I don't mean to complain, but

[JohnnyLingo]

I don't want to hurt anyone's feelings, but some people need to stop quoting giant posts in order to say "I agree" or add one line of commentary to the topic.

And really, quoting the entirety of a giant post at all is just a bad practice. Quote a few lines from it if you have to, or just add your "I agree" in an otherwise empty post. The meaning is the same.

This can be especially annoying if there are several pictures in the post. Scrolling all the way through three copies of the 9 shots from Drunk Tank's latest culinary masterpiece gets old.

That's all.

[/ornery}

[cowboy]

I don't want to hurt anyone's feelings, but some people need to stop quoting giant posts in order to say "I agree" or add one line of commentary to the topic.

And really, quoting the entirety of a giant post at all is just a bad practice. Quote a few lines from it if you have to, or just add your "I agree" in an otherwise empty post. The meaning is the same.

This can be especially annoying if there are several pictures in the post. Scrolling all the way through three copies of the 9 shots from Drunk Tank's latest culinary masterpiece gets old.

That's all.

[/ornery}

noted

[LiveCoug]

I don't want to hurt anyone's feelings, but some people need to stop quoting giant posts in order to say "I agree" or add one line of commentary to the topic.

And really, quoting the entirety of a giant post at all is just a bad practice. Quote a few lines from it if you have to, or just add your "I agree" in an otherwise empty post. The meaning is the same.

This can be especially annoying if there are several pictures in the post. Scrolling all the way through three copies of the 9 shots from Drunk Tank's latest culinary masterpiece gets old.

That's all.

[/ornery}

Lame

[Tim]

I don't want to hurt anyone's feelings, but some people need to stop quoting giant posts in order to say "I agree" or add one line of commentary to the topic.

And really, quoting the entirety of a giant post at all is just a bad practice. Quote a few lines from it if you have to, or just add your "I agree" in an otherwise empty post. The meaning is the same.

This can be especially annoying if there are several pictures in the post. Scrolling all the way through three copies of the 9 shots from Drunk Tank's latest culinary masterpiece gets old.

That's all.

[/ornery}

I disagree.

[I.J. Reilly]

I don't want to hurt anyone's feelings, but some people need to stop quoting giant posts in order to say "I agree" or add one line of commentary to the topic.

And really, quoting the entirety of a giant post at all is just a bad practice. Quote a few lines from it if you have to, or just add your "I agree" in an otherwise empty post. The meaning is the same.

This can be especially annoying if there are several pictures in the post. Scrolling all the way through three copies of the 9 shots from Drunk Tank's latest culinary masterpiece gets old.

That's all.

[/ornery}

Thank you for articulating this. That extra time scrolling was just killing me.

[TripletDaddy]

I don't want to hurt anyone's feelings, but some people need to stop quoting giant posts in order to say "I agree" or add one line of commentary to the topic.

And really, quoting the entirety of a giant post at all is just a bad practice. Quote a few lines from it if you have to, or just add your "I agree" in an otherwise empty post. The meaning is the same.

This can be especially annoying if there are several pictures in the post. Scrolling all the way through three copies of the 9 shots from Drunk Tank's latest culinary masterpiece gets old.

That's all.

[/ornery}

noted

Lame

Agreed.

[byu71]

I don't want to hurt anyone's feelings, but some people need to stop quoting giant posts in order to say "I agree" or add one line of commentary to the topic.

And really, quoting the entirety of a giant post at all is just a bad practice. Quote a few lines from it if you have to, or just add your "I agree" in an otherwise empty post. The meaning is the same.

This can be especially annoying if there are several pictures in the post. Scrolling all the way through three copies of the 9 shots from Drunk Tank's latest culinary masterpiece gets old.

That's all.

[/ornery}

Excellent. With all the trivial crap we have been discussing, finally someone gets to something of serious consequence.

[JohnnyLingo]

Thank you for articulating this. That extra time scrolling was just killing me.

I forgot to mention it's more annoying when you're on a mobile device. When I'm browsing CUF from my iPod Touch, for example.

Oh, and for everyone who thinks they're funny, my initial post isn't long enough to fit the criteria for "giant."

[LiveCoug]

Agreed.

That looks really tasty

[RobinFinderson]

Agreed.

The bottom image looks like smokers' lungs.

[TripletDaddy]

That looks really tasty

Thanks. btw, have you read whatshappeningman's really interesting post on Don Quixote? I think you might enjoy it.

