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Titlebook: Dante‘s Modern Afterlife; Reception and Respon Nick Havely (Senior Lecturer) Book 1998 Palgrave Macmillan, a division of Macmillan Publishe

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书目名称Dante‘s Modern Afterlife
副标题Reception and Respon
编辑Nick Havely (Senior Lecturer)
视频video
图书封面Titlebook: Dante‘s Modern Afterlife; Reception and Respon Nick Havely (Senior Lecturer) Book 1998 Palgrave Macmillan, a division of Macmillan Publishe
描述Dante‘s persistent and pervasive presence has been a remarkable feature of modern writing since the late eighteenth century. This collection of essays by an international group of scholars emphasizes that presence in the work of major British and Irish writers (such as Blake, Shelley, Joyce and Heaney). It also focuses on responses in America, the Caribbean and Italy and deals with appropriations of Dante‘s work by poets (from Gray to Walcott) and novelists (such as Mary Shelley and Giorgio Bassani, and Gloria Naylor).
出版日期Book 1998
关键词America; bibliography; Caribbean; eighteenth century; Italy; knowledge; media; modernism; ode; poetry; Quotati
版次1
doihttps://doi.org/10.1007/978-1-349-26975-4
isbn_softcover978-1-349-26977-8
isbn_ebook978-1-349-26975-4
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 1998
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978-1-349-26977-8Palgrave Macmillan, a division of Macmillan Publishers Limited 1998
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Figuration in Shelley and DanteI begin with this two-part proposition: that Dante exerted the greatest influence on Shelley of any Italian writer, and that Shelley in turn was the best, because the deepest, reader of Dante among major English poets..
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Introduction: Dante’s Afterlife, 1321–1997ty of influence in a letter to Boccaccio, where he cannot bring himself to mention Dante’s name, even as he acknowledges his poetry’s dangerous status as a possible model for imitation; whilst Joyce also shows a twitch of such apprehension in his ironic characterisation of ‘the divine comic Denti Alligator’.
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https://doi.org/10.1007/978-3-662-54835-6ary grand tour. He began learning Italian in 1737 while at Cambridge and refers in a letter of that year to his enthusiasm for Tasso, whom he apparently always preferred over Ariosto.. In 1739 he left for France and Italy in the company of Horace Walpole, who was to prove unfortunately a less than i
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