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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Tall and refined , with shoulders that seemed braced square by an effort of the will , and a head that was tilted a little higher than the usual level of vision , he resembled those fastidious saints who guard the portals of a French ...
During a night when Agnes beholds hideous visions , the Countess secretly infiltrates her bedroom in order to see what you saw ' " ( 141 ) . The climax occurs when the Countess and the apparition of her husband's severed head engage in ...
As in other Venetian narratives , angles of vision govern action in " The White Wand . " C. F. returns to Venice partly " ' to see if the old spell still held ' " ( Complete Short Stories 267 ) ; but whether or not the spell holds ...
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