Valentina Gosetti – författare

This book examines how texts and visual culture from nineteenth-century French-speaking contexts can enhance understanding of twenty-first-century challenges. It takes up an ecoregional paradigm at the crossroads of natural sciences and social sciences to evaluate the interplay between local experiences and global concerns about ecological disruptions tied to modernization. Contributors’ close readings make use of decentring methods to probe binaries such as canonical versus marginal. This diverse thinking is relevant to literary geography, social history, and the environmental humanities. The chapters herein were originally published as a special issue of Dix-neuf.

This book examines how texts and visual culture from nineteenth-century French-speaking contexts can enhance understanding of twenty-first-century challenges. It takes up an ecoregional paradigm at the crossroads of natural sciences and social sciences to evaluate the interplay between local experiences and global concerns about ecological disruptions tied to modernization. Contributors’ close readings make use of decentring methods to probe binaries such as canonical versus marginal. This diverse thinking is relevant to literary geography, social history, and the environmental humanities. The chapters herein were originally published as a special issue of Dix-neuf.

Aloysius Bertrand’s Gaspard de la Nuit (1842) is a familiar title to music lovers, thanks to Ravel’s piano work of the same name, and to specialists of French literature, especially those interested in Baudelaire’s prose poetry. Yet until very recently the collection and its author have generally been viewed almost exclusively through the prism of their pioneering role in the development of the prose poem. By placing Bertrand back in his original context, adopting a comparative approach and engaging with recent critical work on the collection, Valentina Gosetti proposes a substantial reassessment of Gaspard de la Nuit and promotes a new understanding of Bertrand in his own terms, rather than those of his successors. Through his playful and ironic reinterpretation of Romantic clichés, and his overt defiance of the boundaries of poetry and beauty, Bertrand emerges as a fascinating figure in his own right.

This book is one of the first full-length studies of Bertrand’s work, and it will be of particular interest to specialists of the nineteenth century and of provincial literature, and to students of nineteenth-century poetry or the fantastic.

Aloysius Bertrand’s Gaspard de la Nuit (1842) is a familiar title to music lovers, thanks to Ravel’s piano work of the same name, and to specialists of French literature, especially those interested in Baudelaire’s prose poetry. Yet until very recently the collection and its author have generally been viewed almost exclusively through the prism of their pioneering role in the development of the prose poem. By placing Bertrand back in his original context, adopting a comparative approach and engaging with recent critical work on the collection, Valentina Gosetti proposes a substantial reassessment of Gaspard de la Nuit and promotes a new understanding of Bertrand in his own terms, rather than those of his successors. Through his playful and ironic reinterpretation of Romantic clichés, and his overt defiance of the boundaries of poetry and beauty, Bertrand emerges as a fascinating figure in his own right.

This book is one of the first full-length studies of Bertrand’s work, and it will be of particular interest to specialists of the nineteenth century and of provincial literature, and to students of nineteenth-century poetry or the fantastic.