By Laura Bandiera, Diego Saglia
Drawing on a long-standing culture of fictional photos, British writers of the Romantic interval outlined and developed Italy as a land that certainly invitations inscription and outline. of their works, Italy is a cultural geography so seriously overwritten with discourse that it turns into the usual recipient of additional fictional ameliorations. If critics have often attended to this figurative advanced and its similar Italophilia, what turns out to were left particularly unexplored is the truth that those representations have been paralleled and sustained via excessive scholarly actions. This quantity in particular addresses Romantic-period scholarship approximately Italian literature, background, and tradition below the interconnected rubrics of ‘translating’, ‘reviewing’, and ‘rewriting’. The essays during this booklet ponder this wealthy box of scholarly task with a view to redraw its contours and view its connections with the fictitious photos of Italy and the overall fascination with this land and its civilization which are an important portion of British tradition among the eighteenth and 19th centuries. Contents Laura BANDIERA and Diego SAGLIA: advent: ‘Home of the humanities! Land of the Lyre!’: Scholarly ways and Fictional Myths of Italian tradition in British Romanticism environment the Scene: Literary and Cultural Intersections William SPAGGIARI: The Canon of the Classics: Italian Writers and Romantic-Period Anthologies of Italian Literature in Britain Gian Mario ANSELMI: Shelley and the Italian Lyrical culture development the previous: Re-Approaching the Italian Literary history Carla Maria GNAPPI: The Sunflower and the Rose: Notes in the direction of a Reassessment of Blake’s Illustrations of Dante Maria Cristina CIGNATTA: William Hazlitt and Dante because the Embodiment of ‘Power, ardour, Self-Will’ Silvia BORDONI: ‘The Sonnet’s Claim’: Petrarch and the Romantic Sonnet Luca MANINI: Charlotte Smith and the Voice of Petrarch Edoardo ZUCCATO: Writing Petrarch’s Biography: From Susanna Dobson (1775) to Alexander Fraser Tytler (1810) Laura BANDIERA: Wordsworth’s Ariosto: Translation as Metatext and Misreading taking a look at modern Italy: Mapping the current Lilla Maria CRISAFULLI: Theatre and Theatricality in British Romantic structures of Italy Gioia ANGELETTI: ‘I consider the Improvisatore’: Byron, Improvisation, and Romantic Poetics Serena BAIESI: The impact of the Italian Improvvisatrici on British Romantic girls Writers: Letitia Elizabeth Landon’s reaction Mauro PALA: features of the Risorgimento: the controversy at the Classical background from Byron’s Childe Harold to Leopardi’s Canzone advert Angelo Mai Cecilia PIETROPOLI: the story of the 2 Foscaris from the Chronicles to the ancient Drama: Mary Mitford’s Foscari and Lord Byron’s the 2 Foscari Lia GUERRA: Mary Shelley’s Contributions to Lardner’s cupboard Cyclopaedia: Lives of the main Eminent Literary and medical males of Italy Diego SAGLIA: ‘Freedom by myself is wanting’: British perspectives of latest Italian Drama, 1820-1830 Caroline FRANKLIN: Cosmopolitanism and Catholic tradition: Byron, Italian Poetry, and The Liberal Index
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Just as important are the sections reproducing Algarotti’s travels in Germany; Metastasio’s letters, the literary value of which is precociously acknowledged by Panizzi; the novelle of the abate Michele Colombo, one of Panizzi’s tutors; and the legal prose of Gaetano Filangieri that must have been deeply familiar to Panizzi, who had taken a degree in law at the University of Parma in 1818. His 1828 anthology is thus underscored by a rigorous selection based on a few significant names which may usefully convey a new idea of Italy: from Machiavelli, at eighty pages the most abundantly excerpted author, up to Manzoni.
The two volumes, accompanied by some brief closing remarks, are in 16°. 12 Fiori poetici scelti e illustrati da Carlo Beolchi (1839). See also his Saggio della poesia italiana (1825). Further information is offered in his autobiography Reminescenze dall’esilio (1830; later, Turin: Biancardi, 1852). 13 At the turn of the century, a peculiar case is represented by the English author most active in popularizing Italian poetry, Thomas James Mathias, a member of the Roman Arcadia with the name of ‘Lariso Salaminio’, and a member and correspondent of the Florentine Accademia della Crusca and the Accademia Pontaniana of Naples.
See also Mathias’s letter Agli eruditi e culti inglesi amatori della lingua della letteratura e della poesia italiana, and his song to William Lort Mansel, ‘dottore di sacra teologia’ at Cambridge, in Aggiunta ai componimenti lirici de’ più illustri poeti d’Italia, II, pp. 4 and 52, later in Poesie liriche italiane, inglesi e latine (Naples: Nobile, 1822), pp. 12 and 37. 13 The Canon of the Classics 33 strengthened by dozens of anthologies. Without any apparent preferences for poetical works, Panizzi had the clear, and all but celebratory, aim of offering a useful instrument that might facilitate the (not very numerous) London University students who, contrary to traditional practice, did not have to tackle the works of ‘poetical writers’ but rather the ‘prose compositions’ of a tradition which Panizzi sought to highlight in its closest links with British culture.