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Italian Narratives and the Late Romantic Metrical Tale
Diego Saglia

This essay addresses Gothic constructions of Italy by reconsidering Romantic-period literary works that capitalised on stereotypes of the country as a land ridden with violence, vice and dangers. If Gothic discourse ‘pre-scribed’ Italy as a country of terrifying events, Gothic writings also reworked an Italy that was already ‘pre-scribed’ according to hostile notions within a stratified geo-cultural archive dating back at least to the Renaissance. This combination of disparaging images was not created exclusively on the basis of British anti-Catholic feelings and other cultural hostility. Often it originated from Italian documentary sources and, particularly Italian literature, itself the object of increasing scrutiny in the Romantic period. This essay examines the Gothic construction and uses of Italy in verse tales published in the later Romantic period and inspired by Dante‘s Divina Commedia and Boccaccio‘s Decameron, among them Edward Wilmot‘s Ugolino; or, the Tower of Famine, Felicia Hemans‘s ‘The Maremma’, William Herbert‘s Pia della Pietra, John Keats‘s Isabella and Barry Cornwall‘s A Sicilian Story. These narrative poems employ Italy as an archive of Gothic plots, atmospheres and situations, making plain its double status: that of a fictitious, approximative set of geo-cultural notions, as well as that of a repertoire of fictional materials.

Gothic Studies
History and representations of confino

Confino (i.e., internal exile) was a malleable form of imprisonment during the Fascist ventennio. Confinement allowed Mussolini to bypass the judiciary thereby placing prisoners outside magistrates’ jurisdiction. The Regime applied it to political dissidents, ethnic and religious minorities, gender nonconforming people, and mafiosi, among others. Recent political discourse in and beyond Italy has drawn on similar rationales to address perceived threats against the State. This study examines confino from a historical, political, social, and cultural perspective. It provides a broad overview of the practice and it also examines particular cases and situations. In addition to this historical assessment, it is the first to analyse confinement as a cultural practice through representations in literature (e.g., letters, memoirs, historical fiction) and film. English-language publications often overlook confino and its representations. Italian critical literature, instead, often speaks in purely historical terms or is rooted in partisan perspectives. This book demonstrates that internal exile is not purely political: it possesses a cultural history that speaks to the present. The scope of this study, therefore, is to provide a cultural reading that makes manifest aspects of confino that have been appropriated by contemporary political discourse. Although directed towards students and specialists of Italian history, literature, film, and culture, the study offers a coherent portrait of confino accessible to those with a general interest in Fascism.

The gothic and death is the first ever published study to investigate how the multifarious strands of the Gothic and the concepts of death, dying, mourning, and memorialization – what the Editor broadly refers to as "the Death Question" – have intersected and been configured cross-culturally to diverse ends from the mid-eighteenth century to the present day. Drawing on recent scholarship in Gothic Studies, film theory, Women’s and Gender Studies, and Thanatology Studies, to which fields it seeks to make a valuable contribution, this interdisciplinary collection of fifteen essays by international scholars considers the Gothic’s engagement, by way of its unique necropolitics and necropoetics, with death’s challenges to all systems of meaning, and its relationship to the culturally contingent concepts of memento mori, subjectivity, spectrality, and corporeal transcendence. Attentive to our defamiliarization with death since the advent of enlightened modernity and the death-related anxieties engendered by that transition, The gothic and death combines detailed attention to socio-historical and cultural contexts with rigorous close readings of artistic, literary, televisual, and cinematic works. This surprisingly underexplored area of enquiry is considered by way of such popular and uncanny figures as corpses, ghosts, zombies, and vampires, and across various cultural and literary forms as Graveyard Poetry, Romantic poetry, Victorian literature, nineteenth-century Italian and Russian literature, Anglo-American film and television, contemporary Young Adult fiction, Bollywood film noir, and new media technologies that complicate our ideas of mourning, haunting, and the "afterlife" of the self.

Nicholas Halmi

those who supplied visitors with pictures of themselves and the sights:  the portraitist Pompeo Batoni, the view-​painters Canaletto 24 24 N icholas   H almi and Giovanni Paolo Panini and especially the engravers Giuseppe Vasi and Giovanni Battista Piranesi. Thus the growth in the popularity of the Grand Tour across the first three quarters of the eighteenth century was not directly matched by an increased interest in Italian literature and history. It was an Italian expatriate, the critic Giuseppe Baretti, who began to revive British interest in Italian

in Byron and Italy
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The material and visual culture of the Stuart Courts, 1589–1619
Author: Jemma Field

This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

Italy and irony in Beppo and Don Juan
Diego Saglia

delineation of an unprecedentedly multiform world view. Textual turns: the tre corone of Italian literature Byron began his linguistic and literary self-​positioning in Italy soon after his arrival in 1816. He became quickly acquainted with what he called the ‘Venetian modification’ of Italian, which he described to John Murray as ‘like the Somersetshire version of English’, though he also continued to cultivate ‘the more classical dialects’, by which he presumably meant Tuscan.13 Similarly, his knowledge of Italian literature expanded. A clear sign of this was his purchase

in Byron and Italy
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‘Un paese tutto poetico’ – Byron in Italy, Italy in Byron
Alan Rawes and Diego Saglia

the several waves of political exiles looking for asylum abroad from the failed Italian uprisings of the early 1820s, who crucially contributed to the increasing popularity of their country’s culture in Britain and elsewhere. Translations of, and guides to, Italian literature also flourished: Pierre-​Louis Ginguené’s Histoire littéraire d’Italie (1811–​19) was an especially formative example in Byron’s case.13 This Europe-​wide Italomania informs Byron’s Italy at every turn, as he variously draws on, challenges and develops what had become an enormous body of

in Byron and Italy
Christina Petraglia

as transgressing rationalistic views of this world. In Bonifazi’s fundamental study of the fantastic in Italian literature, he explains the double narration of fantastic texts that must contemporaneously possess elements of verisimilitude and inverisimilitude ( 1982 : 10). Tarchetti’s microcosm of ‘I fatali’, set in the Milan of 1866 of cafés

in The Gothic and death
Accounts of the quatorzain in Italy, France and England in the second half of the sixteenth century
Carlo Alberto Girotto, Jean-Charles Monferran and Rémi Vuillemin

According to a long tradition, the sonnet is closely related to the origins of Italian literature, as it was allegedly ‘invented’ by Giacomo da Lentini in the second part of the twelfth century. Thanks to its regular structure – fourteen hendecasyllables organised into two stanzas of four lines ( quartina ) and two of three lines ( terzina ), with some fixed patterns of rhymes

in The early modern English sonnet
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Seventeenth-century language learning
Jason Lawrence

the Turkey Merchants ’. This also suggests a discernible decline by the middle of the seventeenth century in the characteristic prominence placed on learning the language by means of and in order to appreciate directly the riches of Italian literature, so evident in the works of teachers from William Thomas through to John Florio. 6 It is in the context of a specifically literary seventeenth

in ‘Who the devil taught thee so much Italian?’