By request, I was asked to talk about why I think that Don Quixote was perfectly sane. Here goes:

In chapter XXXII, in the inn, Cardenio says, "That's how it seems to me, because, according to what the evidence indicates, he has it as certain than everything that those books tell (novels of knight errantry) happened, no more and no less than as it is written, and not even soleless friars could make him believe otherwise." The conversation reaches a climax when the curate says that there were never knights errant in the world, and the innkeeper contradicts him, saying that if the Royal Counsel let them be published, how can he claim that they are fiction. The Holy Office (Inquisition) looked for heretics and they accused people over any little pretext, but he's saying that the king (via his office) allowed false things to be published to "entertain our idle thoughts." Sancho hears all of this this and gets confused, because if there weren't knights errant and all these books were lies and more lies, that meant that his trip on that journey with his lord was going to end. It's sad to think about Sancho, depressed, doubting the words of his lord. But, there is hope, because in chapter XLIV, the barber accuses don Quijote being a highwayman. But, Sancho defends his lord, saying, "You lie. He isn't a highwayman, in fair battle did my lord, don Quijote, win these spoils." Don Quijote was there listening to him and thought how easily his escudero (shielf carrier) defend himself and got offended, and he held him in high esteem from that moment forward. Sancho decided to see the world from his own perspective and didn't let the world dictate to him how things were. This is the goal of a Liberal Arts education, and Sancho got both an education and a friend by seeing the world in a different light.

In 2000, the TNT network presented the film Don Quixote (2000), a postmodern gem, to its viewers. Irony seeps from every pore of this film as an American, John Lithgow, plays Don Quixote, Bob Hoskins, an Englishman, plays Sancho Panza, with a strong cockney accent, and Vanessa Williams—an African American—plays Dulcinea. None of the main characters of the movie are Spanish nor of Spanish descent, thus emphasizing the truly universal applicability and symbolic power of the Quixote. The movie takes liberties with the script, but the goal of reinvigorating the present with the figure of Don Quixote persists. The film is neither an experiment in the nature of literature—author—reader nor does it criticize Francoist Spain. It discourses with the problems of the past by subverting and challenging the rules of history. Having an African American play the role of Dulcinea challenges the racism and cultural marginalization of all mankind. The cockney accent used by Hoskins references London’s West Enders and their subservient roles to the noble class in England. That an American plays Don Quixote addresses the American attempts at policing the world, as Iranian Cooperatives Minister Ali Soufi has noted, “the role America has assumed for itself can also be likened to that of Don Quixote’s, who thought he was the strongest man in the world, commissioned to wipe out all the vices from the face of earth. Yet, he moved based on his erroneous assumption and that was what made a laughter sack out of him” (IRNA)! The director shot the film in Spain to be authentic, but the film relies heavily on special effects to show the reality that Don Quixote perceives. The film’s producer said:
T Quote:
hree or four years ago it occurred to me that it would be marvelous to use state-of-the-art film technology to tell the Don Quixote story," he's quoted as saying. "We could use special effects to make Don Quixote's fantasy of life in the Middle Ages work on film. I realized the technology existed to do the story justice on the night I sat down to watch Merlin.
(St. Petersburg Times)

In the tilting at windmills scene, when Don Quixote nears the whirling blades, the screen suddenly switches to an odd image of ridiculously huge giants swinging their arms at the knight. This image shocked me, because the camera lens allows the viewer to be inside the mind of Don Quixote, and perceive what he perceives—something that only a film version of the story can accomplish. Obviously, the portrayal of what Don Quixote sees depends on how the director decides to frame, light, scene, the shot, but the image is now captured and the viewer need not imagine the scene anymore. Once the blades crash into him, instead of knocking him and Rocinante to the ground, the horse is fine, but Don Quixote is grabbed by his britches and hoisted aloft to rest—precariously—on one of the blades, until Sancho comes to his rescue. The removal of injury to Rocinante smacks of placating today’s animal rights activists who not only monitor movie sets to make sure “no animals were harmed in the making of this picture” but now even object to even the portrayal of violence against animals.

