Reviewed by:

• Global Milton and Visual Art ed. by Mario Murgia and Angelica Duran
• Matthew Dolloff

Two of the significant challenges facing literary studies are how to maintain the relevance and vitality of canonical authors such as John Milton in an increasingly diverse classroom and how to generate new and innovative research on authors who have been studied for centuries. Global Milton and Visual Art provides at least partial answers to both by showing us how visual art can facilitate “engaging new admirers” in “expanded editorial contexts” (Murgia and Duran 2021, 233) via research from both veteran and budding scholars. It is an encyclopedic study of Milton’s poetry through “paratextual narratives” (2021, 201) ranging from book sculptures and paintings to stained glass, music videos, and even “culinary portraits” (141). Some 103 illustrations grace the pages of this fifteen-chapter, 432-page study of the “highbrow,” “lowbrow,” and “nobrow” (148) with an additional sixty-four supplemental web-based images. It is a wonder that Milton, who in his early career was such an iconoclast and who later went blind before composing Paradise Lost, should be the source of so much visual representation. As Duran and Murgia point out (15), the Book III invocation asking “celestial Light” to “Shine inward, and the mind through all her powers/Irradiate, there plant eyes” is a fitting introduction to their project.

The book is divided into four parts containing multiple chapters, the first titled “Panoramas.” In Chapter 1, Murgia and Duran state [End Page 130] their thesis, “advancing the appreciation of the presence, aesthetic appropriation, and reinterpretation of the works and legends” of John Milton (2021, 4), before giving us a preview of the essays to come. In Chapter 2, Joseph Wittreich argues that in the Romantic period, global translations of Milton’s poetry and the “feverish illustration of it” coincided with a “revitalization and secularization of Milton’s mythologies” (22) that expanded William Blake’s seminal eroticizing of Paradise Lost. His examples include two relatively unfamiliar artists from Italy and France, Francesco Zucchi and Anne-Marie Du Bocage, one of the few women treated in the volume. These and other Romantic recastings produce “new Miltons” (57) in the modern literary economy.

Part II, “Cameos,” features three essays that, in quite different ways, pertain to perhaps the most famous illustrator of Paradise Lost, Gustave Doré. The first chapter is Hiroko Sano’s study of the influence of Japan’s great artist of the ukiyo-e genre, Katsushika Hokusai, on Doré and other European artists. At the center is Hokusai’s well-known “Under the Wave off Kanagawa” that evidently was worthy of imitation after the fashion of Japonisme. Duran takes us to Spain and then Mexico, where echoes of Doré can be discovered in the “chromo” or chromolithography images in twentieth-century popular translations of Paradise Lost as well as Bibles and calendars reminiscent of what Duran identifies as Mexicanidad. Ana Elena González Treviño’s research brings us to the present day with an analysis of how Doré’s depictions of Paradise Lost have inspired music videos by Pink Floyd and the EDM band, Delta Heavy, which contain distinctly video game-inspired imagery.

Part III, “Textual Close-ups,” reveals the true diversity of genres through which Milton and his poetry have been reinterpreted, and as Wendy Furman-Adams observes, “each new visual reading is a new translation” (Murgia and Duran 2021, 26). Nathalie Collé takes us on a wild journey across several unexpected portraits of Milton the man: food, ivory, postage stamps, and more. She asks us to consider why readers of Milton are so drawn to his likeness even though the history of his portraiture is “very complicated” (2021, 143). Furman-Adams focuses on Milton’s Eve in artistic renderings of Paradise Lost beginning with the earliest illustrated edition of 1688. Most original is her discussion of twentieth-century female artists Carlotta Pertrina and Mary Elizabeth Groom in whose works the Modernist aesthetic is evident. The idea of an “ecofeminist Eve” can help us interpret Milton’s Paradise with increased...

