",Edinburgh, late 1860s. Two young gentlemen, two cousins, their heads buzzing with ideas and artistic ambitions (one dreaming of becoming a painter, the other a writer), hang over North Bridge 'watching the trains start southward and longing to start too', the Walter Scott Monument a short way behind them, but their eyes fixed on the tracks leading South-not just to London, but also, and especially, to Paris.",In their Introduction the editors of this volume see this scene with his painter cousin as symbolically significant for the career of Robert Louis Stevenson and his connection with Europe-especially France, a connection that is a key to understanding his confidence to ignore the Scott Monument and start writing his major narratives in the 1880s and 90s.The papers that follow explore the way Stevenson's world-view and cultural background interacted with Europe: with European landscape (the South, the Alps and the areas of his French travel essays), and with European literature and painting. Other papers explore the later influence of Stevenson in Europe: not only on writers (Proust, Cocteau, Brecht and Calvino among others) and on other creative artists but even on travellers and travel-writers in the Cevennes.The volume aims to show how European culture contributed to Stevenson's greatest achievements and then to explain why, with Stevenson ignored by Anglo-American critics for most of the twentieth century, he remained an admired model for European writers.
Weiterlesen weniger lesen