Titlebook: Dante‘s Modern Afterlife; Reception and Respon Nick Havely (Senior Lecturer) Book 1998 Palgrave Macmillan, a division of Macmillan Publishe

Ovulation

我不死扛

of essays by an international group of scholars emphasizes that presence in the work of major British and Irish writers (such as Blake, Shelley, Joyce and Heaney). It also focuses on responses in America, the Caribbean and Italy and deals with appropriations of Dante‘s work by poets (from Gray to W

自愛

carotid-bruit

為寵愛

Dante and Louis MacNeice: A Sequel to the Commedia, being ‘particularly fond of a large edition of Dante with illustrations by Gustave Doré. . It is true that he then talks more about his interest in Doré than in Dante, and in an account of his reading tastes published in . in 1961 he does indeed set limits on this latter interest:

挑剔小責(zé)

Purgatory Regained? Dante and Late Becketthe shadowy modern afterworld in which Beckett’s characters live.. In Beckett’s work Dante’s ‘sweet new style’ has become the ‘old style’ against which Beckett’s speakers unconsciously and consciously model themselves.

試驗

‘Prosperous People’ and ‘The Real Hell’ in Gloria Naylor’s Linden Hillsare drawing upon non-European or partially European cultural traditions. Approaches and responses to Dante on the part of such writers are significantly different from what Heaney calls the ‘envies and identifications’ of European male poets.

奴才

FUSE

overreach

e and Heaney). It also focuses on responses in America, the Caribbean and Italy and deals with appropriations of Dante‘s work by poets (from Gray to Walcott) and novelists (such as Mary Shelley and Giorgio Bassani, and Gloria Naylor).978-1-349-26977-8978-1-349-26975-4