审阅者：

• 全球米尔顿和视觉艺术编辑。作者：马里奥·穆吉亚和安吉丽卡·杜兰
• 马修·多洛夫

文学研究面临的两个重大挑战是如何在日益多元化的课堂中保持约翰·弥尔顿等经典作家的相关性和活力，以及如何对已经研究了几个世纪的作家进行新的和创新的研究。《全球弥尔顿》和《视觉艺术》通过资深学者和崭露头角的学者的研究，向我们展示了视觉艺术如何在“扩展的编辑背景”中促进“吸引新的崇拜者”（Murgia 和 Duran 2021, 233），从而至少为这两个问题提供了部分答案。这是通过“副文本叙事”（2021, 201）对弥尔顿诗歌进行的百科全书式研究，范围从书籍雕塑和绘画到彩色玻璃、音乐视频，甚至“烹饪肖像”（141）。这本共 432 页、共 15 章、研究“高雅”、“低俗”和“无雅”的研究报告 (148) 中约有 103 张插图，另外还有 64 张补充性网络图像。弥尔顿在他的早期职业生涯中是一位反传统者，后来在创作《失乐园》之前双目失明，但他却成为了如此多视觉表现的来源，这真是一个奇迹。正如 Duran 和 Murgia 指出的那样 (15)，第三卷的祈求要求“天体之光”“向内闪耀，心灵通过她所有的力量/照射，那里有植物的眼睛”是对他们的项目的恰当介绍。

这本书分为四个部分，包含多个章节，第一部分名为“全景图”。在第一章中，Murgia 和 Duran 陈述了[第 130 页完]他们的论文，“促进对约翰·弥尔顿 (John Milton) 的存在、审美挪用以及对作品和传奇的重新诠释的欣赏”(2021, 4)，然后我们先睹为快即将发表的论文。在第二章中，约瑟夫·维特赖希 (Joseph Wittreich) 认为，在浪漫主义时期，弥尔顿诗歌的全球翻译及其“狂热的阐释”与“弥尔顿神话的复兴和世俗化”(22)同时发生，扩大了威廉·布莱克对《失乐园》的开创性色情化。他的例子包括来自意大利和法国的两位相对陌生的艺术家，弗朗西斯科·祖基（Francesco Zucchi）和安妮-玛丽·杜博卡奇（Anne-Marie Du Bocage），她是本书中少数被提及的女性之一。这些和其他浪漫主义的重铸在现代文学经济中产生了“新弥尔顿”（57）。

第二部分“浮雕”以三篇文章为特色，这些文章以完全不同的方式与《失乐园》最著名的插画家古斯塔夫·多雷有关。第一章是佐野博子研究日本浮世绘大师葛饰北斋对多雷及其他欧洲艺术家的影响。中心是北斋著名的《神奈川波浪下》，显然值得效仿日本主义的时尚。杜兰带我们去了西班牙，然后是墨西哥，在二十世纪流行的《失乐园》译本以及让人想起杜兰所认为的“墨西哥”的圣经和日历中，可以在“彩色”或彩色平版印刷图像中找到多雷的影子。Ana Elena González Treviño 的研究为我们带来了今天的分析，分析了 Doré 对《失乐园》的描述如何为 Pink Floyd 和 EDM 乐队 Delta Heavy 的音乐视频提供了灵感，其中包含明显受电子游戏启发的图像。

第三部分“文本特写”揭示了弥尔顿和他的诗歌被重新诠释的流派的真正多样性，正如温迪·弗曼-亚当斯所观察到的，“每一次新的视觉阅读都是一种新的翻译”（Murgia and Duran 2021， 26）。娜塔莉·科莱带我们踏上一段狂野之旅，欣赏米尔顿的几幅意想不到的肖像：食物、象牙、邮票等等。她要求我们思考为什么弥尔顿的读者如此被他的肖像所吸引，尽管他的肖像画的历史“非常复杂”（2021, 143）。弗曼-亚当斯从 1688 年最早的插图版开始，在《失乐园》的艺术渲染中重点关注弥尔顿之夜。最具原创性的是她对 20 世纪女性艺术家卡洛塔·佩特里纳 (Carlotta Pertrina) 和玛丽·伊丽莎白·格鲁姆 (Mary Elizabeth Groom) 的讨论，她们的作品中现代主义美学显而易见。“生态女性主义夏娃”的想法可以帮助我们解释弥尔顿的天堂，增加……