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

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書目名稱Dante‘s Modern Afterlife影響因子(影響力)




書目名稱Dante‘s Modern Afterlife影響因子(影響力)學(xué)科排名




書目名稱Dante‘s Modern Afterlife網(wǎng)絡(luò)公開度




書目名稱Dante‘s Modern Afterlife網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Dante‘s Modern Afterlife被引頻次




書目名稱Dante‘s Modern Afterlife被引頻次學(xué)科排名




書目名稱Dante‘s Modern Afterlife年度引用




書目名稱Dante‘s Modern Afterlife年度引用學(xué)科排名




書目名稱Dante‘s Modern Afterlife讀者反饋




書目名稱Dante‘s Modern Afterlife讀者反饋學(xué)科排名

Fulsome

978-1-349-26977-8Palgrave Macmillan, a division of Macmillan Publishers Limited 1998

議程

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粗俗人

insincerity

錯(cuò)事

Figuration in Shelley and DanteI begin with this two-part proposition: that Dante exerted the greatest influence on Shelley of any Italian writer, and that Shelley in turn was the best, because the deepest, reader of Dante among major English poets..

錯(cuò)事

周興旺

Introduction: Dante’s Afterlife, 1321–1997ty of influence in a letter to Boccaccio, where he cannot bring himself to mention Dante’s name, even as he acknowledges his poetry’s dangerous status as a possible model for imitation; whilst Joyce also shows a twitch of such apprehension in his ironic characterisation of ‘the divine comic Denti Alligator’.

擔(dān)憂

Tartar

https://doi.org/10.1007/978-3-662-54835-6ary grand tour. He began learning Italian in 1737 while at Cambridge and refers in a letter of that year to his enthusiasm for Tasso, whom he apparently always preferred over Ariosto.. In 1739 he left for France and Italy in the company of Horace Walpole, who was to prove unfortunately a less than i