1,723,016 research outputs found
Medical Discourse in the Romantic Period: A Textual and Lexical Overview of John Keats’s Notebook
No full textScience and Language in the Long Nineteenth Century: Innovation, Popularization, Discourses
No full textNeo-Gothic and Neo-Romantic Features in Peter Ackroyd’s "The Casebook of Victor Frankenstein"
No full textFrankenstein; or, The Modern Prometheus has been the object of multiple afterlives
since Richard Brinsley Peake’s Presumption, or the Fate of Frankenstein was staged in
1823. Over the past two centuries, literary, dramatic, and multimedia adaptations
of the novel have certainly fulfilled Mary Shelley’s hope that her ‘hideous progeny’
might ‘go forth and prosper’. In both highbrow and lowbrow revisitations, however,
it is usually the Creature that undergoes various metamorphic processes. This
article focuses on a different metamorphosis of Shelley’s novel, Peter Ackroyd’s
The Casebook of Victor Frankenstein (2008), which refashions the story of the creator.
Victor’s ambition and his downfall abandon Ingolstadt and the sublime landscapes
of Mont Blanc to be re-located in nineteenth-century England, where the scientist
finds his alterego in Percy Bysshe Shelley and meets his own creator, Mary
Wollstonecraft Godwin. After discussing the novel in the context of postmodern
theory, I contend that Ackroyd’s taste for pastiche has several implications.
His Casebook rests on a complex narrative palimpsest made of allusions, which
transforms the conventions of late eighteenth and early nineteenth-century Gothic
novels and provides a negotiated version of their tropes that is simultaneously ‘Neo-
Gothic’ and ‘Neo-Romantic’
John Huston's intersemiotic translation of "The Dead": between sign and symbol
No full textWhen directing the film version of James Joyce’s “The Dead” in 1987, John Huston faced the challenge of reproducing on the screen Joyce’s atmosphere of claustrophobia and spiritual barrenness. In this essay, Huston’s movie is analyzed as an instance of C. S. Peirce's theory of intersemiotic translation, an act which he defined as the process of reproducing “a sign into another system of signs”. After an introductory analysis of the use of symbols in “The Dead”, my essay focuses on Huston’s filmic adaptation of Joyce’s symbolism. To this end, I argue that Joyce's text is staged through the use of “fading lights”, dark and oppressive colours, props, music and specific choices regarding photography and framing. The aim of this contrastive analysis is to ascertain whether and to which extent Huston managed to reproduce the symbolic meanings embedded in Joyce’s short story, despite slight changes due to his resorting to a different semiotic system
Giovanni Battista Canani: l'umanesimo medico e la riforma dell'anatomia rinascimentale
No full textQuesto articolo tratta del ruolo dell'opera di Giovanni Battista Canani nella riforma rinascimentale dell'anatomia, e in particolare dei suoi rapporti con l'opera di Andrea Vesalio, oltre che della sua collocazione all'interno dell'umanesimo medico ferrarese
Perspectives on Peterloo at 200: Construing and Representing the Event
No full textThe tragedy that became crystallized in cultural memory as ‘Peterloo’ provided one of the darkest pages in British history, but also one of the best documented nineteenth-century events. The interest of the press, and the large number of participants, produced a polyphonic, multifarious corpus made of reports, eyewitness accounts, memoirs and testimonies, as well as poetic and prose texts. As a critical introduction to this monographic issue of The Keats-Shelley Review, the article discusses ‘Peterloo’ as an event whose historical and sociopolitical significance is also dependent on its manifold representations across time, genres, and discourses. Both factual or fictional, texts, it is suggested, contributed to construing Peterloo as an event by interrogating and emplotting facts, thus determining their shape and significance
Eric Rundquist, Free Indirect Style in Modernism: Representations of Consciousness. Amsterdam: John Benjamins Publishing, 2017
No full text"Ideology, Insularity, Cosmopolitanism: Literary Translation and British Romanticism.” Review of D. Saglia, European Literatures in Britain, 1815-1832. Romantic Translations (Cambridge: Cambridge UP, 2019)
No full textPercy Bysshe Shelley, within “the Veins” of “Fair Milan”. A Map of the Poet’s Contacts and Places in April 1818
No full textThis article adopts a historical and biographical perspective in order to investigate Percy Bysshe Shelley’s experience of Milan in April 1818. To this end, I trace the Shelleys’ arrival in the city and focus on the places they visited, their contacts, and the encounters they made so as to re- construct the poet’s “Milanese circle”. Subsequently, I focus on “Ode to Naples” and "Hellas" and argue that Shelley’s references to the medieval and early modern history of the city should be seen as transhistorical allusions to the political contingency of the Lombardo-Venetian capital after the Hapsburg restoration
Tra le lingue, tra le culture : intorno al manoscritto italiano “Ville romane: in memoriam” di Vernon Lee
Get PDFVernon Lee’s (1856-1935) identity was significantly shaped by her cosmopolitan and multilingual upbringing. Born in France to British parents, she spent her adult life in Italy, and her readings and correspondence suggest that she was a plurilingual intellectual and writer. Because she lived and worked in such a multicultural milieu, it is difficult to define Lee’s writing from the viewpoint of sheer nationality, which is not as relevant as her linguistic identity. Indeed, Lee’s works are suspended between England, where her readership is based, and Italy, whose culture and art she explores with passion and intelligence. Written in Italian around 1890, the unpublished essay “Ville Romane: in memoriam” is a significant exception within Lee’s production. After a short investigation into the reasons why Lee chose English as her literary language, the article evaluates the relevance of “Ville Romane” within Lee’s reflections on landscape and cultural memory – a theme she often explores in her travelogues and aesthetic writings. Finally, Lee’s written Italian is examined with specific focus on rhetorical strategies and lexical choices
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