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1 CervantesSaavedra,
Miguel (1962), Obras Completas,tomoI, Ellngenioso Hidalgo
Don Quijotede La Mancha. Anotacionesde Martinde Riquer,Barcelona:EditorialPlaneta,
1967.
2
Genette,G (1982), Palimpsestos.La literaturaen segundo grado. Madrid: Taurus,
1989.
3
Kristeva,Julia(1974), Teoriade la novela. Barcelona: Lumen,1981.
4
Genette,G., ob. cit, p. 33.
5 El
conceptode paratextosse toma de G. Genettedel textocitado en nota 2, p. 33.
6 Este
trabajorecuperaen parteotropresentadopor la autoray publicadoen Cervantes
II, Editorialde la UniversidadNacional de Cuyo,afio1994.
9 Cfr.
CapituloLXXIV de El IngeniosoHidalgo don Quijotede La Mancha, pp. 1133.
10
hnguisticoen El Quijote",en Linguisticae
Spitzer,Leo (1961), "El perspectivismo
historialiteraria.Madrid:Gredos,BibliotecaRomanicaHispanica,1965.
11Tambita en
Niebla, Unamunoestatuyeel desdoblamientoque advertimosantesen El
Quijote, entreel prologuista-autor
y un amigo: Victor Goti. Registrostextualesque sin
esfuerzonos remitena La Celestina.
12Cfr.citas2 y3.
13Cfr. 1 dela P parte
deEl Ingenioso donQuijote
deLa Mancha.
Capftulo Hidalgo
14Cfr. IX de la Primera
Capftulo partedeEl Ingenioso
HidalgodonQuijote
de La
Mancha.
BIBLIOGRAFfA
RESUMEN/ ABSTRACT
'
Thispaper examinestheproblematicoffictionand realityas mediatedbyparodyinCervantes
Don Quijote de la Mancha The approach to the textis meant to see howparody and irony
becomefundamentalstrategiesto understandthenovelisticconcept,and howtheperceptive
reader is permittedto enterinto the Cervantinepoetic, startingfrom theparatexts: the
Prologue; theopeningsonnets,beforegettingintothecore of theworkdiscriminatingly.
In all thisprocedurefictitiousnarratorscollaborate in thereadingof themodernistic
novel which Cervantespostulated. It may also be noticed how the different narrators
disclose theparodicwhileallowinga critical-reflexiveplay in thetext.