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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eyes " ( 19 ) signal trouble from the very first . The whole story hinges on the gothic nuances of eye - play . When Agnes , the girl jilted by the late Count , arrives at the ghastly Venice " hotel " where the Count has been murdered ...
The " mask , " a mocking reminder of bygone Carnival gaiety , serves Juliana not only as a cover for her own spying but also as a protective shield against the prying eyes of others . " ' Does she never show you her eyes then ?
I made no answer to this last declaration ; I only privately consulted Jeffrey Aspern's delightful eyes with my own ( they were so young and brilliant , and yet so wise , so full of vision ) ; I asked him what on earth was the matter ...
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