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Titlebook: George Eliot and Italy; Andrew Thompson Book 1998 Palgrave Macmillan, a division of Macmillan Publishers Limited 1998 culture.fiction.Geor

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书目名称George Eliot and Italy
编辑Andrew Thompson
视频video
图书封面Titlebook: George Eliot and Italy;  Andrew Thompson Book 1998 Palgrave Macmillan, a division of Macmillan Publishers Limited 1998 culture.fiction.Geor
描述This study considers George Eliot‘s novels in relation to Dante and to nineteenth-century Italian culture during the Italian national revival and shows how these helped shape her fiction. Thompson argues that Eliot was able to draw selectively on a powerful Risorgimento mythology of national regeneration and that her engagement with the work of Dante Alighieri increases steadily in her later novels, where the Divine Comedy becomes a sustaining metaphor for Eliot‘s meliorist vision and for her theme of moral growth through suffering.
出版日期Book 1998
关键词culture; fiction; George Eliot; Italy; novel; poetry
版次1
doihttps://doi.org/10.1057/9780230390188
isbn_ebook978-0-230-39018-8
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 1998
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,George Eliot’s Contact with Italian Life and Culture 1840–61,rs and journals, her journalism and her trips to Italy in the 20 years or so until Unification. The treatment given is roughly chronological, though I have not attempted to give an exhaustive survey of Eliot’s contact with Italian life. Rather I have concentrated on those elements which seem to me t
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Italian Culture and Influences in , particular Dorothea, Ladislaw and some of the Middlemarchers, use, or attempt to use, aspects of Italian culture as hermeneutic devices in their readings of their fellow beings or the world around them. Italian life and culture enter the novel in a variety of ways, from vague prejudice to impassion
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Italian Poetry and Music in ,s . V (‘There is no greater pain than to recall the happy time in misery’ (121–3)); ‘.’ [‘For pity’s sake say not Farewell’] by Metastasio and the patriotic ode . [‘To Italy’] by Giacomo Leopardi.. The lines by Dante, particular favourites of Eliot’s, have already been touched on in Chapters 6 and 7
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