The first part of Don Quixote embodies the spirit of Renaissance humanism, and Cervantes' works have had a profound impact on Western thought. French philosopher Michel Serre reinterprets Don Quixote's adventures from a bodily perspective, believing that the profoundness of literature lies in exploring fictional objects to touch upon human virtues. Searle analyzed Don Quixote's living environment, the fusion of reason and emotion, the interpretation of the dimension of life, and the aesthetic significance of his "crazy pursuit of knowledge". He connects ancient and modern times, providing a reference for understanding the social characteristics of the current media transformation period.

Noise: Restoring the Sensory Background of Rationality

Explored the fusion of reason and emotion in Cervantes' Don Quixote, and how humanists during the Renaissance faced the interweaving of reality and fiction in books against the backdrop of the prevalence of printing. Kundera believed that Cervantes had a profound influence on European thought, while Searle emphasized the eternal existence of background noise and its positive significance for knowledge construction through noise theory. The noise in Don Quixote is a recognition of human potential and an ode to the physical and mental well-being of the subject. Searle's noise theory allows for an inclusive sensory experience, giving birth to mixed concepts and emphasizing the importance of mixed backgrounds in knowledge construction. By mixing concepts, we can rediscover the encounter and intersection between text and reality in the noisy environment depicted by Cervantes. The combination of Don Quixote and Sancho forms a complete subject that blends sensation and knowledge, interpreting the new subject of aesthetic cognition created by Searle in "The Five Senses". The subject that combines rationality and sensibility has integrated thought and reality, discourse and body, logic and experience, technology and art, and embodied them into vivid behavioral events.

The integration of words into objects: the cognitive space of Don Quixote

Explored Cervantes' "Don Quixote" as a challenge to traditional cognitive methods and a new understanding of the relationship between words and objects in the context of the prevalence of printing during the Renaissance. The popularization of printing technology has changed the way people acquire knowledge, promoted the expansion of individual cognitive space, and challenged the consistency of "incarnation". Cervantes demonstrated the release of individual sensory experience and resistance to scholastic philosophy through Don Quixote. Fever and Martin's research suggests that the popularity of books during the Renaissance did not fully achieve visual perception, and the relationships between words and objects, discourse and behavior remained ambiguous. Foucault and Searle interpreted the semiotic construction of Don Quixote, believing that Don Quixote symbolizes the combination of words and objects, reflecting the cooperation between bodily experience and discourse norms. Searle further emphasized the important role of bodily creativity in finding similarities, as well as Cervantes' attempt to blend fictional words with real objects, expressing the 'potential of words'. By comparing the debate between Don Quixote and the headmaster about the authenticity of knightly novels, two completely different ways of cognition are revealed. Foucault believed that Don Quixote was a negation of the Renaissance world, while Searle saw the fusion of tradition, present, and future in Cervantes' "mixed" writing.

The Meaning of Madness: The Dimension of Life in Don Quixote

In depth exploration of Cervantes' dual portrayal of madness in Don Quixote, distinguishing between conscious madness and unconscious madness, and emphasizing the importance of the latter in the process of seeking knowledge. The article points out that Don Quixote's exploration journey is full of interruptions in ideas and reflections on life, reflecting Cervantes' profound understanding of the dimension of life. Searle regarded 'Don Quixote' as a comedy, believing that the laughter it brought was absurd and light hearted, a fusion of strength and softness. In line with Montaigne's viewpoint, Searle believed that Don Quixote's madness was not disorderly, but rather a free shuttle between reality and illusion, demonstrating the rationality of his madness. Unamuno emphasized that Don Quixote's pursuit of adventure in his mature life demonstrated the limits of his madness. Kiral's theory of "triangular desires" further reveals the body map of Don Quixote's insane behavior, revealing its rational background. Searle believed that the connection between writers and the world is physical rather than intellectual activity, and this physical stance enabled Don Quixote and Sancho to break free from Oedipus' deadly path to knowledge, echoing the irregular wanderings of the Odyssey. Cervantes' exploration was not a Bunyan style 'Pilgrimage', but a Rabelaean style of laughter and joy. Balzan believed that Cervantes' principles were reasonable and just, and that Don Quixote style behavior was not madness, but idealism. Cervantes' "fusion of intellect and music" strategy, while enjoying the advantages of printing technology, preserved the rich and diverse dimensions of life, forming a sharp contrast with the rationalism of later generations. Through the lens of time and space in Don Quixote, we can reflect on a sound aesthetic cognitive subject, which has enlightening significance for our current personal shaping and social ethical construction.

