Reviewed by:

• The Portrait of Beatrice: Dante, D. G. Rossetti, and the Imaginary Lady by Fabio Camilletti
• Ellie Crookes

‘“it is in reading incorrectly” that we can “nevertheless read correctly”’ (p. 14)— this quote by André Gide, referenced by Fabio Camilletti in his The Portrait of Beatrice, burrows to the very core of his book’s innovative reshaping of the discursive boundaries of medievalism studies. His is not a book about medievalism or ‘medieval reception’ as it is typically understood—as a strictly linear process of ‘pulling’ from the past—but rather centres the idea of the reactivation and reanimation of the cultural outputs of Dante Alighieri by Dante Gabriel Rossetti ‘as a cyclical process of reciprocal metamorphosis’(p. 10). This reciprocal process, according to Camilletti, allows for an analysis of the art and ideology of Rossetti’s nineteenth-century Dantesque oeuvre to in turn shed light on the gaps, opacities, and potentialities of the original thirteenth-century source material. In other words, The Portrait of Beatrice examines Dante and Rossetti in parallel, moving beyond strictly defined notions of historicity and linearity to uncover mutual and complementary conceptions of sacred beauty, genius, artistic interiority, self-reflection, and the creative process across modern and medieval texts.

Beatrice, as a divine figure and a potent symbol of the absent, morbid muse was never fully visually realized by Dante or his contemporaries. As such, it is only through anachronistic reinvention that Rossetti and other post-medieval artists have formulated a visual and textual image of Beatrice. Camilletti takes up the popular Victorian genre of ‘imaginary portrait’ tales to interrogate the tension between word and image, between written and visual expression in Rossetti’s artistic portrayals of Dante’s ambiguous muse. The ‘imaginary portrait’ genre is held up as the template for Rossetti’s ahistorical renderings of Beatrice. The potential of such an activity to in turn open up new ways of ‘looking at’, in a literal and metaphoric sense, the medieval works of Dante is interrogated. Camilletti’s book opens up new and interesting avenues of analysis around not just the reception of the Middle Ages but the reciprocity of the medieval past and the post-medieval present within texts and between them. [End Page 261]

审核人：

• 比阿特丽斯的肖像：但丁，DG·罗塞蒂（DG Rossetti）和《虚构的女人》，法比奥·卡米莱蒂（Fabio Camilletti）
• 埃莉·克鲁克斯（Ellie Crookes）

““这是在阅读不正确的情况下”，我们仍然可以“尽管如此仍能正确阅读””（第14页）— Fabio Camilletti在他的《比阿特丽斯的画像》中引用的安德烈·吉德（AndréGide）的这句话引申到他的书创新重塑的核心中世纪主义研究的话语界限。他的书不是关于中世纪主义或“中世纪接受”的书，因为它通常被理解为严格的线性“拉动”过去的过程，而是将但丁重新振作和复兴但丁的文化思想作为中心思想。加布里埃尔·罗塞蒂（Gabriel Rossetti）“作为相互变态的周期性过程”（第10页）。卡米莱蒂说，这种相互的过程允许对罗塞蒂的19世纪丹特斯作品进行艺术和意识形态分析。进而揭示原始13世纪原始资料的差距，不透明性和潜力。换句话说，《比阿特丽斯的肖像》同时考察了但丁和罗塞蒂，超越了严格定义的历史性和线性概念，以揭示神圣美，天才，艺术内在性，自我反思以及现代和现代创作过程的相互补充概念。中世纪的文字。

比阿特丽斯，一个神圣的人物，是缺席的病态缪斯的有力象征，但丁或他的同时代人从来没有在视觉上完全意识到。因此，只有通过过时的改造，罗塞蒂和其他中世纪后的艺术家才能形成比阿特丽斯的视觉和文字图像。卡米莱蒂（Camilletti）接受了维多利亚时代流行的“虚构肖像”故事类型，以期在罗塞蒂（Rossetti）对但丁模棱两可的缪斯女神的艺术刻画中，探讨文字与图像之间，文字与视觉表达之间的张力。罗塞蒂（Rossetti）的比阿特丽斯（Beatrice）历史画作的模板被保留为“想象中的肖像”流派。从字面上和隐喻的意义上讲，这种活动有可能反过来开辟新的“注视”方式，但丁的中世纪作品受到了质疑。[结束页261]