Salvator Rosa (1615--1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa's tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa's life and work in the world of French letters.
Even as Romantic-period authors asserted the importance of telling the unvarnished truth, novelists were deploying narrative glossing in particularly sophisticated forms. Susan Egenolf examines the artistic craft and political engagement of three major women novelists-Elizabeth Hamilton, Maria Edgeworth, and Sydney Owenson-whose self-conscious use of glosses facilitated their critiques of politics and society. All three writers employed devices such as prefaces and editorial notes, as well as alternative media, especially painting and drama, to comment on the narrative. The effect of these disparate media, Egenolf argues, is to call the reader's attention away from the narrative itself. That is, such glossing or 'varnishing' creates narrative ruptures that offer the reader a glimpse of the process of fictional structuring and often reveal the novel's indebtedness to a particular historical moment. In spite, or perhaps because, of their being gendered feminine in eighteenth-century rhetorical commentary, therefore, these glosses allow women writers to participate in 'masculine' discussions outside the conventional domestic sphere. Informed by a wide range of archival texts and examples from the visual arts, and highlighting the 1798 Irish Rebellion as a major event in Irish and British Romantic writing, Egenolf's study offers a new interdisciplinary reading of gendered and political responses to key events in the history of Romanticism.
Author: W. Connell, F. Gardaphé
There has been an odd reluctance on the part of historians of the Italian American experience to confront the discrimination faced by Italians and Americans of Italian ancestry. This volume is a bold attempt by an esteemed group of scholars and writers to discuss the question openly by charting the historical and cultural boundaries of stereotypes, prejudice, and assimilation. Contributors offer a continuous series of cultural encounters and experiences in television, literature, and film that deserve the attention of anyone interested in the larger themes of American history.
This collection in the Nineteenth-Century Ireland Series focuses on the ways in which visitors to Ireland -- but also the Irish themselves -- viewed Irish land and landscape. Contents: Francesca Benatti (NUIG), Land and landscape in the Dublin Penny Journal, 1832-3; Maura Cronin (Mary I), Popular ballads in pre-Famine Ireland; Laura Dabundo (Kennesaw State U), Irish landscape in novels by Maria Edgeworth and Sydney Owenson; Susan Egenolf (Texas A & M U), Salvator Rosa and The Wild Irish Girl; Irene Furlong (NUIM), The landscape for all - no penny-in-the-slot at the Giantâ??s Causeway; Andrew J. Garavel (Santa Clara U), Land and landscape in the fiction of Somerville & Ross; Glenn Hooper (U Aberdeen), Landscape and travel in 19th-century Ireland; SiobhÃ¡n Jones (U San Diego), Land agitation in southern Irish loyalist propaganda; William H. Mulligan, Jr (Murray State U), The Irish landscape as seen by mining promoters, 1835-80; James H. Murphy (De Paul U), The Oâ??Donoghue (1845); MÃ¡irÃn NÃ Cheallaigh (U.C.Dublin), FieldÃ²monuments in 19th-century Ireland; Mary S. Pierse (UCC), The Untilled Field (1903) and The Lake (1905); Oonagh Walsh (U Aberdeen), Landscape and insanity in 19th-century Ireland; Toni Wein (California State U), Charles Robert Maturin and the subliming of Ireland.