"Italy and the Irish Romantics: Networks, Nations, and Literary Encounters, 1798-1848"

从1798年的爱尔兰联合起义到1848年的《联合法案》，再到1848年的《人民的春天》，在这50年里，爱尔兰和意大利在政治、文化和社会方面的相似之处非常明显。在这一时期，文学在传播民族意识和塑造两国的民族认同方面发挥了根本性的作用。正如我的研究所显示的，早在詹姆斯·乔伊斯、塞缪尔·贝克特和乔治·萧伯纳抵达意大利半岛之前，他们的浪漫主义先驱就在爱尔兰和意大利之间建立了第一个文化和文学联系。悉尼·欧文斯、玛格丽特·布莱辛顿、玛格丽特·蒙特卡塞尔和约翰·塔菲等爱尔兰作家是第一个将意大利设想为一个像爱尔兰一样拥有独特民族历史、遗产和文化的国家，并为获得独立而与外国统治作斗争的人。虽然英国浪漫主义与意大利的关系一直是许多批评研究的主题，但同一时期爱尔兰人在意大利的文学创作从未被调查过。用艾伦·劳维斯（Alan Rawes）和迭戈·萨格利亚（Diego Saglia）的话来说，英国-意大利学术界已经着手绘制“英国和意大利身份之间的导航”，而我的研究将探索后联盟时代的英国-爱尔兰身份与意大利分裂的统一前现实之间的遭遇。爱尔兰浪漫主义作家如何回应意大利文学、政治、语言、地方和人民，意大利在爱尔兰文学民族主义的兴起中扮演了什么角色？当玛丽·雪莱将拜伦称为“英意文学之父”，并将他的《别波》称为“该流派的第一个产物”时，是否同样有可能确定文学作品和体裁是意大利-爱尔兰联系的产物？在《意大利观念》一书中，威尔·鲍尔斯区分了半岛的临时“旅行者”和长期“流亡者”，以及他们对意大利的根本不同的体验。我将把这种区分应用于意大利的爱尔兰浪漫主义者，考虑到路过的爱尔兰游客的作品--借用玛格丽特·下士和克里斯蒂娜·莫林研究的标题“旅行中的爱尔兰人”的例子--以及那些在意大利安家后重新塑造自己的文学和民族身份的爱尔兰侨民或“流亡者”的作品。这种区别反映在我的论文提出的两部分结构中。第一部分将探讨浪漫主义时期爱尔兰与意大利认同的起源。具体来说，我将探讨悉尼·欧文斯、玛格丽特·布莱星顿和凯瑟琳·威尔莫特作品中对意大利的描述。他们在意大利游历甚广，并根据自己的旅行记录撰写游记，第一次将意大利和爱尔兰联系在一起。第二部分研究爱尔兰侨民的文学作品。正如我将论证的那样，“流亡”的概念代表了爱尔兰浪漫主义者与意大利关系的一个关键组成部分。为了我的研究目的，我将使用广义上的“流亡”一词，遵循简·斯特布勒（Jane Stabler）对流亡的定义，即英国浪漫主义和维多利亚时代的作家们在意大利自觉地塑造自己为流亡者，并在他们的作品中构建了一种“流亡诗学”。在这样做的时候，我将专注于浪漫主义中最重要的流亡文学圈内的爱尔兰联系：所谓的“比萨圈”，它首先聚集在一个鲜为人知的爱尔兰侨民核心周围。在比萨的爱尔兰人中，激进的小说家玛格丽特·蒙特卡塞尔、农业理论家和诗人乔治·威廉·泰伊以及第一位爱尔兰但丁评论家约翰·塔菲将在我的研究中发挥核心作用。

In the fifty years that span the 1798 United Irishmen Rebellion, the Act of Union, and the 'Primavera dei Popoli' of 1848, the political, cultural, and social analogies between Ireland and Italy are remarkably strong. In this period, literature has a fundamental role in communicating ideas of nationhood and shaping the national identities of both countries. As my study will show, long before the arrival in the Italian peninsula of James Joyce, Samuel Beckett, and George Bernard Shaw, their Romantic precursors forged the first cultural and literary links between Ireland and Italy. Irish writers such as Sydney Owenson, Marguerite Blessington, Margaret Mountcashell, and John Taaffe were the first to envisage Italy as a nation that, like Ireland, possessed a distinctive national history, heritage, and culture, and was fighting foreign domination to gain independence. Although the relationship of the English Romantics with Italy has been the subject of many critical studies, the literary production of the Irish in Italy in the same period has never been investigated. Anglo-Italian scholarship has set out to chart, in Alan Rawes's and Diego Saglia's words, "the navigations between British and Italian identities", while my study will explore the encounter between the hyphenated identities of post-Union Anglo-Ireland and Italy's fragmented pre-Unification realities. How did Irish Romantic writers respond to Italian literature, politics, language, place, and people, and what role did Italy play in the rise of Irish literary nationalism? While Mary Shelley designated Byron as "the father of the Anglo-Italian literature", and his Beppo as "the first product of that school", is it equally possible to identify literary works and genres that emerged as the products of Italo-Hibernian connections? In The Italian Idea, Will Bowers distinguishes between temporary "travellers" and long-term "exiles" in the peninsula, and their fundamentally different experience of Italy. I will apply this distinction to the Irish Romantics in Italy, taking into account the works of passing Irish tourists - instances of "travelling Irishness", to borrow from the title of Marguerite Corporaal's and Christina Morin's study - and those of Irish expatriates or "exiles" who reshaped their literary and national identities after making Italy their home. This distinction is reflected in the proposed bipartite structure of my thesis.The first section will investigate the origins of the Irish identification with Italy in the Romantic Period. Specifically, I will interrogate the representations of Italy in the works of Sydney Owenson, Marguerite Blessington, and Katherine Wilmot, who travelled extensively in Italy and wrote travelogues based on their journeys, which bring Italy and Ireland together for the first time. The second part of my study will be concerned with the literary works of Irish expatriates. As I shall argue, the concept of 'exile' represents a crucial component of the Irish Romantics' relationship with Italy. For the purposes of my study, I will use the term 'exile' in a broad sense, following Jane Stabler's definition of exile as a "form of identity" shaped by English Romantic and Victorian writers who self-consciously fashioned themselves as exiles in Italy, and who constructed a "poetics of exile" in their writings. In so doing, I will focus on the Irish connections within the most important literary circle of exiles in Romanticism: the so-called 'Pisan circle', which first gathered around a little-known nucleus of Irish expatriates. Among the Irish in Pisa, the radical novelist Margaret Mountcashell, the agricultural theorist and poet George William Tighe, and John Taaffe, the first Irish commentator of Dante, will have a central role in my study.