FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W238092988> ?p ?o ?g. }

• W238092988 startingPage "145" @default.
• W238092988 abstract "While Shakespeare wrote extensively about Italy without ever visiting the country--which accounts for the fact that in Taming of the Shrew he places Padua in Lombardy (I, i, 3)--Dickens's descriptions of Italy draw on his own traveling experience. In 1844, he paid a long visit to Italy, which he summarized in Pictures from Italy (1846). In contrast to Shakespeare's image of Italy which, warped by cliches of Aretine depravity, Machiavellism and religious bigotry, was recaptured by novelists like Ann Radcliffe, Dickens lived in a cultural climate in which intellectuals not only felt dislocated from the past by modernization (Fraser 3) but also, in an act of colonizing history, tried to re-discover and re-invent Italy as the nucleus of culture. In addition to poetry by Robert Browning and Walter Pater's essays on artists, that interest in historiography involved a wide range of writers and scholars; and beyond that, it also spawned a considerable number of novels set in Rome, Venice and Florence which were intent on counterbalancing Ruskin's idea of the grotesque Renaissance with its spirit of idiotic mockery (Stones of Venice, 11: 145). But, if we conclude from this Victorian context that Dickens must readily have catered to this enormous literary and cultural re-discovery of Italy, we are likely to be taken in by a fallacy. Instead of contributing to the myth of Italy as the omphalos of civilization and enlightenment, Dickens preferred to view Dante's and Petrarch's country from the critical perspective of a British traveler who was less prepared to go on a sentimental journey than on a Cavalier Tour that exposed him to a severe clash of cultures. (1) This fault-finding disposition and attitude of inveterate Britishness, which Dickens had also shown earlier in American Notes (1842), is clearly indebted to the eighteenth century: (2) While Swift in Gulliver's Travels (1726) fused travel writing with Menippean satire to show the ubiquity of human depravity, it was Smollett in his Travels through France and Italy (1766) who saw dissolution materialized in France and Italy. So harsh was his criticism of the two countries that Laurence Sterne was prompted to satirize the Scotsman as the figure of Smelfungus, who vented his spleen on everything he saw: The learned Smelfungus travelled from Boulogne to Paris--from Paris to Rome--and so on--but he set out with spleen and jaundice, and every object he pass'd by was discoloured or distorted (Sentimental Journey 28 ff.). Having lost some of his popularity after his death in Leghorn in 1771, Smollett was still highly regarded by Dickens. As homage to the Scottish novelist, he not only mentions Smollett's grave, but attributes Leghorn's illustriousness to the mere fact that Smollett died there (Pictures from Italy 109). concept of the picaresque density of action which Smollett moderately employed and partially adapted to the budding Romantic taste in Roderick Random (1748) and Peregrine Pickle (1751) had a strong impact on Dickens's early novels. But what proved no less attractive than the re-introduction of the picaresque hero was the refashioning of the type of the Splenetic Traveler, whom, in his typology of travelers, Sterne differentiated from the Idle, Inquisitive, Lying, Vain and Proud Traveler (Sentimental Journey 11) and who is best embodied by the censorious but multi-faceted Welshman Matthew Bramble in Smollett's last novel, Expedition of Humphry Clinker (1771). (3) It is this persona of the Splenetic Traveler, of the Anglais de mauvaise humeur (Kahrl 111), that Dickens assumes when he visits France and Italy as a Victorian who is suspicious of religious enthusiasm and all sorts of Romantic effusions of sentimentality (see also Buckley 29). I. France Both starting their journeys in France, Smollett and Dickens eagerly take every opportunity to pinpoint the facetiousness of a country that is still in the grip of two monstrosities: rococo fashion and outdated Catholic rituals. …" @default.
• W238092988 created "2016-06-24" @default.
• W238092988 creator A5042839383 @default.
• W238092988 date "2008-09-01" @default.
• W238092988 modified "2023-09-24" @default.
