This lecture covers two of the most important episodes of Part II of the Quixote: the descent into Montesinos cave and Master Peter's puppet show. The first one, on the one hand, engages the main literary topics and sources of the novel. Cervantes, by submitting Don Quixote's fantasies to natural law, questions the belief in the authenticity of the romances of chivalry and the reality of what his protagonist sees.

The loose format of the Quixote allows for the incorporation of different stories and texts, such as the Camacho's wedding, which was going to be a play. The episode, a form of epithalamium based on the myth of Pyramus and Thisbe, states one of the main themes of part two, that art corrects nature. As a way of turning deceit, which would normally lead to disillusionment, into a happy ending, in Camacho's wedding episode art helps nature to attain good ending.

González Echevarría starts by reviewing the Spanish baroque concept of desengaño. He proposes that the plot of theQuixote and some of the stories in part two unfold from deceit (engaño) to disillusionment (desengaño). He then turns his attention to Auerbach and Spitzer's essays included in the Casebook ("Enchanted Dulcinea" and "Linguistic Perspectivism" respectively) that try to describe what González Echevarría calls the "Cervantean," the particularities that define Cervantes' mind and style.

Commentary of the key concepts of Spanish Baroque, desengaño, introduces González Echevarría's suggestion that the plot of the Quixote follows a Baroque unfolding from deceit (engaño) to disillusionment (desengaño). The discussion of Don Quixote and Sancho about knight-errants and saints is not only about arms and letters, but about good actions for their own sake and for the sake of glory (or deceit).

The modern novel that develops from the Quixote is essentially a political novel and an urban genre dealing with cities. In Part II there is a sense of the text being written and performed in the present because it incorporates current events, such as the expulsion of the moriscos, a critic of the arbitristas and a satire of the aristocracy.

González Echevarría talks about the transition that we, as present-day readers undergo, between Part I, published in 1605, and Part II of the Quixote, published in 1615. He first reviews the grand themes of part one: 1) ambiguity and perspectivism, 2) the idea that the self can impose its will but only to a certain point and the ontological doubt, 3) reading, 4) characters that are relational and not static, and 5) improvisation.

The lecture focuses on the ending of the first part of the Quixote, which for the seventeenth-century reader was, simply, the end because no second part existed yet or was envisioned. Probably because it represents a difficult process (since the Quixote is not an ordinary story with a clear beginning) the end is already contained in the prologue, which also works as an epilogue echoing the characteristics of the meta-novel.

Durkheim understood life sciences as divided into three branches: biology, which is interested in the body, psychology, which deals with the personality, and sociology, which deals with collective representations. In The Rules of Sociological Method, Durkheim attempted to provide methodological rules and guidance for establishing social facts and how they are related to one another.

Durkheim's Suicide is a foundational text for the discipline of sociology, and, over a hundred years later, it remains influential in the study of suicide. Durkheim's study demonstrates that what is thought to be a highly individual act is actually socially patterned and has social, not only psychological, causes. Durkheim's study uses the logic of multivariate statistical analysis, which is now widely used in the discipline of sociology. Durkheim considered factors including country, marital status, religion, and education level to explain variations in suicide rates.

In the transition from mechanical solidarity to organic solidarity, brought on by increasing division of labor, industrialization, and urbanization, Durkheim argues that there will be social pathologies, which he calls anomie. These abnormal and unhealthy consequences of the change in type of social solidarity have various causes. Durkheim is best known for arguing that a lack of moral regulation leads to social pathologies, but he also argues that overregulation--in the form of forced division of labor--will lead to fatalism, a kind of anomie.