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

在跨越1798年爱尔兰人联合起义、《联合法案》和1848年《爱尔兰人民议会》的50年间，爱尔兰和意大利之间的政治、文化和社会相似之处非常强烈。在这一时期，文学在沟通民族意识和塑造两国民族认同方面起着基础性的作用。我的研究将表明，早在詹姆斯·乔伊斯、塞缪尔·贝克特和乔治·伯纳德·肖到达意大利半岛之前，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。西德尼·欧文森、玛格丽特·布莱辛顿、玛格丽特·芒特卡谢尔和约翰·塔菲等爱尔兰作家最先将意大利设想为一个国家，像爱尔兰一样，拥有独特的国家历史、传统和文化，并为获得独立而与外国统治作斗争。尽管英国浪漫主义与意大利的关系一直是许多批评性研究的主题，但同期爱尔兰人在意大利的文学创作却从未被研究过。用艾伦·罗斯(Alan Rawes)和迭戈·萨格里亚(Diego Saglia)的话来说，英意学术已着手绘制“英国和意大利身份之间的航海”，而我的研究将探索联合后的盎格鲁-爱尔兰身份与意大利统一前支离破碎的现实之间的相遇。爱尔兰浪漫主义作家如何回应意大利的文学、政治、语言、地点和人物？意大利在爱尔兰文学民族主义的兴起中扮演了什么角色？尽管玛丽·雪莱称拜伦为“英意文学之父”，而他的“贝波”是“该学派的第一个产物”，但同样有可能辨认出作为意大利-希伯利亚联系产物出现的文学作品和流派吗？在意大利的观念中，威尔·鲍尔斯区分了半岛上的临时“旅行者”和长期的“流亡者”，以及他们对意大利的根本不同体验。我将把这一区别应用到意大利的爱尔兰浪漫主义者身上，考虑到路过的爱尔兰游客的作品--借用玛格丽特·科瓦尔和克里斯蒂娜·莫林书房的标题，比如《旅行的爱尔兰人》--以及那些以意大利为家后重塑文学和国家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。第一节将考察浪漫主义时期爱尔兰对意大利的认同的起源。具体地说，我将询问悉尼·欧文森、玛格丽特·布莱辛顿和凯瑟琳·威尔莫特的作品中意大利的表现，他们在意大利进行了广泛的旅行，并根据他们的旅行撰写了游记，这些旅行首次将意大利和爱尔兰联系在一起。我的研究的第二部分将关注爱尔兰侨民的文学作品。正如我将争辩的那样，“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重要组成部分。出于研究的目的，我将使用广义的流放一词，遵循简·斯泰勒对流放的定义，流放是由英国浪漫主义和维多利亚时代的作家塑造的一种“身份形式”，他们自觉地将自己塑造成流亡意大利的人，并在他们的作品中构建了一种“流放诗学”。在这样做的过程中，我将把重点放在浪漫主义流亡文学中最重要的文学圈子中的爱尔兰人之间的联系：所谓的皮桑圈子，这个圈子最初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·芒特卡谢尔、农业理论家和诗人乔治·威廉·提格，以及但丁的第一位爱尔兰评论员约翰·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.