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Purpose: This study evaluated the velocity‐selective (VS) MRA with different VS labeling modules, including double refocused hyperbolic tangent, eight‐segment B1‐insensitive rotation, delay alternating with nutation for tailored excitation, Fourier transform–based VS saturation, and Fourier transform–based inversion. Methods: These five VS labeling modules were evaluated first through Bloch simulations, and then using VSMRA directly on various cerebral arteries of healthy subjects. The relative signal ratios from arterial ROIs and surrounding tissues as well as relative arteria‐tissue contrast ratios of different methods were compared. Results: Double refocused hyperbolic tangent and eight‐segment B1‐insensitive rotation showed very similar labeling effects. Delay alternating with nutation for tailored excitation yielded high arterial signal but with residual tissue signal due to the spatial banding effect. Fourier transform–based VS saturation with half the time of other techniques serves as an efficient nonsubtractive VSMRA method, but the remaining tissue signal still obscured some small distal arteries that were delineated by other subtraction‐based VSMRA, allowing more complete cancelation of static tissue. Fourier transform–based inversion produced the highest arterial signal in VSMRA with minimal tissue background. Conclusion: This is the first study that angiographically compared five different VS labeling modules. Their labeling characteristics on arteries and tissue and implications for VSMRA and VS arterial spin labeling are discussed. [ABSTRACT FROM AUTHOR]

The essay focuses on Dante's divisio scientiae presented in the second book of his Convivio. As a first step, it offers a fresh reading of Dante's description of knowledge and the cosmos, emphasizing its deeply visual nature. The article then presents an overview of the Medieval tradition of the divisio scientiae, culminating with divisions that are geographically and chronologically close to Dante's Florence. In relation to Brunetto Latini's Rettorica and Tresor, new evidence is provided to elucidate his peculiar division of logic. Ultimately, Dante's divisio and its objectives are reassessed in light of their historical background, underscoring their cosmological and totalizing scope. Adopting an interdisciplinary approach, the findings consider cognitive practices, such as diagrams, and examine a wide array of sources within their historical and institutional context, highlighting their transmission and dissemination. [ABSTRACT FROM AUTHOR]

Dante's articulate and sometimes critical attitude towards the academic community is evident in several of his works, specifically in Paradiso. To understand the actual extent of this 'anti-academic' attitude, this study considers the magistri of the higher schools and the holders of university chairs to observe their position regarding the Commedia. The study aims to ascertain whether the poem was regarded as a teaching text in the 14th and 15th centuries, and particularly whether it was referred to in the textual hermeneutics practiced in lectio. The analysis examined the utilization of the Commedia within schools and universities as an authoritative text in the commentary on the canon of the auctores maiores. The inclusion of Dante's glosses in various manuscripts recalled to provide erudite data, lexical interpretations, exempla, and sententiae, reflects the progressive integration of the poem within the academic community. This integration signifies its acknowledgment among the auctores employed in exegetical practices, a phenomenon observed across various geographical regions as evidenced by the analyzed manuscripts. [ABSTRACT FROM AUTHOR]

Beginning with Innocent III's pontificate, participation in the crusades became increasingly interpreted as imitatio Christi patientis. Innocent III's crusade theology was revived by later pontiffs and became ingrained in the collective imagination through preaching. This article shows how Dante draws on thirteenth-century crusade theology in his depiction of the cross of Mars, with special attention paid to imitatio Christi. Dante's rendering of his inner sacrifice (Par. xiv, 88–93) foreshadows the apparition of the cross and appears to have been influenced by the imagery of the crusader's vow as found in contemporary ecclesiastical documents. In these texts, crusaders are frequently depicted as participating in an inner sacrifice prompted by the fire of caritas that recalls Christ's own sacrifice. Reading Paradisoxiv-xv in light of this context – and with an awareness of the significance of Cacciaguida's placement in the same heaven – allows us to explore Dante's self-representation as a miles Christi. [ABSTRACT FROM AUTHOR]

This article analyses the hermeneutic dispute of the contemporary value of medieval aesthetics within the writing of two giants in the 20th century—Umberto Eco and Hans Urs von Balthasar. I claim that Eco's Joycean adaptation of medieval aesthetics uses religious language to insert a permanent, postmodern aesthetic dismantling of cosmic form. I argue that Balthasar's reading of Dante challenges the limits that Eco frames as inherent within the medieval cosmos, and that Balthasar offers an adaptive medieval aesthetics that rebuts the religious overhaul Eco demands. This debate amplifies the flexibility of aesthetics based on form to attune to contemporary concerns while remaining faithful to the fundamental religious commitments of Christian tradition. [ABSTRACT FROM AUTHOR]