• W238092988 title "Charles Dickens Abroad: The Victorian Smelfungus and the Genre of the Unsentimental Journey" @default.
• W238092988 hasPublicationYear "2008" @default.
• W238092988 type Work @default.
• W238092988 sameAs 238092988 @default.
• W238092988 citedByCount "0" @default.
• W238092988 crossrefType "journal-article" @default.
• W238092988 hasAuthorship W238092988A5042839383 @default.
• W238092988 hasConcept C122302079 @default.
• W238092988 hasConcept C124952713 @default.
• W238092988 hasConcept C138885662 @default.
• W238092988 hasConcept C142362112 @default.
• W238092988 hasConcept C164913051 @default.
• W238092988 hasConcept C166957645 @default.
• W238092988 hasConcept C17744445 @default.
• W238092988 hasConcept C199539241 @default.
• W238092988 hasConcept C27206212 @default.
• W238092988 hasConcept C2779343474 @default.
• W238092988 hasConcept C2780326160 @default.
• W238092988 hasConcept C29598333 @default.
• W238092988 hasConcept C519517224 @default.
• W238092988 hasConcept C52119013 @default.
• W238092988 hasConcept C53844881 @default.
• W238092988 hasConcept C95457728 @default.
• W238092988 hasConceptScore W238092988C122302079 @default.
• W238092988 hasConceptScore W238092988C124952713 @default.
• W238092988 hasConceptScore W238092988C138885662 @default.
• W238092988 hasConceptScore W238092988C142362112 @default.
• W238092988 hasConceptScore W238092988C164913051 @default.
• W238092988 hasConceptScore W238092988C166957645 @default.
• W238092988 hasConceptScore W238092988C17744445 @default.
• W238092988 hasConceptScore W238092988C199539241 @default.
• W238092988 hasConceptScore W238092988C27206212 @default.
• W238092988 hasConceptScore W238092988C2779343474 @default.
• W238092988 hasConceptScore W238092988C2780326160 @default.
• W238092988 hasConceptScore W238092988C29598333 @default.
• W238092988 hasConceptScore W238092988C519517224 @default.
• W238092988 hasConceptScore W238092988C52119013 @default.
• W238092988 hasConceptScore W238092988C53844881 @default.
• W238092988 hasConceptScore W238092988C95457728 @default.
• W238092988 hasIssue "3" @default.
• W238092988 hasLocation W2380929881 @default.
• W238092988 hasOpenAccess W238092988 @default.
• W238092988 hasPrimaryLocation W2380929881 @default.
• W238092988 hasRelatedWork W1986502439 @default.
• W238092988 hasRelatedWork W1988511036 @default.
• W238092988 hasRelatedWork W2016247928 @default.
• W238092988 hasRelatedWork W2025821778 @default.
• W238092988 hasRelatedWork W214946946 @default.
• W238092988 hasRelatedWork W2467574299 @default.
• W238092988 hasRelatedWork W2478397714 @default.
• W238092988 hasRelatedWork W2495893179 @default.
• W238092988 hasRelatedWork W2499051788 @default.
• W238092988 hasRelatedWork W2499329966 @default.
• W238092988 hasRelatedWork W2584118670 @default.
• W238092988 hasRelatedWork W2950682824 @default.
• W238092988 hasRelatedWork W295422137 @default.
• W238092988 hasRelatedWork W3080557448 @default.
• W238092988 hasRelatedWork W603732611 @default.
• W238092988 hasRelatedWork W606640790 @default.
• W238092988 hasRelatedWork W639872948 @default.
• W238092988 hasRelatedWork W643684527 @default.
• W238092988 hasRelatedWork W850850899 @default.
• W238092988 hasRelatedWork W2620972651 @default.
• W238092988 hasVolume "25" @default.
• W238092988 isParatext "false" @default.
• W238092988 isRetracted "false" @default.
• W238092988 magId "238092988" @default.
• W238092988 workType "article" @default.