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Shaping and remembering an imperial city, 1870–1911
David Atkinson, Denis Cosgrove, and Anna Notaro

the classical inheritance which was considered a vital ingredient of Italy’s modern national consciousness. In myriad ways, Rome’s reworked landscapes were constantly interwoven with references to the idea of empire, metaphorically and literally. This theme reached a spectacular apotheosis in the most self-consciously referential symbol of the Liberal state – its national monument, dedicated on 4 June 1911 to the memory of the first king of a united Italy, Vittorio Emanuele II ( Figure 6 ). While public and national

in Imperial cities
Jan Broadway

familiar to Dugdale’s gentry readership. By invoking them at the start of his work, Dugdale was implicitly associating Warwickshire with this classical inheritance. Similarly, William Grey linked his work to both classical and national historians: ‘Greece had his Homer. Rome his Virgil. Our Britons had their Gildas. Saxons had their Beda. England had of late his learned Camden, and painfull Speed’ – so Newcastle was to have its Grey.41 Although each edition of Camden’s Britannia included more Anglo-Saxon and medieval material, it remained a monument to the importance of

in ‘No historie so meete’
Forms of jesting in Renaissance England
Adam Smyth

examples. This classical inheritance reaches joke collections via early sixteenth-century humanists, like Erasmus and More, for whom jokes and the witty exchange of short textual forms was fundamental to their conception of the scholar. This humanist mediation is regularly evident in jest collections: Thomas More’s brother-in-law John Rastell published both XII. Mery Jests, of

in Formal matters
Lee Spinks

workers silent. Then Arthur Goss the city photographer packs up his tripod and glass plates, unhooks the cord of lights that creates a vista of open tunnel behind the two men, walks with his equipment the fifty yards to the ladder, and climbs out into sunlight. ( ISL , 105) For a moment, while the film receives the image, everything is still, the other tunnel workers silent: somewhere in this proliferation of subordinate clauses a defining image of the modern city comes into focus. This image derives elements of grandeur from its classical

in Michael Ondaatje
Abstract only
Gillian Rudd

we first encountered when Palamoun hid in the bushes in line . Now, however, the trees really do have ears and are therefore actually sentient beings, even if the only way we dare approach such an extension of our concept of a sentient being is through the distancing devices of mythology. This sudden reach into classical inheritance may be taken as simply raising the rhetorical level a further notch, thus increasing the sense of grandeur and pathos, but it also removes this very real destruction into the safer realms of epic. Conceivably, this carries with it

in Greenery
Benjamin J. Elton

inclinations, so too they restricted his aesthetic leanings. Although Adler viewed many aspects of the non-Jewish world positively, there were other aspects which, as a traditionalist, he could not approve – for example, faiths other than Judaism. He criticised Greek polytheism as ‘a mythology which could not but corrupt and debase’.116 He blamed Rome’s lack of true religion for its ‘luxury, cruelty and sensuality’.117 These attacks on the classical inheritance were part of the wider debate sparked by Matthew Arnold and the chapter on ‘Hebraism and Hellenism’ in his Culture

in Britain’s Chief Rabbis and the religious character of Anglo-Jewry, 1880–1970
Syrithe Pugh

Instrumental Aesthetics in the 1590 Faerie Queene’, ELR (2006), 194–226. Given the Irish setting of Spenser’s late pastoral, and its gestures towards drawing on a native culture as an alternative to the classical inheritance, Sidney’s reference at the end of the Apologie for Poesy to the tradition that Irish bards can ‘rhyme to death’ those who fail to patronize them seems also relevant. (See Highley, Shakespeare, Spenser, and the Crisis in Ireland, p. 30, also calling Colin ‘an Irish Orpheus’.) MUP_Pugh_SpencerandVIrgil_Printer2.indd 291 19/07/2016 18:31 292 Spenser and

in Spenser and Virgil