Another aspect of actors fulfilling their roles in the film is that they bring with them the intertextuality of every role that they ever played before. Hutcheon writes, “Everything from comic books and fairy tales to almanacs and newspapers provide historiographic metafiction with culturally significant intertexts. […] Historiographic metafiction appears, then, willing to draw upon any signifying practices it can find operative in a society” (133). While John Lithgow is Don Quixote in the film, at the same time, I am reminded of his alien leader role on 3rd Rock from the Sun, of his repressive father role in Footloose, and of his transsexual football player role in The World According to Garp. Vanessa Williams was the first African American Miss America, and also the first one to lose her crown because she posed for nude photographs. Bob Hoskins brings to mind his hard-boiled yet loveable detective role from Who Framed Roger Rabbit? What do these other intertexts (by way of the lens) bring to the film? Everything and nothing, because the irony of postmodernism resides in Brecht’s opinion that “I’ve never been able to endure anything but contradiction” (cf. Hutcheon 201). The contradiction of these actors and their previous roles gives new meaning to their roles in the film. Knowing that Dulcinea was Miss America emphasizes her beauty, but a Miss America must also win on talent, information which is wholly absent about the Dulcinea of Cervantes’s novel. This silent discourse with Williams’s history and the role she plays fills it with even more ironic meaning, because Don Quixote calls Dulcinea a chosen pure vessel of chastity, while Williams posed nude for Penthouse. The movie makes use of these subtle ironies to discourse on and dialog with the errors of the past and the present, in order to “foreground the implication of the narrative and the representational in our strategies of making meaning in our culture” (Hutcheon 183). Postmodernism attempts to make new meanings through irony, every chance it gets.


Sigue habiendo tardanza de Don Quijote. Y ya estamos en 1916 –Joaquín García Monge

Don Quijote de la Mancha will forever maintain its place in popular literature and culture. While postmodernism has been commercialized; what was aesthetic pastiche is now fashionably mass-produced kitsch—this does not mean that society has chosen to leave postmodernism for a post-ironic-ism. On the contrary, the hyper-nostalgia that Jameson so hates continues to multiply the meanings associated with each cultural symbol. The figure and theme of Don Quixote lend themselves to these discourses because of the enormous symbolism with which they are charged. Borges’s story, Picasso’s drawing, and Yates’s film all employ the “discourses which precede and contextualize everything we say and do” found in Don Quijote de la Mancha in order to discourse on other relevant themes, while at the same time increasing and augmenting the history of discourses about the novel (Hutcheon 39). The Don’s innocence may be lost in the Postmodern Age, but his relevance will continue forever.

Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge, 1988.

IRNA. “America is modern times Don Quixote: Iran's minister.” October 21, 2001.

From <http://www.pcpafg.org/news/Afghan_Ne...Irans_minister .shtml> April 24, 2003.

This is kind of a jumbled mess, but I'm sleepy and I'll and clarify stuff tomorrow.
“'Quixote' premieres Sunday on TNT.” St. Petersburg Times (Florida) April 08, 2000
__________________

[byu71]

OK Johnny, it looks like you may have a point after all. I figure farting around here costs me $500 an hour. That's .67 every 5 seconds (check my math SU, you might catch me on something).

If I want to read every new post in this thread, it could easily end up costing me around $33.

[FN Phat]

Thanks. btw, have you read whatshappeningman's really interesting post on Don Quixote? I think you might enjoy it.

By request, I was asked to talk about why I think that Don Quixote was perfectly sane. Here goes:

In chapter XXXII, in the inn, Cardenio says, "That's how it seems to me, because, according to what the evidence indicates, he has it as certain than everything that those books tell (novels of knight errantry) happened, no more and no less than as it is written, and not even soleless friars could make him believe otherwise." The conversation reaches a climax when the curate says that there were never knights errant in the world, and the innkeeper contradicts him, saying that if the Royal Counsel let them be published, how can he claim that they are fiction. The Holy Office (Inquisition) looked for heretics and they accused people over any little pretext, but he's saying that the king (via his office) allowed false things to be published to "entertain our idle thoughts." Sancho hears all of this this and gets confused, because if there weren't knights errant and all these books were lies and more lies, that meant that his trip on that journey with his lord was going to end. It's sad to think about Sancho, depressed, doubting the words of his lord. But, there is hope, because in chapter XLIV, the barber accuses don Quijote being a highwayman. But, Sancho defends his lord, saying, "You lie. He isn't a highwayman, in fair battle did my lord, don Quijote, win these spoils." Don Quijote was there listening to him and thought how easily his escudero (shielf carrier) defend himself and got offended, and he held him in high esteem from that moment forward. Sancho decided to see the world from his own perspective and didn't let the world dictate to him how things were. This is the goal of a Liberal Arts education, and Sancho got both an education and a friend by seeing the world in a different light.

