Entertainment and Irony: The Orlando Furioso from Modern to Postmodern. / Jossa, Stefano.

Ariosto, the Orlando Furioso and English Culture. ed. / Stefano Jossa; Jane Everson; Andrew Hiscock. Oxford : Oxford University Press, 2019. p. 286-307 15 (Proceedings of the British Academy).

Research output: Chapter in Book/Report/Conference proceedingChapter

Published

Standard

Entertainment and Irony: The Orlando Furioso from Modern to Postmodern. / Jossa, Stefano.

Ariosto, the Orlando Furioso and English Culture. ed. / Stefano Jossa; Jane Everson; Andrew Hiscock. Oxford : Oxford University Press, 2019. p. 286-307 15 (Proceedings of the British Academy).

Research output: Chapter in Book/Report/Conference proceedingChapter

Harvard

Jossa, S 2019, Entertainment and Irony: The Orlando Furioso from Modern to Postmodern. in S Jossa, J Everson & A Hiscock (eds), Ariosto, the Orlando Furioso and English Culture., 15, Proceedings of the British Academy, Oxford University Press, Oxford, pp. 286-307.

APA

Jossa, S. (2019). Entertainment and Irony: The Orlando Furioso from Modern to Postmodern. In S. Jossa, J. Everson, & A. Hiscock (Eds.), Ariosto, the Orlando Furioso and English Culture (pp. 286-307). [15] (Proceedings of the British Academy). Oxford University Press.

Vancouver

Jossa S. Entertainment and Irony: The Orlando Furioso from Modern to Postmodern. In Jossa S, Everson J, Hiscock A, editors, Ariosto, the Orlando Furioso and English Culture. Oxford: Oxford University Press. 2019. p. 286-307. 15. (Proceedings of the British Academy).

Author

Jossa, Stefano. / Entertainment and Irony: The Orlando Furioso from Modern to Postmodern. Ariosto, the Orlando Furioso and English Culture. editor / Stefano Jossa ; Jane Everson ; Andrew Hiscock. Oxford : Oxford University Press, 2019. pp. 286-307 (Proceedings of the British Academy).

BibTeX

@inbook{912a3600fef54c2c85d1b38aee7bc839,
title = "Entertainment and Irony: The Orlando Furioso from Modern to Postmodern",
abstract = "Less popular than in the eighteenth and nineteenth century, in the twentieth and twenty-first century Ariosto{\textquoteright}s Orlando Furioso has however made an impact on Anglo-American fiction. Loved by Samuel Beckett, who called risolino ariostesco (Ariosto{\textquoteright}s smile) the poetic strategies of his preferred artists, and C.S. Lewis, who famously claimed that his utmost happiness would be to be always sitting by a windowin front of the sea, reading Ariosto{\textquoteright}s masterpiece, Orlando Furioso proves more and more influential in contemporary fiction when it comes to epic modes, narrative techniques, fantasy and sci-fi: taken as a source of inspiration by both well-educated and popular writers and filmmakers, such as, among many others, David Lodge in Small World, Chelsea Quinn Yarbro in Ariosto and Jim Jarmusch in Mystery Train, Orlando Furioso proves in tune with two keywords of our contemporary age, irony and entertainment. This article will explore his legacy in twentieth-century Anglo-American fiction in order to assess its potential in our times.",
keywords = "Ariosto, C.S. Lewis, Beckett",
author = "Stefano Jossa",
year = "2019",
month = feb,
language = "English",
isbn = "9780197266502",
series = "Proceedings of the British Academy",
publisher = "Oxford University Press",
pages = "286--307",
editor = "Stefano Jossa and Everson, {Jane } and Hiscock, {Andrew }",
booktitle = "Ariosto, the Orlando Furioso and English Culture",

}

RIS

TY - CHAP

T1 - Entertainment and Irony: The Orlando Furioso from Modern to Postmodern

AU - Jossa, Stefano

PY - 2019/2

Y1 - 2019/2

N2 - Less popular than in the eighteenth and nineteenth century, in the twentieth and twenty-first century Ariosto’s Orlando Furioso has however made an impact on Anglo-American fiction. Loved by Samuel Beckett, who called risolino ariostesco (Ariosto’s smile) the poetic strategies of his preferred artists, and C.S. Lewis, who famously claimed that his utmost happiness would be to be always sitting by a windowin front of the sea, reading Ariosto’s masterpiece, Orlando Furioso proves more and more influential in contemporary fiction when it comes to epic modes, narrative techniques, fantasy and sci-fi: taken as a source of inspiration by both well-educated and popular writers and filmmakers, such as, among many others, David Lodge in Small World, Chelsea Quinn Yarbro in Ariosto and Jim Jarmusch in Mystery Train, Orlando Furioso proves in tune with two keywords of our contemporary age, irony and entertainment. This article will explore his legacy in twentieth-century Anglo-American fiction in order to assess its potential in our times.

AB - Less popular than in the eighteenth and nineteenth century, in the twentieth and twenty-first century Ariosto’s Orlando Furioso has however made an impact on Anglo-American fiction. Loved by Samuel Beckett, who called risolino ariostesco (Ariosto’s smile) the poetic strategies of his preferred artists, and C.S. Lewis, who famously claimed that his utmost happiness would be to be always sitting by a windowin front of the sea, reading Ariosto’s masterpiece, Orlando Furioso proves more and more influential in contemporary fiction when it comes to epic modes, narrative techniques, fantasy and sci-fi: taken as a source of inspiration by both well-educated and popular writers and filmmakers, such as, among many others, David Lodge in Small World, Chelsea Quinn Yarbro in Ariosto and Jim Jarmusch in Mystery Train, Orlando Furioso proves in tune with two keywords of our contemporary age, irony and entertainment. This article will explore his legacy in twentieth-century Anglo-American fiction in order to assess its potential in our times.

KW - Ariosto

KW - C.S. Lewis

KW - Beckett

M3 - Chapter

SN - 9780197266502

T3 - Proceedings of the British Academy

SP - 286

EP - 307

BT - Ariosto, the Orlando Furioso and English Culture

A2 - Jossa, Stefano

A2 - Everson, Jane

A2 - Hiscock, Andrew

PB - Oxford University Press

CY - Oxford

ER -