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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Rome has fallen , ye see it lying Heaped in undistinguished ruin : Nature is alone undying . ( Shelley , " Fragment : Rome and Nature , " Poetical Works 588 ) That Rome is full of ruins is news to no one ; but the commonplace assumes ...
Everywhere , some fragment of ruin , suggesting the magnificence of a former epoch ; everywhere , moreover , a Cross — and nastiness at the foot of it . As the sum of all , there are recollections that kindle the soul , and a gloom and ...
17 A Large Capacity for Ruin : Roderick Hudson and The Portrait of a Lady Largely because of its Roman setting , Henry James's first full - fledged novel , Roderick Hudson , has sometimes been treated as a mere offshoot of The Marble ...
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