre Jeunet, the Chinese director Ah Gan, Orhan Pamuk, multiple Russian connections, and so on. The essays are intriguing in their range and methodologies, and they become testaments to the afterlife—what Bakhtin termed the “unfinalizability”—of Don Quixote in both public and artistic spheres. Summing Up: Highly recommended. Graduate students, researchers, faculty.

Slav N. Gratchev is associate professor of Spanish at Marshall University.Howard Mancing is professor of Spanish at Purdue University.

• Acknowledgements Introduction by Howard Mancing and Slav N. GratchevPart I: Re-accentuation: Theoretical IntroductionChapter I: On Re-accentuation, Adaptation, and Imitation of Don Quixote by Tatevik GyulamiryanPart II: Imagery and IdeologyChapter 2: Don Quixote Re-depicted by Eduardo Urbina & Fernando González MorenoChapter 3: Don Quixote in the Rise of Modern Novel: The Satirical Interpretation by Emilio Martínez MataChapter 4: Don Quixote and the Chivalric Ideal in Classics Illustrated Comics (1941-1971)by Ricardo CastellsChapter 5: A Horse of a Different Color: Salvador Dalí and the Re-imagining of Clavileño by S. Alleyn SmytheChapter 5: Image not Found: Portraiture, Identity, and the future of Cervantismo by Stephen HesselPart III: LiteratureChapter 6: Borges and the Hermeneutics of the Novel by J. A. Garrido ArdilaChapter 7: World War and the Novel: Responding to Don Quixote in 1914 and 1934 by Rachel SchmidtChapter 8: The Don Quixotes of Science Fiction by Howard MancingPart IV: FilmChapter 9: The Art of re-accentuation: Don Quixote by Grigori Kozintsev by Slav N. GratchevChapter 10: Surviving the Hollywood Blacklist: Waldo Salt's adaptation of Don Quixoteby William ChildersChapter 11: Crouching Squire, Hidden Madman: Ah Gan’s Don Quixote and Postmodern Chinaby Bruce BurninghamChapter 12: Amélie as Re-accentuation of Cervantesby Jonathan WadeChapter 13: Extracting the Essence of Don Quixote for a Puppet film by Steven Ritz-BarrPart V: Theater and TelevisionChapter 14: The Spanish Knight Among the Soviet People: Dramatic Re-accentuations ofDon Quixote as a Doomed Performer by Margarita Marinova & Scott PollardChapter 15: A Russian Lancelot and His Don Quixote by Victor FetPart VI: Don Quixote in The New WorldChapter 16: The Visionary’s Quixote by Roy H. WilliamsBibliographyIndexAbout the Editors

The 17 essays in this volume, which also includes an introduction by Gratchev (Marshall Univ.) and Mancing (Purdue Univ.), take as their point of departure the concept of re-accentuation, initially proposed by Mikhail Bakhtin in The Dialogic Imagination (1975; Eng. tr., 1981). The interpretive and analytical openness of key works of prose fiction allow for re-reading and re-imagination in subsequent ages and through different media and approaches. In particular cases, the possibilities seem infinite. A primary example for Bakhtin was Cervantes’s Don Quixote and its eponymous protagonist. The present collection is divided into sections on imagery and ideology, literature, film, and theater and television. The great majority of the contributors are academics (in various fields), but one is a professional puppeteer and another a marketing consultant. A special pleasure of this text lies in the diversity of references and juxtapositions: Doré, Dalí, Fielding, Unamuno, Borges, Thomas Mann, Waldo Salt, Kathy Acker, Jean-Pierre Jeunet, the Chinese director Ah Gan, Orhan Pamuk, multiple Russian connections, and so on. The essays are intriguing in their range and methodologies, and they become testaments to the afterlife—what Bakhtin termed the “unfinalizability”—of Don Quixote in both public and artistic spheres. Summing Up: Highly recommended. Graduate students, researchers, faculty.

Slav N. Gratchev is associate professor of Spanish at Marshall University.Howard Mancing is professor of Spanish at Purdue University.

• Acknowledgements Introduction by Howard Mancing and Slav N. GratchevPart I: Re-accentuation: Theoretical IntroductionChapter I: On Re-accentuation, Adaptation, and Imitation of Don Quixote by Tatevik GyulamiryanPart II: Imagery and IdeologyChapter 2: Don Quixote Re-depicted by Eduardo Urbina & Fernando González MorenoChapter 3: Don Quixote in the Rise of Modern Novel: The Satirical Interpretation by Emilio Martínez MataChapter 4: Don Quixote and the Chivalric Ideal in Classics Illustrated Comics (1941-1971)by Ricardo CastellsChapter 5: A Horse of a Different Color: Salvador Dalí and the Re-imagining of Clavileño by S. Alleyn SmytheChapter 5: Image not Found: Portraiture, Identity, and the future of Cervantismo by Stephen HesselPart III: LiteratureChapter 6: Borges and the Hermeneutics of the Novel by J. A. Garrido ArdilaChapter 7: World War and the Novel: Responding to Don Quixote in 1914 and 1934 by Rachel SchmidtChapter 8: The Don Quixotes of Science Fiction by Howard MancingPart IV: FilmChapter 9: The Art of re-accentuation: Don Quixote by Grigori Kozintsev by Slav N. GratchevChapter 10: Surviving the Hollywood Blacklist: Waldo Salt's adaptation of Don Quixoteby William ChildersChapter 11: Crouching Squire, Hidden Madman: Ah Gan’s Don Quixote and Postmodern Chinaby Bruce BurninghamChapter 12: Amélie as Re-accentuation of Cervantesby Jonathan WadeChapter 13: Extracting the Essence of Don Quixote for a Puppet film by Steven Ritz-BarrPart V: Theater and TelevisionChapter 14: The Spanish Knight Among the Soviet People: Dramatic Re-accentuations ofDon Quixote as a Doomed Performer by Margarita Marinova & Scott PollardChapter 15: A Russian Lancelot and His Don Quixote by Victor FetPart VI: Don Quixote in The New WorldChapter 16: The Visionary’s Quixote by Roy H. WilliamsBibliographyIndexAbout the Editors

The 17 essays in this volume, which also includes an introduction by Gratchev (Marshall Univ.) and Mancing (Purdue Univ.), take as their point of departure the concept of re-accentuation, initially proposed by Mikhail Bakhtin in The Dialogic Imagination (1975; Eng. tr., 1981). The interpretive and analytical openness of key works of prose fiction allow for re-reading and re-imagination in subsequent ages and through different media and approaches. In particular cases, the possibilities seem infinite. A primary example for Bakhtin was Cervantes’s Don Quixote and its eponymous protagonist. The present collection is divided into sections on imagery and ideology, literature, film, and theater and television. The great majority of the contributors are academics (in various fields), but one is a professional puppeteer and another a marketing consultant. A special pleasure of this text lies in the diversity of references and juxtapositions: Doré, Dalí, Fielding, Unamuno, Borges, Thomas Mann, Waldo Salt, Kathy Acker, Jean-Pierre Jeunet, the Chinese director Ah Gan, Orhan Pamuk, multiple Russian connections, and so on. The essays are intriguing in their range and methodologies, and they become testaments to the afterlife—what Bakhtin termed the “unfinalizability”—of Don Quixote in both public and artistic spheres. Summing Up: Highly recommended. Graduate students, researchers, faculty.