Aesthetics of Reality and Reality: Searching for a Happy Body and Meaning

Explored Cervantes' narrative technique of interweaving reality and virtuality in Don Quixote, showcasing the changes in cognitive modes and the value of individuals in society. In the novel, Don Quixote's adventurous behavior transforms from being ridiculed to an anticipated serialized story, reflecting Cervantes' view of the novel as a social entertainment tool. Cervantes compared novels to the "billiard table of society", believing that they could bring joy to people, while literature could perceive things present in a non logical language, expanding the sensitivity and judgment of the body. Searle discussed the fictionality in literature, believing that fiction is the essence or virtue of human beings, and that through fictional works, individuals can be more truly understood. Imitation in artistic creation helps with form, training, and transmission, especially in the mimicry of emotions. Searle emphasized that the perceptual fusion stage before the formation of the work is full of variables, which promotes the subject to broaden their horizons and open their thinking, thus innovating in imitation and giving birth to a "exotic language" that is different from logical expression. The unconventional narrative of Don Quixote proves this viewpoint, as Cervantes seeks wisdom and happiness in his madness, pointing to the virtues of secular individuals valuing life experiences, while implying utilitarian aesthetics in the cognitive process. This is different from Descartes' "dualism of mind and body" and Kant's "a priori aesthetic reason". Cervantes' subject with both perception and rationality is first and foremost a person who combines mind and body before pursuing reason. During Don Quixote's two expeditions, Sancho's daily thinking and proverbs played an important role in the book, filling the gap in written knowledge. The collision of reason and sensibility, tangible and intangible, creates a middle zone of interweaving latitude and longitude, which is also the reason why Searle believed beauty was born. During the Renaissance, happiness was regarded as a social function, and both Rabelais, Francis I, and Henry II believed that happiness was rich in moral significance. Cervantes endowed 'Crazy Joy' with exemplary depth and breadth, and Don Quixote's knightly spirit is not bound by foreign ideas, but is the result of individual agency. People can understand the heroic qualities and true meaning of life of a knight errant from Cervantes' portrayal of the intersection of time and space. Searle believed that the reason why humans are human lies in their ability to adapt and transform in specific environments. The virtue conveyed in Don Quixote lies in an open attitude of facing differences calmly, which deeply inspires people in the digital age. Searle gained insights from Cervantes' literary imagination, including how to handle the relationship between science and humanities. Don Quixote's shuttle between books and reality is highly consistent with modern people's digital lives. His flexible choice of differences and non adherence to identity is a true portrayal of modern people. Searle reminds us that while enjoying the convenience of technology, we must not forget that the development of human civilization is not only marked by the rapid progress of science and technology, but more importantly, by the constant inspiration of literature, art, and philosophy. Kundera emphasizes the "virtues within fiction" and believes that novels can forever illuminate the "world of life". The younger generation of Don Quixote, known as the "Thumb Generation," has entered the digital age where reality and virtuality intertwine, spreading the inconsistency of aesthetics and cognition onto the network woven by the body. The body's tolerance for differences, although often overlooked, has never been absent in the evolution of knowledge. The emphasis on secular life has shifted the pursuit of knowledge from seeking consistency in external concepts to exploring the diversity of one's own experiences and emphasizing the rich fields of connection or intersection between the body and the world. Only in this way, when dealing with the relationship between technology and art, science and culture, and even when facing the interaction between the West and the East, can we break free from past biases or oppositions, and return to the crossroads of imagination and reality, making reasonable choices and judgments for the next step of friendly communication and cooperation. By using Searle's unique aesthetic perspective to reread Don Quixote, we can not only see Cervantes' noisy subject inheriting and developing ancient traditions, but also inspire us to return to the vast background to reread classics, understand literature, listen to the world, observe the present, and ultimately not forget to return to life itself.