In 2000, the TNT network presented the film Don Quixote (2000), a postmodern gem, to its viewers. Irony seeps from every pore of this film as an American, John Lithgow, plays Don Quixote, Bob Hoskins, an Englishman, plays Sancho Panza, with a strong cockney accent, and Vanessa Williams—an African American—plays Dulcinea. None of the main characters of the movie are Spanish nor of Spanish descent, thus emphasizing the truly universal applicability and symbolic power of the Quixote. The movie takes liberties with the script, but the goal of reinvigorating the present with the figure of Don Quixote persists. The film is neither an experiment in the nature of literature—author—reader nor does it criticize Francoist Spain. It discourses with the problems of the past by subverting and challenging the rules of history. Having an African American play the role of Dulcinea challenges the racism and cultural marginalization of all mankind. The cockney accent used by Hoskins references London’s West Enders and their subservient roles to the noble class in England. That an American plays Don Quixote addresses the American attempts at policing the world, as Iranian Cooperatives Minister Ali Soufi has noted, “the role America has assumed for itself can also be likened to that of Don Quixote’s, who thought he was the strongest man in the world, commissioned to wipe out all the vices from the face of earth. Yet, he moved based on his erroneous assumption and that was what made a laughter sack out of him” (IRNA)! The director shot the film in Spain to be authentic, but the film relies heavily on special effects to show the reality that Don Quixote perceives. The film’s producer said:
T Quote:
hree or four years ago it occurred to me that it would be marvelous to use state-of-the-art film technology to tell the Don Quixote story," he's quoted as saying. "We could use special effects to make Don Quixote's fantasy of life in the Middle Ages work on film. I realized the technology existed to do the story justice on the night I sat down to watch Merlin.
(St. Petersburg Times)

In the tilting at windmills scene, when Don Quixote nears the whirling blades, the screen suddenly switches to an odd image of ridiculously huge giants swinging their arms at the knight. This image shocked me, because the camera lens allows the viewer to be inside the mind of Don Quixote, and perceive what he perceives—something that only a film version of the story can accomplish. Obviously, the portrayal of what Don Quixote sees depends on how the director decides to frame, light, scene, the shot, but the image is now captured and the viewer need not imagine the scene anymore. Once the blades crash into him, instead of knocking him and Rocinante to the ground, the horse is fine, but Don Quixote is grabbed by his britches and hoisted aloft to rest—precariously—on one of the blades, until Sancho comes to his rescue. The removal of injury to Rocinante smacks of placating today’s animal rights activists who not only monitor movie sets to make sure “no animals were harmed in the making of this picture” but now even object to even the portrayal of violence against animals.

Another aspect of actors fulfilling their roles in the film is that they bring with them the intertextuality of every role that they ever played before. Hutcheon writes, “Everything from comic books and fairy tales to almanacs and newspapers provide historiographic metafiction with culturally significant intertexts. […] Historiographic metafiction appears, then, willing to draw upon any signifying practices it can find operative in a society” (133). While John Lithgow is Don Quixote in the film, at the same time, I am reminded of his alien leader role on 3rd Rock from the Sun, of his repressive father role in Footloose, and of his transsexual football player role in The World According to Garp. Vanessa Williams was the first African American Miss America, and also the first one to lose her crown because she posed for nude photographs. Bob Hoskins brings to mind his hard-boiled yet loveable detective role from Who Framed Roger Rabbit? What do these other intertexts (by way of the lens) bring to the film? Everything and nothing, because the irony of postmodernism resides in Brecht’s opinion that “I’ve never been able to endure anything but contradiction” (cf. Hutcheon 201). The contradiction of these actors and their previous roles gives new meaning to their roles in the film. Knowing that Dulcinea was Miss America emphasizes her beauty, but a Miss America must also win on talent, information which is wholly absent about the Dulcinea of Cervantes’s novel. This silent discourse with Williams’s history and the role she plays fills it with even more ironic meaning, because Don Quixote calls Dulcinea a chosen pure vessel of chastity, while Williams posed nude for Penthouse. The movie makes use of these subtle ironies to discourse on and dialog with the errors of the past and the present, in order to “foreground the implication of the narrative and the representational in our strategies of making meaning in our culture” (Hutcheon 183). Postmodernism attempts to make new meanings through irony, every chance it gets.


