586 Reviews later work (on Ivan) practically pursues ideas raised more than a decade earlier in his theoretical speculations. She thus (via careful archival and contextual enquiry) finds coherence and structure where others have seen only the superficial 'bagginess'. Nesbet's primary achievement is to take seriously and examine critically Eisen? stein's 'unexpected junctures': 'The "juncture" that played such a key, but diverse, role in Eisenstein's intellectual landscape was sometimes, as in the essay on the Kabuki, a kind of copula, a binding joint where two elements came together in a moment of fertilization. At other points, the juncture being explored was the often violent connection between artwork and audience: the Kabuki's "brilliantly calculated blow of the billiard cue at the audience's cerebral hemisphere" being matched by Eisenstein's description of film's effecton the audience as that of "a tractor,ploughing over the psyche of the spectator from a given class position"' (pp. 19-20). Nesbet's exemplary appraisal is to be thoroughly recommended, not least as an encouragement to further unfettered research (often frustrating, but ultimately rewarding ) into a Modern Master yet to be fully discovered. Birkbeck, University of London Amy Sargeant Echidanteschi/DanteanEchoes. By Giuliana Adamo, Roberto Bertoni, Maryvonne Hutchins-Boisseau, Ciaran Carson, Giuseppe Conte, Seamus Heaney, Corinna Salvadori Lonergan, Daragh O'Connell, Cormac 6 Cuilleanain, Giovanni Pillonca, and Marco Sonzogni. (Quaderni di cultura italiana, 3) Turin: Trauben, in association with Department of ltalian, Trinity College Dublin. 2003. 143 pp. ?12. ISBN 88-88398-42-2. In the preface to this volume the contributors voice the hope that 'the fragments contained here may constitute a small but stimulating contribution to the general mosaic' (p. 7) of Dante's influence on modern ltalian and Irish writers. They have certainly achieved their aim with this short miscellany. Three main thematic strands can be identified: Dante's place in and influence on the literary tradition; the 'translated' Dante and his presence in anglophone writing; and writers' own personal accounts of their response to Dante (Ciaran Carson and Giuseppe Conte). The volume also contains original poems by Carson and Seamus Heaney, this last also translated into ltalian by Marco Sonzogni. In the firstarticle, 'Sulla soglia iniziale della Commedia', Giuliana Adamo situates the opening of Dante's poem?the 'limen esordiale piu famoso della letteratura occidentale'?within the literarytradition. Beginning with an overview ofvarious the? oretical approaches to the 'opening' in classical literature, she then considers medieval compositional techniques and applies these to an analysis of the firstthree terzine of the Commedia. In doing so, she not only provides an excellent entree to the volume as a whole, but also introduces ideas of literary transmission, intertextuality,and ex? change which are explored by the subsequent contributors. Several contributors consider Dante's presence in modern ltalian writing. Roberto Bertoni's article, 'Messaggi dali'inferno di Manganellie Dante', provides an overview of Giorgio Manganelli's intertextual engagement with Dante, examining four aspects: the inferno/labyrinth as metaphor and location; the playful reworking of Dantean motifs; textual citations from and allusions to the Commedia; and the presence ofthe monstrous figures of Gerion and Lucifer in his writing. In his excellent contribu? tion, 'Consolo's "trista conca": Dantean Anagnorisis and Echo in 77sorriso dell'ignoto marinaio', Daragh O'Connell examines the interplay of Dantean motifs and narrative moments in Vincenzo Consolo's novel, using critical theories of intertextuality. His discussion of Dantean agnitio, in particular, will be of interest in the wider field ofthe study of intertextual reference to Dante. MLRy 100.2, 2005 587 Maryvonne Hutchins-Boisseau explores the question of translating Dante in 'Ciaran Carson's Inferno: A Translator's Choices', focusing in particular on those ele? ments which reveal the contemporary Irish linguistic and literary contexts. Moving to the wider question of Dante's presence in anglophone literature, Corinna Salvadori Lonergan's ' "E quindi uscimmo a riveder le stelle": But There Are No Stars. Dante in Beckett's Endgame' provides a stimulating consideration of Dante as a 'factor' in Beckett's writing, showing how the Inferno, in particular, infuses this play. Likewise, Cormac O Cuilleanain's 'Dante in The Zebra-Striped Hearse' raises broader ques? tions which go beyond...