This article establishes a connection between Ian McEwan's Enduring Love and Dante Alighieri's Divine Comedy. It defends that the narrative journey of Joe Rose, protagonist of McEwan's novel, to recover his idyllic lost love resembles Dante's voyage through Hell and Purgatory led by Virgil to the threshold of Earthly Paradise, where he meets Beatrice. The psychological and metaphorical hell to which Joe is subjected in the wake of a ballooning accident constitutes an ordeal in which, led by Jed Parry's obsessive love, he confronts and purges the trauma in a redemptive arc that brings him closer to a promising yet uncertain paradise. [ABSTRACT FROM AUTHOR]

The digital humanities are rapidly expanding access to scholarly and literary materials once largely confined to the university. No more: now, with free digital resources, like Giuseppe Mazzotta's lecture series available for free through Open Yale Courses on YouTube, or Teodolinda Barolini's 54-lecture long "The Dante Course", also available for free through her Digital Dante website, academic discussions of difficult masterpieces are available to any person with enough bandwidth to handle it. I, too, made a brief foray into the digital humanities, and prior to turning to academic work, I provided a 42-lecture Dante-in-translation course which itself covered the entirety of Dante's Comedy and sought to offer a less academic, and more accessible series of lectures on Dante than its more academic and more popular predecessors. [ABSTRACT FROM AUTHOR]

In this article, I will highlight how Dante's clear separation between heretics and schismatics is radical compared to contemporary thought and can, therefore, tell us a great deal about his conception of these two sins and about the nature of the characters condemned in Cantos X and XXVIII. In fact, the heresy of disobedience, a political weapon created ad hoc to favor the imposition of the hierocratic model, tended, in the reflection of jurists, to bring together these two sins so well-separated by Dante. The proposal of a new interpretation of these concepts that is more adherent to their historicity, with a specific and radical meaning, can open up interesting reflections on Dante's possible desire to affect this historical process. It also brings new interpretations to questions that still lack a convincing answer, such as the silence on the numerous heretical movements that had characterized the decades preceding the writing of the Commedia, the presence of Dolcino among the schismatics, and the selection of Epicurus as an exemplum of heresy. [ABSTRACT FROM AUTHOR]

This article places the question of the presence of the Averroist philosopher Siger of Brabant in Dante's Paradiso within the debate concerning Dante's relationship with Averroistic philosophy throughout his works, particularly in the Commedia. The purpose of this research is to initially query the issue of Dante's potential retraction of previously adopted Averroistic positions in the Commedia, and then to examine in greater detail the relationship between the Florentine poet and the Brabantian philosopher. United by the thematic and autobiographical thread of knowledge persecuted by power, embodied in the history of both figures, the proposed viewpoint is that Dante finds a model of intellectual honesty and freedom in Siger's thought, ready to question even the authority of Aristotle, a model that Dante admires, places in Paradise, and upon which he structures his poema sacro. In conclusion, this work suggests a reading of some paradigmatic and antithetical pairs in the Commedia, linked by common principles yet opposite destinies, including Dante himself. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Language & Literary Studies / Folia Linguistica & Litteraria is the property of Journal of Language & Literary Studies / Folia Linguistica & Litteraria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the interconnections between writing on addiction, Dante's Comedy , and theological commitments. The narratives of addicted persons and recovery coaches come into creative play with the literature of Dante and the theological positions of Aquinas. This article explores the strengths and weaknesses of what transformation entails in the harrowing of the hell of the addiction and the hope for resurrection. [ABSTRACT FROM AUTHOR]

Ep. XIII provides a hermeneutic instrument to test legal validity today in the light of multi-layered phenomena shaping the ecosphere and infosphere. While De Saussure's thrust regarded the one-to-one relation between a word and its meaning, Dantean multi-sensory theory may give more consistent framework to perceive the evolution of reality and its components at the time of the Fourth Industrial Revolution (Schwab, 2014). [ABSTRACT FROM AUTHOR]

The article discusses the translations of Dante's Divina Commedia into Hungarian, focusing on Ádám Nádasdy's translation published in 2016. It mentions that the first Hungarian translations of Dante's work were published in the mid-19th century, with Mihály Babits' version being the most popular. Throughout the 20th century, several other translations were published, but in anthologies or incomplete forms. Nádasdy's translation, in unrhymed iambic pentameter, is presented as the latest and is analyzed in the article. The article also highlights the presence of Dante's works in Hungarian education and the ongoing activities of the Hungarian Dante Society. [Extracted from the article]