Sigue habiendo tardanza de Don Quijote. Y ya estamos en 1916 –Joaquín García Monge

Don Quijote de la Mancha will forever maintain its place in popular literature and culture. While postmodernism has been commercialized; what was aesthetic pastiche is now fashionably mass-produced kitsch—this does not mean that society has chosen to leave postmodernism for a post-ironic-ism. On the contrary, the hyper-nostalgia that Jameson so hates continues to multiply the meanings associated with each cultural symbol. The figure and theme of Don Quixote lend themselves to these discourses because of the enormous symbolism with which they are charged. Borges’s story, Picasso’s drawing, and Yates’s film all employ the “discourses which precede and contextualize everything we say and do” found in Don Quijote de la Mancha in order to discourse on other relevant themes, while at the same time increasing and augmenting the history of discourses about the novel (Hutcheon 39). The Don’s innocence may be lost in the Postmodern Age, but his relevance will continue forever.

Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge, 1988.

IRNA. “America is modern times Don Quixote: Iran's minister.” October 21, 2001.

From <http://www.pcpafg.org/news/Afghan_Ne...Irans_minister .shtml> April 24, 2003.

This is kind of a jumbled mess, but I'm sleepy and I'll and clarify stuff tomorrow.
“'Quixote' premieres Sunday on TNT.” St. Petersburg Times (Florida) April 08, 2000

I agree.

[SteelBlue]

Thanks. btw, have you read whatshappeningman's really interesting post on Don Quixote? I think you might enjoy it.

Quote:
By request, I was asked to talk about why I think that Don Quixote was perfectly sane. Here goes:

In chapter XXXII, in the inn, Cardenio says, "That's how it seems to me, because, according to what the evidence indicates, he has it as certain than everything that those books tell (novels of knight errantry) happened, no more and no less than as it is written, and not even soleless friars could make him believe otherwise." The conversation reaches a climax when the curate says that there were never knights errant in the world, and the innkeeper contradicts him, saying that if the Royal Counsel let them be published, how can he claim that they are fiction. The Holy Office (Inquisition) looked for heretics and they accused people over any little pretext, but he's saying that the king (via his office) allowed false things to be published to "entertain our idle thoughts." Sancho hears all of this this and gets confused, because if there weren't knights errant and all these books were lies and more lies, that meant that his trip on that journey with his lord was going to end. It's sad to think about Sancho, depressed, doubting the words of his lord. But, there is hope, because in chapter XLIV, the barber accuses don Quijote being a highwayman. But, Sancho defends his lord, saying, "You lie. He isn't a highwayman, in fair battle did my lord, don Quijote, win these spoils." Don Quijote was there listening to him and thought how easily his escudero (shielf carrier) defend himself and got offended, and he held him in high esteem from that moment forward. Sancho decided to see the world from his own perspective and didn't let the world dictate to him how things were. This is the goal of a Liberal Arts education, and Sancho got both an education and a friend by seeing the world in a different light.

In 2000, the TNT network presented the film Don Quixote (2000), a postmodern gem, to its viewers. Irony seeps from every pore of this film as an American, John Lithgow, plays Don Quixote, Bob Hoskins, an Englishman, plays Sancho Panza, with a strong cockney accent, and Vanessa Williams—an African American—plays Dulcinea. None of the main characters of the movie are Spanish nor of Spanish descent, thus emphasizing the truly universal applicability and symbolic power of the Quixote. The movie takes liberties with the script, but the goal of reinvigorating the present with the figure of Don Quixote persists. The film is neither an experiment in the nature of literature—author—reader nor does it criticize Francoist Spain. It discourses with the problems of the past by subverting and challenging the rules of history. Having an African American play the role of Dulcinea challenges the racism and cultural marginalization of all mankind. The cockney accent used by Hoskins references London’s West Enders and their subservient roles to the noble class in England. That an American plays Don Quixote addresses the American attempts at policing the world, as Iranian Cooperatives Minister Ali Soufi has noted, “the role America has assumed for itself can also be likened to that of Don Quixote’s, who thought he was the strongest man in the world, commissioned to wipe out all the vices from the face of earth. Yet, he moved based on his erroneous assumption and that was what made a laughter sack out of him” (IRNA)! The director shot the film in Spain to be authentic, but the film relies heavily on special effects to show the reality that Don Quixote perceives. The film’s producer said:
T Quote:
hree or four years ago it occurred to me that it would be marvelous to use state-of-the-art film technology to tell the Don Quixote story," he's quoted as saying. "We could use special effects to make Don Quixote's fantasy of life in the Middle Ages work on film. I realized the technology existed to do the story justice on the night I sat down to watch Merlin.
(St. Petersburg Times)

