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Este texto es una versión ampliada y revisada de la conferencia que se dio en el Primer Congreso Internacional Cervantino de la Universidad de Nanjing, China, en septiembre de 1997, y de la versión inglesa dada en University College, Dublin, de la Universidad de Irlanda, en enero de 1998. (N. del A.)



Las citas se refieren al Ingenioso hidalgo don Quijote de la Mancha, ed. Luis Murillo (Madrid: Castalia, 1978). Las indicaciones entre paréntesis son, en este orden: parte, capítulo; página. (N. del A.)



Parece tratarse del proyecto abandonado, «The Man Who Killed Don Quijote», con la participación no de Cleese sino de un antiguo colega suyo, Terry Gilliam. (N. del E.)



The following monographs are specially helpful for scholars interested in pursuing literary studies based on chaos theory: Turbulent Mirror (Briggs and Peta) and Chaos: Making a New Science (Gleick), two monographs aimed at the non-specialist; Does God Play Dice? (Stewart); The Beauty of Fractals: Images of Complex Dynamical Systems (Peitgen-Richter), a visually amazing scientific treatise; and Computers, Pattern, Chaos and Beauty: Graphics from an Unseen World (Pickover), a hands-on manual for advanced computer aficionados. But before putting pen to paper, or turning your computer on, refer to Clark, an excellent and sobering commentary from a scientist's point of view on the critical pitfalls literary scholars may fall when applying chaos theory to literary studies. (N. from the A.)



An attractor is, within the context of this study, a topological object existing in literary works that models aspects of the printed text to which the word system is attracted and on which the word system settles. (N. from the A.)



I have in mind, specifically, Joseph Stella's Battle of Light, Coney Island (1914), Jackson Pollock's Sounds in the Grass, Shimmering Substance (1946) and Number 6 (1949), and Arshile Gorky's Agony (1948). In this context, Franz Kline's New York (1953) and Dalí's Paranoiac-Critical Study of Vermeer's Lace Maker (1955) may be considered, respectively, a representation of New York and a first step towards a representation of Vermeer's work using chaos theory. (N. from the A.)



The two deterministic doctrines are: (1) all events, including human choices and decisions, have sufficient causes and (2) all facts and events, whether of a micro- or macro-cosmic character, exemplify natural laws. (N. from the A.)



The Compositors 12; and «The Compositors» 20. (N. from the A.)



The first edition of Part I (Cuesta: Madrid 1605) is made up of 40 sixteenpage gatherings and 3 eight-page gatherings; its formula is ¶4 ¶¶8 A-Qq8 *-**4. The second Madrid edition of Part I (Cuesta, 1605) is made up of 41 sixteen-page gatherings and 1 eight-page gathering; its formula is ¶4 ¶¶8 A-Rr8. The third Madrid edition of Part I (Cuesta, 1608) is made up of 35 sixteen-page gatherings and 1 eight-page gathering; its formula is ¶4 ¶¶8 A-Mm8. The first edition of Part II (Cuesta: Madrid 1615) is made up of 35 sixteen-page gatherings and 1 eightpage gathering; its formula is ¶8 A-Mm8 Nn4. (N. from the A.)



Even though the occurrence of any given word depends solely on textual need, I have, nevertheless, represented in Figure 5 all the gatherings of the early Madrid editions. In the third Madrid edition of Part I, the occurrences of the word Dulzinea/Dulcinea appear displaced in lines, pages, and gatherings other than where they appear in the first edition; but I entered the clusters of occurrences in stage C as they appear in stages A and B. I also aligned the three stages to make the changes incurred by the compositors of the third Madrid edition of Part I stand out clearly and avoid misleading complications in Figures 5 and 6. Pergathering occurrences of the word Dulzinea/Dulcinea in the first edition of Part I: Dulzinea; ¶¶ (5), B (4), D (6), E (3), F (1), G (2), I (3), L (1), M (2), O (4), Q (11), R (16), S (1), V (1), Y (16), Ll (2), Nn (1), Qq (1), *(4); Dulzineæ; *(1); Dulcinea; A (2), Oo (1). Per-gathering occurrences of the form Dulcinea in the first edition of Part II: B (8), D (14), E (17), F (3), G (5), H (3), I (1), K (2), L (4), M (6), O (1), P (6), Q (19), R (15), S (13), T (3), V (1), X (9), Y (3), Z (2), Aa (1), Dd (2), Ee (5), Ff (12), Gg (3), Hh (4), Ii (8), Kk (6), Ll (8), Mm (11), Nn (4); Dulcineas; E (1), P (1). On one occasion, Sancho refers to his master's lady as «Dulcina»; Part II, S (1). (N. from the A.)