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One of the most fascinating, and debated, topics regarding Dante's immortal masterpiece, the Divine Comedy, concerns the date on which he imagines his journey to take place. Almost all commentators have placed it between March and April 1300, based on many apparently reliable historical and symbolic quotations. However, several astronomical references point in a completely different direction, and indicate a date around 25 March 1301. In addition to this, a closer examination of the historical and symbolic indications reveals that they are far from homogeneous: some provide no useful information, several give information congruent with 1301, and only a few are consistent with 1300. This paper also explores the reasons for the apparent contradictions between different references. The strong indication that seems to come from the present work in favour of 25 March 1301 represents an invitation to Dante scholars to reconsider the whole question. [ABSTRACT FROM AUTHOR]

This article examines the transformation of Dante's image in post-Soviet scholarship. The author shows how Russian philologists Vladimir Bibikhin, Olga Sedakova, and Georgii Chistiakov introduced a new image of Dante to post-Soviet readers in fresh translations of his work, scholarly writings, and lecture courses that revealed previously obscured philosophical and theological dimensions of his texts. The post-Soviet reader came into contact with a more complex image of Dante than previously portrayed in official Soviet literary scholarship: Dante the philosopher, the Christian humanist, the spiritual guide who calls upon individuals to embark upon a difficult but crucial existential journey. The author also shows how the unstable and transitional decade of the 1990s was a time of a particularly active study of Dante's philosophical and poetic anthropology. Dante's main themes (personal salvation, activism, living in tradition) resonated profoundly with intellectuals during the late Soviet and early post-Soviet years, which were marked by a special soteriological attitude and a belief that individuals and society not only can but must change. [ABSTRACT FROM AUTHOR]

Baldassarre Peruzzi's cosmological vault fresco (1510–11) in the Villa Farnesina in Rome, prominently featuring a scene of Perseus and Medusa, showcases a dynamic operation that was often at work in the early modern period between the beholder and an immobile work of art. These types of representational objects participate in the discourse around materiality, not by employing the signifying powers of their constituent materials, but by encouraging thought about their material presence. I explore the process of haptic engagement that the fresco painting urges in its beholders, raising the possibility that the trope of petrification, made popular by Dante and other Italian writers of amorous poems, unlocks the work's layered meaning. [ABSTRACT FROM AUTHOR]

Nel 1865 la letterata tedesca Anna Vivanti-Lindau lascia la sua abitazione londinese per compiere un viaggio nel Mediterraneo assieme al marito Anselmo. Tappa fondamentale del tour è Firenze, dove la letterata, grande estimatrice di Dante, si reca con l'intento di assistere alle celebrazioni del seicentenario dantesco. Nel suo resoconto di viaggio A Journey to Crete, Costantinople, Naples and Florence. Three Months Abroad, Vivanti-Lindau rievoca il soggiorno fiorentino, offrendo un report del festival dantesco. Riflettendo la ricezione ottocentesca politico-risorgimentale di Dante, ella individua nell'autore della Commedia il padre e profeta dell'Unità italiana e, insieme, il simbolo di una libertà che andava oltre i confini del territorio italiano. Il presente contributo propone una lettura analitica delle pagine del Journey dedicate al seicentenario, contestualizzandole nel quadro della fortuna ottocentesca di Dante nel periodo in cui si muove Vivanti-Lindau, con particolare attenzione alla ricezione britannica del poeta negli anni a cavallo dell'unificazione italiana. [ABSTRACT FROM AUTHOR]

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Copyright of Iberoromania is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper adopts a law and humanities-based methodology to critique the binary distinction between remembering and forgetting that often features in law and policy. Using the right to be forgotten as a case study, the paper argues that such a distinction conceals the many ways that remembering and forgetting are intrinsically connected. In particular, a binary distinction understands forgetting as not remembering. But forgetting can also take the form of enlightened remembering: a deliberate choice to think differently about the past, an attempt to remember it in more positive or constructive ways. Drawing on insights from Dante's Divine Comedy, the paper pursues a normative argument about the value of enlightened remembering and then assesses the implications for legal discourse. [ABSTRACT FROM AUTHOR]

This essay examines the translations of the title of Dante's magnum opus, the Commedia, as well as its canticle titles, across languages worldwide. This fills a gap in the secondary literature, which up until now has not examined this topic on a global scale. Rather than focusing on close textual analysis, this piece distantly reads the translation history of the title and canticle titles within different linguistic, cultural, historical and religious contexts. This essay thus shows how translators render specific concepts such as Commedia, Inferno, Purgatorio and Paradiso, often in non-Catholic and non-Christian societies. The results reveal how translations of the title (and canticle titles) are problematic, each in their own way. Translations of the title Commedia, for example, are difficult everywhere, because of the idiosyncratic usage of the term by Dante. Translations of the canticle title Purgatorio are problematic in non-Catholic societies in general, lacking such a religious concept. Meanwhile translations of the canticle titles Inferno and Paradiso are particularly challenging in non-monotheistic religious societies, which don't have such eternal afterlives for individuals. In all these cases, though, this has not stopped translators from translating Dante's text. [ABSTRACT FROM AUTHOR]

