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Description
(Text)
This volume brings together a collection of essays that explore the cultural history and representation of Rome from the late eighteenth century to the mid-nineteenth century. The essays address diverse aspects of Rome as a subject and site of Romantic experience and commentary, investigating the legacy of the Grand Tour, and the changing face of Rome in the early nineteenth century. The contributions range across various media, genres, and topics - the Roman art market, paintings of contemporary Romans and their interpretation, music in and 'of' Rome, the evolution of nineteenth-century guidebooks, novels which take Rome as their narrative mise-en-scène, the idea of Rome as a setting for creative activity, ruins as polysemic metaphor, women and the reception of antiquity, the aesthetics of urban hygiene, and the mythology of that renowned quarter of Rome, Trastevere. In different ways, all of the contributions to this volume contribute to our understanding of the relationship between Rome's changing identity and the evolving forms of literary and artistic representation employed to record, evoke, commemorate, or make sense of the city, its people, and landscape.
(Table of content)
Contents: Wendy Wassyng Roworth: Pulling Parrhasius's Curtain: Trickery and Fakery in the Roman Art World - Andreas Vejvar: Karl Philipp Moritz's Die neue Cecilia, Rome, and the Concept of Creative Suffering - Brian Grosskurth: Solitude as Style: Berlioz, Rome, and the Topography of Sound - Stephen Bann: Léopold Robert and the Afterlife of Antiquity - Massimo Cattaneo: Trastevere: Myth, Stereotype, and Reality of a Roman rione in the 18th-19th Centuries - Julie Shaffer: Rejecting Rome, Relocating Inspiration: Elizabeth B. Lester's The Woman of Genius - Isobel Hurst: Reanimating the Romans: Mary Shelley's Response to Roman Ruins - Sophie Thomas: Seeing Past Rome - Richard Wrigley: 'It was dirty, but it was Rome': Dirt, Digression, and the Picturesque - Anne Bush: The Roman Guidebook as a Cartographic Space.
(Author portrait)
The Editor: Richard Wrigley is Professor of Art History at the University of Nottingham. He has recently edited Cinematic Rome, and is completing Roman Fever: art and environment in Romantic Rome.