In the tilting at windmills scene, when Don Quixote nears the whirling blades, the screen suddenly switches to an odd image of ridiculously huge giants swinging their arms at the knight. This image shocked me, because the camera lens allows the viewer to be inside the mind of Don Quixote, and perceive what he perceives—something that only a film version of the story can accomplish. Obviously, the portrayal of what Don Quixote sees depends on how the director decides to frame, light, scene, the shot, but the image is now captured and the viewer need not imagine the scene anymore. Once the blades crash into him, instead of knocking him and Rocinante to the ground, the horse is fine, but Don Quixote is grabbed by his britches and hoisted aloft to rest—precariously—on one of the blades, until Sancho comes to his rescue. The removal of injury to Rocinante smacks of placating today’s animal rights activists who not only monitor movie sets to make sure “no animals were harmed in the making of this picture” but now even object to even the portrayal of violence against animals.

Another aspect of actors fulfilling their roles in the film is that they bring with them the intertextuality of every role that they ever played before. Hutcheon writes, “Everything from comic books and fairy tales to almanacs and newspapers provide historiographic metafiction with culturally significant intertexts. […] Historiographic metafiction appears, then, willing to draw upon any signifying practices it can find operative in a society” (133). While John Lithgow is Don Quixote in the film, at the same time, I am reminded of his alien leader role on 3rd Rock from the Sun, of his repressive father role in Footloose, and of his transsexual football player role in The World According to Garp. Vanessa Williams was the first African American Miss America, and also the first one to lose her crown because she posed for nude photographs. Bob Hoskins brings to mind his hard-boiled yet loveable detective role from Who Framed Roger Rabbit? What do these other intertexts (by way of the lens) bring to the film? Everything and nothing, because the irony of postmodernism resides in Brecht’s opinion that “I’ve never been able to endure anything but contradiction” (cf. Hutcheon 201). The contradiction of these actors and their previous roles gives new meaning to their roles in the film. Knowing that Dulcinea was Miss America emphasizes her beauty, but a Miss America must also win on talent, information which is wholly absent about the Dulcinea of Cervantes’s novel. This silent discourse with Williams’s history and the role she plays fills it with even more ironic meaning, because Don Quixote calls Dulcinea a chosen pure vessel of chastity, while Williams posed nude for Penthouse. The movie makes use of these subtle ironies to discourse on and dialog with the errors of the past and the present, in order to “foreground the implication of the narrative and the representational in our strategies of making meaning in our culture” (Hutcheon 183). Postmodernism attempts to make new meanings through irony, every chance it gets.


Sigue habiendo tardanza de Don Quijote. Y ya estamos en 1916 –Joaquín García Monge

Don Quijote de la Mancha will forever maintain its place in popular literature and culture. While postmodernism has been commercialized; what was aesthetic pastiche is now fashionably mass-produced kitsch—this does not mean that society has chosen to leave postmodernism for a post-ironic-ism. On the contrary, the hyper-nostalgia that Jameson so hates continues to multiply the meanings associated with each cultural symbol. The figure and theme of Don Quixote lend themselves to these discourses because of the enormous symbolism with which they are charged. Borges’s story, Picasso’s drawing, and Yates’s film all employ the “discourses which precede and contextualize everything we say and do” found in Don Quijote de la Mancha in order to discourse on other relevant themes, while at the same time increasing and augmenting the history of discourses about the novel (Hutcheon 39). The Don’s innocence may be lost in the Postmodern Age, but his relevance will continue forever.

Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge, 1988.

IRNA. “America is modern times Don Quixote: Iran's minister.” October 21, 2001.

From <http://www.pcpafg.org/news/Afghan_Ne...Irans_minister .shtml> April 24, 2003.

This is kind of a jumbled mess, but I'm sleepy and I'll and clarify stuff tomorrow.
“'Quixote' premieres Sunday on TNT.” St. Petersburg Times (Florida) April 08, 2000
__________________

Agreed.

Agree. That Quixote post was interesting. I like the food pictures almost as much though.

[myboynoah]

The bottom image looks like smokers' lungs.

I was thinking exactly the same thing.

For some reason I want to go nude today.