Here we go. Week 2 of writing up, and I’ve been spending my time with Dante Gabriel Rossetti.
Comparatively, this chapter has been through the most iterations beforehand, so the way forward seemed pretty clear when I began. Again, there was lots of building up my methodological framework and plenty of interweaving with other chapters to be done, and now I’m a little worried that it might be the chapter with the most work still to do when I come back to doing round two of this process.
Still, the week was a pleasure. Some of the highlights included:
- Enjoying what might be the original Victorianist digital humanities project, the Rossetti Archive. What it lacks in an up-to-the-minute appearance, the site more than makes up for in comprehensive detail. It’s an invaluable resource for images of printed texts, manuscripts, and paintings, as well as summarising some of the key foundational critical works dealing with Rossetti’s work.
- Taking advantage yet again of the wealth of texts and information available on Monoskop.org. This week it was a quick canter through Umberto Eco’s The Open Work as well as Gérard Genette’s Paratexts. Not only does it offer full texts in PDF form, but they’re searchable too. I promise, it’s one of the sexiest research tools on the web!
- Coming back to a close reading and just thinking, “Nope. Plain wrong!” It’s wonderful quite how many interpretations a sonnet might hold, particularly if it has the convoluted and condensed syntax and imagery of a Rossettian one! In case you’re wondering, the misreading involved ‘A Superscription’, one of sonnets from “The House of Life” with some real pronoun problems! I think I have now satisfied myself as to what “that” in “the glass” is, but I may have changed my mind again by the time I come back to this chapter, so watch this space.
Image (c) Fogg Museum of Art, Harvard University