Cosmopolitan Collage in Casa Guidi Windows
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Elizabeth Barrett Browning published Casa Guidi Windows in 1851 following the unsuccessful First Italian War of Independence (1848-49). Having recently moved to Florence in 1847 after her elopement with her husband and fellow poet Robert Browning, Barrett Browning became a passionate supporter of the Italian Risorgimento and Italian national independence. Pace recent criticism addressing the poem’s influence on Italian nation making, this article views Casa Guidi Windows as a form of world-making that seeks to educate an English middle class about its international responsibilities and to create new cosmopolitan subjectivities by teaching them to look at Italy in a new way. This article analyzes the poem’s highly fragmented structure as a form of cosmopolitan collage that anticipates key elements of early twentieth-century Cubism. The poem’s representation of overlapping geographical and historical perspectives functions as a form of cosmopolitan collage that resists linear national narratives and introduces a new type of cosmopolitan subjectivity focused on spatial contiguity and synchronic temporality.
Abstract
Elizabeth Barrett Browning published Casa Guidi Windows in 1851 following the unsuccessful First Italian War of Independence (1848-49). Having recently moved to Florence in 1847 after her elopement with her husband and fellow poet Robert Browning, Barrett Browning became a passionate supporter of the Italian Risorgimento and Italian national independence. Pace recent criticism addressing the poem’s influence on Italian nation making, this article views Casa Guidi Windows as a form of world-making that seeks to educate an English middle class about its international responsibilities and to create new cosmopolitan subjectivities by teaching them to look at Italy in a new way. This article analyzes the poem’s highly fragmented structure as a form of cosmopolitan collage that anticipates key elements of early twentieth-century Cubism. The poem’s representation of overlapping geographical and historical perspectives functions as a form of cosmopolitan collage that resists linear national narratives and introduces a new type of cosmopolitan subjectivity focused on spatial contiguity and synchronic temporality.
참고문헌 (24)
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