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The story of Don Juan first appeared in writing in seventeenth-century Spain, reaching Russia about a century later. Its real impact, however, was delayed until Russia's most famous poet, Alexander Pushkin, put his own, unique, and uniquely inspirational, spin on the tale. Published in 1830, TheStone Guest is now recognized, with other Pushkin masterpieces, as part of the Russian literary canon. Alexander Burry traces the influence of Pushkin's brilliant innovations to the legend, which he shows have proven repeatedly fruitful through successive ages of Russian literature, from the Realist to the Silver Age, Soviet, and contemporary periods. Burry shows that, rather than creating a simple retelling of an originally religious tale about a sinful, consummate seducer, Pushkin offered open-ended scenes, re-envisioned and complicated characters, and new motifs that became recursive and productive parts of Russian literature, in ways that even Pushkin himself could never have predicted.

Jane Stabler offers the first full-scale examination of Byron's poetic form in relation to historical debates of his time. Responding to recent studies of publishing and audiences in the Romantic period, Stabler argues that Byron's poetics developed in response to contemporary cultural history and his reception by the English reading public. Drawing on extensive new archive research into Byron's correspondence and reading, Stabler traces the complexity of the intertextual dialogues that run through his work. For example, Stabler analyses Don Juan alongside Galignani's Messenger - Byron's principal source of news about British politics while in Italy - and refers to hitherto unpublished letters between Byron's publishers and his friends to reveal a powerful impulse among his contemporaries to direct his controversial poetic style to their own conflicting political ends. This fascinating study will be of interest to Byronists and, more broadly, to scholars of Romanticism in general.

El artículo analiza las fuentes, orales y escritas, que utilizó don Juan Manuel para componer el Libro de las tres razones y problematiza su vínculo con la cronística aragonesa. Asimismo, se evaluaron las posibilidades de demostrar, en base a registros intratextuales y documentales, un conocimiento de don Juan Manuel sobre las crónicas escritas en la Corona de Aragón y, en especial, el acceso al Llibre dels feits, texto que entendemos fundamental en tanto que resulta el hipotexto en base al que se conformó la primera razón del Libro de las tres razones como hipertexto.

Aspects of Byron's Don Juan is, in part, a proceedings volume from the 2012 conference held by the Newstead Byron Society at Nottingham Trent University. Speakers represented in the book include Malcolm Kelsall, Peter Cochran, Diego Saglia and Itsuyo Higashinaka. Topics range from the politics of Don Juan, and its treatment of women, to its comic rhymes. One section is devoted to the poem's importance in the literatures of Spain and Russia, another to the vast catalogue of Byron's prose sources (from cannibalism to cookery books), and a final section to the important role played by Mary Shelley in copying most of the poem for the printer.The editor's introduction describes the enormous literary tradition of which Don Juan forms a vital continuation, from Pulci's Morgante Maggiore, via Rabelais, Cervantes, and Montaigne, to the novelists Sterne, Smollett and Fielding, all of whom Byron adored. Another chapter concerns the differing ways in which Don Juan has been treated by other artists, from Tirso de Molina, via E. T. A. Hoffman, to Johnny Depp.

Mozart's Don Giovanni is an operatic masterpiece full of iconic and mythical tensions that still resonate today. The work redefines the terms of power, seduction, and morality, and the resulting conflict between the aesthetic and the ethical is deeply rooted in the Enlightenment and romanticism. The Don Giovanni Moment is the first book to examine the aesthetic and moral legacy of Mozart's opera in the literature, philosophy, and culture of the nineteenth century. The prominent scholars in this collection address the opera's impact on the philosophical visions of Kierkegaard, Goethe, and Williams and its influence on the literary and dramatic works of Pushkin, Hoffmann, Mörike, Byron, Wagner, Strauss, and Shaw. Through a close and careful analysis of Don Giovanni's literary and philosophical reception and its many appropriations, rewritings, and retellings, these contributors treat the opera as a vantage point from which theory and philosophy can reconsider romanticism's central themes. As lively and passionate as the opera itself, these essays continue the spirited debate over the meaning and character of Don Giovanni and its powerful legacy. Together they prove that Mozart's brilliant artistic achievement is as potent and relevant today as when it was first performed two centuries ago.