The pagan judge in Saint Erkenwald explains that he remained in limbo after Christ's harrowing of hell. Theologians, especially Aquinas, wrestled with the vexed question of the salvation of virtuous pagans, and Dante and Langland, as well as the author of Erkenwald, expressed their views on the subject, coming to differing conclusions. On learning of the judge's history, Bishop Erkenwald assumes that such an exemplary figure must have a place in heaven and is distressed to learn that he, like Virgil in Dante's Commedia, remains in limbo. The article explores the reasons why both poets should have adopted such an unorthodox position. [ABSTRACT FROM AUTHOR]

The article examines an inventory of the merchandise present in a Florentine stationer's shop in 1348. The list not only provides a record of the goods, but also includes their market value, enabling the valuation of the paper notebooks contained in the shop. As a result, it becomes feasible to determine the very high cost of the four large paper notebooks considered a few years earlier as having an equivalent value as the renowned code of Dante's Comedy owned by Giovanni Villani. [ABSTRACT FROM AUTHOR]

An updated version of an article published in 2006, this essay defends a new interpretation of Friar Ilaro's letter based on a thorough analysis of the manuscript in which it is preserved. Its goal is to propose a new reading of this document within the wider frame of the corpus of Dantean texts collected by Boccaccio and included in his Zibaldone. [ABSTRACT FROM AUTHOR]

This article addresses a forgotten aspect of the history of ideas, namely the fact that one of the most important figures of the twentieth century, Ezra Pound, was influenced by Dantean esotericism and the medieval esoteric doctrine of love proposed in the nineteenth century by Gabriele Rossetti. It aims to show the relations between literature and esotericism, in the wake of a dialogue between the Middle Ages and the twentieth century. The study of this unexplored horizon of research is presented here through the epistolary exchange between Pound and Gabriele Rossetti's granddaughter, Olivia Rossetti Agresti. [ABSTRACT FROM AUTHOR]

In Purgatorio xv and XVII, Dante depicts the pilgrim's inner visions produced without direct sensory input, which, paradoxically, lead to some of the most extravagantly multisensory descriptions in the second canticle of the Commedia. This article argues for the centrality of the cantos for understanding the visionary dimension of Dante's work by examining how Purg. XV and XVII meditate on the differences and overlaps between everyday and extraordinary perception. First, I examine Dante's depiction of the faculties of imaginativa and fantasia, involved both in ordinary and visionary sensation. Second, I explore how the cantos portray the ecstatic dimension of Dante's experience. Finally, I analyse how Dante uses multisensory language in individual visions so as to reflect on the complexity of perceptual layers in visionary experiences and to appeal to readers who think with, and through, their senses. [ABSTRACT FROM AUTHOR]

The essay shows how the most comprehensive sixteenth-century printed collection of pre-Petrarchan lyric poetry, printed by the Giunti press in Florence in 1527 and known as the 'Giuntina delle rime', was conceived as a Dantean collection. The article argues that the 'Giuntina' can be understood in relation to a Florentine context that reacted in opposition to Bembo's codification, in his seminal dialogue Prose nelle quali si ragiona della volgar lingua (1525), of Petrarch and Boccaccio as supreme models for poetry and prose, and his devaluing Dante. This reaction led to the promotion of Dante's lyric poetry through a collection printed by the leading Florentine publishing house. The essay presents new evidence to show that the original programme of revaluing Dante that lies behind the collection and its scope seem to have undergone a transformation, which obscured the force of that re-evaluation in the final print of the 1527 anthology. [ABSTRACT FROM AUTHOR]

This article engages with new materialist discourses and material ecocriticism to examine three important moments of geological kinesis within the first two cantiche: the movement of landmass caused by Lucifer’s fall (Inf. XXXIV); the earthquake at Christ’s crucifixion (Inf. XII); and the mountainquakes of Purgatory (Purg. XXI). These geological events coincide with important moments in Christian salvation history, but they also offer examples of an affinity between the lithic and the human, presenting an alternative history of the Earth in which stone responds to cosmological, spiritual events with fear and love, literally changing the face of the Earth and shaking the foundations of Hell. [ABSTRACT FROM AUTHOR]

