By Laura Bandiera, Diego Saglia
Drawing on a long-standing culture of fictional pictures, British writers of the Romantic interval outlined and built Italy as a land that obviously invitations inscription and outline. of their works, Italy is a cultural geography so seriously overwritten with discourse that it turns into the normal recipient of extra fictional differences. If critics have often attended to this figurative advanced and its similar Italophilia, what turns out to were left particularly unexplored is the truth that those representations have been paralleled and sustained through extreme scholarly actions. This quantity particularly addresses Romantic-period scholarship approximately Italian literature, background, and tradition below the interconnected rubrics of ‘translating’, ‘reviewing’, and ‘rewriting’. The essays during this e-book think of this wealthy box of scholarly job so that it will redraw its contours and think about its connections with the fictitious photographs of Italy and the overall fascination with this land and its civilization which are an important component to British tradition among the eighteenth and 19th centuries. Contents Laura BANDIERA and Diego SAGLIA: advent: ‘Home of the humanities! Land of the Lyre!’: Scholarly ways and Fictional Myths of Italian tradition in British Romanticism atmosphere the Scene: Literary and Cultural Intersections William SPAGGIARI: The Canon of the Classics: Italian Writers and Romantic-Period Anthologies of Italian Literature in Britain Gian Mario ANSELMI: Shelley and the Italian Lyrical culture development the earlier: Re-Approaching the Italian Literary background Carla Maria GNAPPI: The Sunflower and the Rose: Notes in the direction of a Reassessment of Blake’s Illustrations of Dante Maria Cristina CIGNATTA: William Hazlitt and Dante because the Embodiment of ‘Power, ardour, Self-Will’ Silvia BORDONI: ‘The Sonnet’s Claim’: Petrarch and the Romantic Sonnet Luca MANINI: Charlotte Smith and the Voice of Petrarch Edoardo ZUCCATO: Writing Petrarch’s Biography: From Susanna Dobson (1775) to Alexander Fraser Tytler (1810) Laura BANDIERA: Wordsworth’s Ariosto: Translation as Metatext and Misreading taking a look at modern Italy: Mapping the current Lilla Maria CRISAFULLI: Theatre and Theatricality in British Romantic buildings of Italy Gioia ANGELETTI: ‘I consider the Improvisatore’: Byron, Improvisation, and Romantic Poetics Serena BAIESI: The impact of the Italian Improvvisatrici on British Romantic girls Writers: Letitia Elizabeth Landon’s reaction Mauro PALA: elements of the Risorgimento: the talk at the Classical history from Byron’s Childe Harold to Leopardi’s Canzone advert Angelo Mai Cecilia PIETROPOLI: the story of the 2 Foscaris from the Chronicles to the historic Drama: Mary Mitford’s Foscari and Lord Byron’s the 2 Foscari Lia GUERRA: Mary Shelley’s Contributions to Lardner’s cupboard Cyclopaedia: Lives of the main Eminent Literary and medical males of Italy Diego SAGLIA: ‘Freedom by myself is wanting’: British perspectives of latest Italian Drama, 1820-1830 Caroline FRANKLIN: Cosmopolitanism and Catholic tradition: Byron, Italian Poetry, and The Liberal Index
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Additional info for British Romanticism and Italian Literature: Translating, Reviewing, Rewriting (Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft) (v. 92)
95-119 (the piece on ‘Panizzi professore’ dates back to 1980), pp. 109-13. 34 William Spaggiari literary market. 17 Whereas Panizzi had only selected three living authors (Manzoni, Michele Colombo, and Ippolito Pindemonte, whose death occurred in the same year, 1828), his successor to the chair of Italian at London University, the ‘Deputy Professor’ Carlo Arrivabene, was much better disposed towards contemporary writers. In 1855, nearly thirty years after Panizzi’s anthology, Arrivabene published a collection based on the unfaltering faith in the superiority of poetry over prose.
341-507 (Mameli’s ‘Canto’ is at pp. 425-26, whereas Leopardi’s works are at pp. 399-407, with his canzone ‘All’Italia’ and the second and third stanzas of ‘La ginestra’, ll. 52-157). More than in the contemporary anthologies by Niccolò Tommaseo (Letture italiane, con prefazione e note letterarie e morali, Milan: Reina, 1854) and the young Carducci (L’arpa del popolo: scelta di poesie religiose, morali e patriottiche cavate dai nostri autori e accomodate all'intelligenza del popolo, Florence: Tipografia Galileiana, 1855), Arrivabene’s collection finds its Italian correlative (albeit published after the Unification) in Ferdinando Bosio’s Poesie di illustri italiani contemporanei, 2 vols (Milan: Guigoni, 1865).
And yet, equally important, and perhaps deserving an entirely new approach, is Shelley’s link with Petrarch, and not just the familiar poet of the Canzoniere, but also the meditative and anguished Petrarch of his Latin works, and the visionary Petrarch of the Trionfi; as well as Shelley’s knowledge of the poetry of the Italian Humanists (in particular, their Latin poetry) and of their reinterpretations of some of the classics. The essay stresses the crucial link between this secular Humanist tradition and some of the essential ideas of Romantic poetics, especially Shelley’s important discussion of the poet’s central role within processes of the formation of knowledge and the imaginative elaboration of reality.