Haunted Museum: Longing, Travel, and the Art-romance TraditionPrinceton University Press, 2005 - 285 頁 For centuries, southern Europe, and Italy in particular, has offered writers far more than an evocative setting for important works of literature. The voyage south has been an integral part of the imagination of inspiration. Haunted Museum is a groundbreaking, in-depth look at fantasies of Italy from the late eighteenth to the early twentieth centuries, focusing on a literary tradition Jonah Siegel terms the "art romance"--the fantastic voyage south understood as the register of an ambivalent desire for art and a heightened experience of reality. Siegel argues that Italy's allure derives not only from its celebrated promise of unique natural beauty and prized antiquities, but from the opportunity it offers writers to place themselves in relation to a web of prior accounts of travel to the native land of genius. Beginning with Goethe as the founding figure of the tradition, Haunted Museum moves from a rich reframing of literature from the first half of the nineteenth century--including new readings of works by Byron, de Staël, Barrett Browning, and others--to an ambitious examination of Henry James's well-known engagement with Europe, newly understood as a response to this important literary legacy. Readings of works by Freud, Forster, Mann, and Proust demonstrate the longevity of the tradition of looking to Italy for the representation of desires as impossible to satisfy as they are to deny. |
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... opening line of the poem.8 In the Palace of Art / The Unanswered Question Although the kind of elation Goethe discovers on arrival in Rome is ex- pressed by literary visitor after visitor in later years , the fantastic harmony between ...
... opening separation of self and soul returns with force at the center of the poem as the text swerves abruptly away from ease , merri- ment , carousal , and even from the indifferent intellectual self - indulgence in which the soul's ...
... opening of the poem identifies the museum as an everlasting site of solipsistic pleasure , its con- cluding lines make the palace of art into a place not of permanent habita- tion but of return : " [ P ] ull not down my palace towers ...
... opening claim of assured permanence , " to dwell , " to the tentative assertion of uncertain transience , " perchance I may return , " and that movement is closely related to the shift from a confident active voice , " I built , " to ...
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內容
The Song of Mignon | 21 |
The ArtRomance Tradition | 41 |
James in the Art Romance | 83 |
Henry James Impossible Artists and the Pleasures of Patronage | 85 |
The Museum in the Romance James with Hawthorne | 113 |
Speed Desire and the Museum The Golden Bowl as Art Romance | 149 |
Learned Longing Modernism and the End of the Art Romance | 171 |