By Natalia Ginzburg
All Our Yesterdays is a unique set in Italy from 1939 to 1944. occasions like a kin quarrel or an infidelity tackle an significance equivalent to that of the battle, as though to claim that adultery and air raids might be both damaging.
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Extra resources for All Our Yesterdays
Field, The Life and Times of Sir Thomas Malory (Cambridge: D. S. Brewer, 1993). 28 Authorship 17 Wimsatt and Beardsley’s essay ﬁrst appeared in W. K. Wimsatt, The Verbal Icon: Studies in the Meaning of Poetry (Lexington: University of Kentucky Press, 1954). E. Talbot Donaldson, ‘Chaucer the Pilgrim’, PMLA 69 (1954), 928–36 (928). Charles Moorman, ‘The Role of the Narrator in Pearl’, Modern Philology 80 (1955), 73–81 (74). Jocelyn Wogan-Browne, Nicholas Watson, Andrew Taylor and Ruth Evans (eds), The Idea of the Vernacular: An Anthology of Middle English Literary Theory, 1280–1520 (Exeter: University of Exeter Press, 1999), pp.
Lewis suggested that literary digressions: can be regarded as an expression of the same impulse we see at work in much medieval architecture and decoration. 14 Jordan and Shortly afterwards, Robert M. Jordan published a detailed study of the strucinorganic ture of Chaucer’s major poetry. Drawing his aesthetic vocabulary from both structure rhetorical theory and architecture, Jordan emphasized the aggregative and quantitative character of medieval literary composition. 15 Jordan described the medieval writer as working with ‘a quantitative approach to literary structure’, disposing literary materials into a preconceived shape, section by section, quite unlike the organic literary creation envisaged by post-Romantic criticism (compare Derek Pearsall’s view of Lydgate as craftsman in chapter 1).
J. R. R. Tolkein and E. V. Gordon, 2nd edn, rev. N. Davis [Oxford: Oxford University Press, 1967]). In the Inferno, in what is perhaps the locus classicus of confrontations between vernacular writers and auctores, Dante also demands the identity of the ﬁgure he meets. But there it is clear that Dante, unlike Henryson, does not in fact recognize the ﬁgure. It also may be noted that though Dante, like Henryson, is deferential to his auctor, he never challenges and overrules him the way the Scots poet does; when Vergil leaves Dante in the Earthly Paradise, it is because the Latin poet himself recognizes the limitations of his knowledge.