Acceso usuarios
José Manuel Martín Morán 
Don Quixote subverts the codes of representation of the world. The parody of the books of chivalry leads to reification of the word, an extreme form of selfreferentiality. On many occasions the narrative produces a textual referent, a synchronic cut, a narrative icon that has its dénouement inscribed within it. This happens in the case of the different versions of the neverending story (that of the shepherdess Torralba, Cardenio¿s story, Don Quixote¿s adventures), where the word is materialized in its pragmatic energy, or even in a manuscript, or in the continuation of his adventures. It happens too in the interpolated narratives, almost all preceded by the appearance of a strangely dressed character whose function is to explain how he ended up that way; his costume thus becomes the tattoo of his own story; the narration of his ups and downs leads to his obtaining some material benefit: Cardenio hopes to be cured of his madness, Dorotea solves her amorous problem, the captive meets his brother, etc. If we may use an anachronistic term, Cervantes seems to follow a hypertextual method of organizing his narrative, based on the iconographic condensation of stories which he then gives the necessary space for their development.