En este artículo se analizan los complejos problemas textuales de la segunda parte de Don Juan de Castro. La comedia fue publicada en 1624 dentro de la Parte XIX de Lope, y volvió a ser incluida, ya póstumamente, en la Parte XXV, perfecta y verdadera (1647), en la que lleva un título distinto, Las aventuras de don Juan de Alarcos. La situación, en principio, invitaría a editar el texto de la Parte XIX sin mayores complicaciones, pues la versión de la Parte XXV introduce diferentes cambios que alejan la comedia del original lopesco. Sin embargo, presenta también varias mejores lecturas que la princeps, algunas de importancia considerable, que plantean al editor la duda de en qué medida intervenir en el texto de la Parte XIX en la creencia de que en la XXV sobrevivieron lecturas fidedignas perdidas en la XIX. Esta situación podrá servir también, parcialmente, como aproximación al estado textual de la Parte XXV.

Il saggio si concentra su G. , l’eroe eponimo del romanzo neo-modernista di John Berger, e su alcuni personaggi di contorno del medesimo testo – le figure femminili e il convitato di pietra – allo scopo di illustrare la reinterpretazione della figura di Don Giovanni, da parte dell’autore, quale rivoluzionario biologico e “anti-storico”. Particolare attenzione è riservata alle modalità narrative di costruzione dei personaggi entro un romanzo che mette assieme caratteristiche proprie del realismo e tecniche moderniste, poetiche di cui G. illustra il potenziale critico nei confronti del disimpegno politico postmoderno.

Nitrous oxide is a potent atmospheric greenhouse gas that is thought to be produced in soils through biological processes. Field measurements reveal nitrous oxide fluxes near Don Juan Pond, Antarctica — of comparable magnitude to those found in tropical soils — which may result from abiotic water–rock reactions. Nitrous oxide is a potent atmospheric greenhouse gas 1 that contributes to ozone destruction 2 . Biological processes such as nitrification and denitrification are thought to drive nitrous oxide production in soils, which comprise the largest source of nitrous oxide to the atmosphere 1 . Here we present measurements of the concentration and isotopic composition of nitrous oxide in soil pore spaces in samples taken near Don Juan Pond, a metabolically dormant hypersaline pond in Southern Victoria Land, Antarctica in 2006, 2007 and 2008, together with in situ fluxes of nitrous oxide from the soil to the atmosphere. We find fluxes of nitrous oxide that rival those measured in fertilized tropical soils 3 . Laboratory experiments—in which nitrite-rich brine was reacted with a variety of minerals containing Fe( II )—reveal a new mechanism of abiotic water–rock reaction that could support nitrous oxide fluxes at Don Juan Pond. Our findings illustrate a dynamic and unexpected link between the geosphere and atmosphere.

This paper analyses Joseph Blanco White's English translations of tales XI and XLIV of Don Juan Manuel's El conde Lucanor (c. 1331-1335), which were published in the New Monthly Magazine in 1824. In these fairly free translations, Blanco rewrites and recontextualises the tales by updating and adapting them to the knowledge and expectations of the target readership. His translation decisions, paratexts and the articles on El conde Lucanor that he also published in Variedades; o Mensajero de Londres in 1824 shed light on his ideas on Spanish literature and national identity as well as on his role as commentator and disseminator of Spanish culture in Britain. His translations construct a particular representation of Spain where he underlines those aspects that he believes to be genuinely Spanish, while also including some stereotypical elements of the Romantic image of Spain in Britain. El presente artículo analiza las traducciones al inglés de los cuentos XI y XLIV de El conde Lucanor (c. 1331-1335) de don Juan Manuel que José María Blanco White publicó en la revista New Monthly Magazine en 1824. Se trata de unas traducciones bastante libres en las que Blanco reescribe y recontextualiza los cuentos, actualizándolos y adaptándolos a los conocimientos y expectativas del público al que se dirigen. Las traducciones, sus paratextos y los artículos sobre El conde Lucanor que Blanco publicó en Variedades; o Mensajero de Londres también en 1824 reflejan algunas de sus ideas sobre la literatura y la identidad nacional española y dan prueba del papel que desempeñó como comentarista y divulgador de la cultura española en Gran Bretaña. Sus traducciones construyen una particular representación de España que incide en aquellos aspectos que considera genuinamente españoles, pero al mismo tiempo integran algunos elementos estereotipados de la imagen romántica de España en Gran Bretaña.