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Copyright of Il Colle di Galileo is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Itinerarios (1507-7241) is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article I analyse and interpret three passages from Dante’s Paradise containing more or less explicit allusions to the myth of the Argonauts, which Dante knew from Ovid’s Metamorphoses. All three are intertextual and occur at key points in the Canticle of Light, performing a meta-poetic function. They pertain to the essence and objectives of Dante’s poetry and its pioneering character, both in terms of subject-matter and means of expression, particularly for the depiction of the visions of Paradise. Dante makes use of the metaphor of sailing the seas, which had been a topos of literary creativity since ancient times, and compares his own poetic exploit (The Divine Comedy) with the quest for the Golden Fleece conducted by Jason. Yet at the same time Dante distances his own work from the feat accomplished by the captain of the Argonauts. [ABSTRACT FROM AUTHOR]

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Since the publication of Asín Palacios's theses, the issue of Arab sources in the Comedy has aroused considerable controversy among supporters and detractors of Dante's dependence on Muslim traditions. Rethinking the terms of the debate, scholars prefer nowadays to evaluate not only the role played by Latin or Romance intermediaries, but also the judgement that the Middle Ages expressed on Muslim religion. On the other hand, the perception of the Qur'an has remained insufficiently investigated. The Qur'an was known to the Christian Middle Ages as Lex Mahometi and therefore as a normative corpus which, being identified with the Prophet himself, ended up being denigrated through the usual tópoi of anti-Islamic propaganda. The present article will attempt to reconstruct the image of the Holy Book of Islam in the commentaries on the Comedy in relation to the concepts of heresy and schism. [ABSTRACT FROM AUTHOR]

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Moments of visual fixation appear throughout the Commedia. Reconstructing their connotations in relation to contemporary discourses on sight, this article argues that, as well as a literary trope, Dante's depictions of fixing the gaze function as a metaliterary device, an invitation to the reader's critical eye that, when interrupted, draws attention to the multiple cultures of gazing circulating at the time – from erotic obsession to contemplative ecstasy via visionary philosophical and theological inquiry. The roots of the trope are traced in Dante's rime and analysed in key episodes of the Commedia, including the dream of the Siren (Purgatorioxix), Dante's 'too fixed' gaze (Purgatorioxxiii), and the climatic gazes pilgrim and guide turn to God in Paradiso. By encouraging the reader to fulfil the poet's vision in her imagination, the fixed gaze, and its frequent interruption, emerges as a uniquely suitable trope for negotiating the representational challenges of transcendental topics. [ABSTRACT FROM AUTHOR]

In this article, I offer an architectonic of what Carl Schmitt calls the "antechamber of power from Friedrich Schiller, through Franz Kafka, to Walter Benjamin. To summarize my argument, I contend that the "antechamber of power" may always have been a supplementary space within the conceptual imaginary of sovereignty, but Schiller, Kafka, Benjamin, and Schmitt re-imagine it as the privileged space of an originary partage, sharing or division of power. If Jean Bodin defines sovereign power as "indivisible," I instead trace the self-division of sovereignty into what Jacques Derrida famously calls "plus d'un" places of power. In a series of readings of philosophical, historical, and literary representations of the antechamber, I show how the allegedly private chamber of power occupied by the sovereign alone constitutively divides or itself into a series of new political antechambers occupied by a new class of political bodies: Schiller's counsellor, Kafka's bureaucrat, Benjamin's clerk. [ABSTRACT FROM AUTHOR]

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In Paradiso XIX, 139-141, in the context of Dante’s invective against the corrupt or unjust Christian princes, the Florentine poet also mentions a Norwegian king («E quel di ... Norvegia») without, however, providing any information useful to trace his identity and the nature of his fault. Since the first commentators, attempts have been made to identify the Norwegian monarch: most of the commentators and scholars have identified him with King Hákon V Magnússon (1299-1319), mainly because in his invective Dante calls into question only rulers who were alive at the time of the vision (March-April 1300). From the foreign and domestic policy of the Norwegian sovereign, nevertheless, no elements emerge that can convincingly explain Dante’s accuses, nor is there evidence of contact between Norway and the Florentine environment during his reign. On the contrary, the article argues the identification of «quel di Norvegia» with King Eiríkr II (1280-1299), brother of Hákon V, on the basis of two main elements: on the one hand, his devaluation monetary policy and his impending attitude in the question of the collection of the subsidies Terrae Sanctae, are both symptoms of avarice; on the other hand, the existence of direct and documented contacts between the Nordic kingdom and some Florentine companies of merchant-bankers, and between such companies and Dante, during the last years of Eiríkr II’s reign. [ABSTRACT FROM AUTHOR]

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