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 clearly invitations inscription and outline. of their works, Italy is a cultural geography so seriously overwritten with discourse that it turns into the usual recipient of extra fictional ameliorations. If critics have usually attended to this figurative complicated and its comparable Italophilia, what turns out to were left really unexplored is the truth that those representations have been paralleled and sustained by means of extreme scholarly actions. This quantity particularly addresses Romantic-period scholarship approximately Italian literature, historical past, and tradition lower than the interconnected rubrics of ‘translating’, ‘reviewing’, and ‘rewriting’. The essays during this e-book think about this wealthy box of scholarly job on the way to redraw its contours and think about its connections with the fictitious pictures of Italy and the overall fascination with this land and its civilization which are a vital portion of British tradition among the eighteenth and 19th centuries. Contents Laura BANDIERA and Diego SAGLIA: advent: ‘Home of the humanities! Land of the Lyre!’: Scholarly methods 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 history 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 modern Italy: Mapping the current Lilla Maria CRISAFULLI: Theatre and Theatricality in British Romantic structures of Italy Gioia ANGELETTI: ‘I suppose the Improvisatore’: Byron, Improvisation, and Romantic Poetics Serena BAIESI: The impression of the Italian Improvvisatrici on British Romantic ladies Writers: Letitia Elizabeth Landon’s reaction Mauro PALA: points of the Risorgimento: the talk at the Classical historical past 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 ancient 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 up to date Italian Drama, 1820-1830 Caroline FRANKLIN: Cosmopolitanism and Catholic tradition: Byron, Italian Poetry, and The Liberal Index

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Abrams, The Mirror and the Lamp (New York: Oxford University Press, 1953), and Natural Supernaturalism (New York: Norton, 1971). Among the numerous scholars who have contributed to a redefinition of the concept of the Renaissance, see the work of Eugenio Garin, Carlo Dionisotti, Ezio Raimondi, Mikhail Bakhtin, and Leonid M. Batkin. Shelley and the Italian Lyrical Tradition 43 Furthermore, up to its climax in the works of Torquato Tasso, the Renaissance was uniformly characterized by its ability to reconcile conflicting opposites, and thus to subvert the consolidated hierarchies of knowledge and assert the primacy of literature, poetry, and the arts.

10 These criteria are reflected in the exiles’ anthologies, which were often pocket-sized so as to be easily carried around. 12 It is evident that, also in Britain, Italian lyrical poetry continued to be seen not just as a mine of beautiful or elegant verse, but also as a useful repertoire of moral reflections and precepts providing effective support for the exiles’ troubled souls. This is confirmed by two volumes edited by Pietro Luigi Costantini – a small collection of maxims and sententiae degli autori, dal conte Giacomo Leopardi (1828).

9 Moreover, in the case of the Decameron, we should bear in mind that the ‘tragically’ and ‘satanically’ inclined among the British Romantics were not merely familiar with the most popular erotic tales, but also with other novelle, such as that of Ser Ciappelletto. The protagonist of the first novella, Ser Ciappelletto is the brilliant, though usually overlooked, archetypical embodiment of subversive and mocking ante litteram Satanism. In addition, the gloomy and memorable fourth giornata of the collection features an entire gallery of portentously Titanic and bloodthirsty figures of fathers, husbands, and brothers, juxtaposed with sweet, courageous, and unfortunate heroines, which seem to provide the blueprint for later tragic figures from Shakespeare’s ill-fated female protagonists to Beatrice in Shelley’s Cenci (1819, 1821).

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