By Daniela Caselli
This ebook is the 1st research in English at the literary courting among Beckett and Dante. it's an leading edge studying of Samuel Beckett and Dante's works and a severe engagement with modern theories of intertextuality.
The quantity translates Dante within the unique Italian (as it seems that in Beckett), translating into English all Italian quotations. It advantages from a multilingual strategy in keeping with Beckett's released works in English and French, and on manuscripts (which use English, French, German and Italian).
The booklet is aimed toward the scholarly groups drawn to literatures in English, literary and demanding concept, comparative literature and concept, French literature and idea and Italian experiences. Its jargon-free sort also will allure third-year or complicated undergraduate scholars, and postgraduate scholars, in addition to these readers drawn to the weird courting among one of many maximum writers of the 20 th century and the medieval writer who stands for the very concept of the Western canon.
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Additional info for Beckett's Dantes: Intertextuality in the Fiction and Criticism
Moments of Being, 182) The dark, quiet house crowded with the possessions and members of three families (the Duckworths, the Stephens and Thackeray’s granddaughter from Leslie Stephen’s first marriage) was a haphazard space filled with odd-shaped rooms and additions built to accommodate everyone. It was a house with gendered and competing centres. There was the tea-table, ‘the heart of the family’, where Julia Stephen, a picture of maternal love, reigned (Moments of Being, 118). There was the parental bedroom on the first floor – ‘the sexual centre, the birth centre, the death centre of the house’ (118).
Enjoy at her discretion the companionship of friends of her own choice’ (Lady Stephen, quoted in Marcus, Virginia Woolf, 30). The sitting room was meant to be a private study and yet it was also a kind of study where company could be allowed in if desired. 26 This echoes the pleasures of the garden as a space that allows for both privacy and community but with a crucial difference – a room offers a woman far more control over access, particularly as a woman could more easily lay claim to owning a room than an entire garden.
Indeed, the title of her sequel, The Solitary Summer (my emphasis), taken from her decision to spend a summer without any visitors at all so that her ‘soul may have time to grow’, highlights von Arnim’s continued emphasis on solitude and complete privacy (3). The garden thus becomes a feminine space given over to escape and privacy, a place where a woman may claim a right to her individual identity apart from being a wife and mother. A glance at some of the other garden romances that appeared in the wake of von Arnim appears to confirm this nexus of garden, privacy and female identity.