Storied Cities: Literary Imaginings of Florence, Venice, and Rome
Greenwood Press, 1994 - 310 oldal
The analysis points to Florence frequently being depicted in terms of binary oppositions, including Hebraism versus Hellenism, past versus present, stasis versus movement, and light versus darkness. Venetian narratives are commonly infused with motifs relating to dream and unreality, obsession, voyeurism, isolation, melancholia, and death. History is a controlling metaphor for Roman fiction and poetry, combined with the motif of change and, especially, fall from innocence to experience. Ross shows how writers have self-consciously built on the literary conventions set earlier and anticipates that these cities will remain natural loci for continued post-modernist experiment. In a wider theoretical framework, he examines this writing identified with place for the light it sheds on the issue of the importance of setting in literature.
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Exquisite hours , enveloped in light and silence , to have known them once is to have always a terrible standard of enjoyment , observes James ( Hours 20 ) . Such a " terrible standard " is laid upon James's young hero , Hyacinth ...
In The Stones of Venice ( 1851-53 ) , Ruskin extols , in a striking metaphor , " that beauty which seemed to have fixed for its throne the sands of the hour - glass as well as of the sea " ( 2 : 7 ) . For Mary McCarthy , too , " Venice ...
Tanner notes James's tendency ( 13-14 ) to speak in his travel writings of Venice as a woman ; and , indeed , James's references in Italian Hours to " the sad - eyed old witch of Venice " ( 72 ) call Juliana irresistibly to mind .
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