RECONFIGURACIONES DE CUENTOS CLÁSICOS EN LIBROS-OBJETO: EL CASO DE LOS TRES OSOS

Este estudio presenta una reflexión en torno a siete reescrituras en libro-objeto para la infancia del cuento clásico Los Tres Osos, obras traducidas a la lengua portuguesa y cronológicamente dispersas. Originalmente titulada The Three Bears (o Goldilocks and the Three Bears), se trata de una narrativapublicada, por primera vez, en 1837, por el poeta inglés Robert Southey (1774-1843). Procederemos a su análisis textual, centrando nuestra atención tanto en el texto verbal como en el texto ilustrado y, además, en el texto gráfico con énfasis en la dimensión material, entendida ésta también como elemento co-constructor del discurso. Nuestro objetivo es resaltar cómo el soporte físico de estos artefactos contiene propiedades interactivas y visualmente emocionantes para el niño lector, que lo motivan a construir una relación de afecto o cercanía con el libro desde las edades más tempranas, así como a familiarizarse con cuentos atemporales.

1803–1806

The letters in Part I show Beaumont cultivating a dynamic of critical exchange with Wordsworth. Beaumont’s love of the theatre serves as a pathway to a broader discussion of the arts: they discuss the paintings of David Wilkie and Henry Edridge as well as the poetry of Robert Southey and Walter Scott. Following the death of John Wordsworth, letters concerning ‘Character of the Happy Warrior’ and ‘Elegiac Stanzas’ (touching on issues including politics, fortitude, hope and grief) demonstrate the depth and complexity of the developing friendship between Beaumont and Wordsworth. Sir George introduces Wordsworth to the literary heritage of his Coleorton estate, begins to involve him in decisions about the landscaping of the grounds, and invites him to design a Winter Garden.

‘Peripateticating among the mountains’: Robert Southey and the Aesthetics of Pedestrian Motion

Robert Southey's first published text about the Lake District, the faux travel narrative Letters from England (1807), inaugurated what became a lifelong concern with this landscape, one with pedestrianism at its very core. Ostensibly the work of the Spanish tourist Don Manuel Alvarez Espriella, Southey's Lakeland tour narrative depended on his own Letters Written During a Short Residence in Spain and Portugal (1797) – his Iberian countryside ramblings serving as a blueprint to frame his alter ego's engagement with the Lakes on foot. The motif of the outlandish Spaniard in the English fells as a turnaround of the foreign Englishman walking in Iberia, I argue, was exploited by Southey to outgrow the limitations of the picturesque as a mode of understanding and appreciating landscape. These two texts offer an insight into the direction of thought at work in peripatetic practice, evincing a markedly pedestrian Southeyan gaze that highlights each place's potential to hold multiple meanings.

Recepción de La Araucana en el romanticismo inglés: William Hayley y Robert Southey

Estudiamos la recepción de La Araucana en Inglaterra durante la transición de los siglos xviii al xix, un contexto en el que la consolidación del poder imperial británico fue una de las preocupaciones centrales de los escritores y pensadores románticos de pensamiento más radical. Después de describir las circunstancias en las que el poema fue introducido en el ámbito británico, nos centramos en dos obras: Essay on Epic Poetry (1782) de William Hayley, cuya lectura ‘romantizada’ de La Araucana otorgó una amplia popularidad al poema y determina su recepción posterior entre los ingleses, y Madoc de Robert Southey (cuyas primeras versiones circularon en la década de 1790), obra en la que el escritor inglés elaboró y problematizó poéticamente sus reflexiones sobre el colonialismo británico y para quien el poema de Ercilla se convirtió en un modelo épico anti- imperialista.

The first item in the first issue of The Liberal: Byron's The Vision of Judgement

The Liberal is one of the most important journals of the Romantic period, the brainchild of Shelley, Leigh Hunt, and Byron. It was inevitable that Byron's poem, an attack on Robert Southey, the poet laureate, would be in the first issue. 7,000 copies were printed and 4,000 sold, enough to make the new journal a huge success.

Gandy’s Arkaiology: The Deluge and Romantic Climatologies of Architecture

ABSTRACTNumerous renowned antiquaries and architects in Georgian Britain were enthralled by a strange craze: they declared the ark of Noah to be the origin and divine model for architecture worldwide. This article analyses the fashion for 'arkaiology’ (as the poet Robert Southey mockingly called it) by focusing on one of its most spectacular exponents, the architect Joseph Michael Gandy (1771-1843). Taking Gandy’s theories as the starting point to reconstruct a broader debate on climatological thinking about art and architecture, the article shows that the fascination with the deluge is best understood as a reaction against the climatic theory of the origins of architecture associated with Johann Joachim Winckelmann and the implicit cultural relativism that it entailed. The case of Gandy also sheds fresh light on the search for origins in late (Romantic) classicism. Instead of submitting to a climatically determined vernacular tradition, Gandy’s arkaiology allowed him to theorise the distant past as a space for speculative artistic reconstruction of the principles of architecture.