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Dante Alighieri was well educated in literature, rhetoric, philosophy and theology. His long reading list could not lack the works of the classical authors, especially the Ovid’s one. The wellknown Florentine demonstrated his extensive knowledge many times in his works, particularly in The Banquet. This work was conceived as his summa philosophiae but from his fifteen planned treatises he wrote only four. Among many works quoted by Dante in his treatises there was also the Ovid’s Metamorphoses. The aim of this paper is the analysis of the quotations and mentions on the Ovid’s poetic work from The Banquet and to define their functions in the Dante’s work.

The essay considers the representation of childhood and adolescence in the work of Dante. While in Convivio the poet discusses the ages of human life but does not address infanzia or puerizia, in his poem the representations of this earlier phase of life are many and varied, presented above all through similes. These representations illustrate the particular attention Dante paid to the mother/child relationship, which allows the reader to form hypotheses about his family environment and relationship with the woman with whom he shared his life in Florence: not Beatrice, but Gemma Donati.

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.

Il contributo intende investigare le strutture narrative adottate da Pier Paolo Pasolini all’interno del suo ultimo romanzo: Petrolio (1992). Analizzando l’uso pasoliniano dell’allegoria e della visione nell’opera, se ne vuole evidenziare il carattere medievale e, in particolar modo, la forte influenza del modello dantesco. L’analisi di diverse “spie” contenute nel romanzo e nei fogli preparatori, come il doppio rimando all’allegoria storico-politica degli ultimi canti del Purgatorio, porterà infatti alla luce la paternità dantesca del sistema allegorico di Petrolio. Si mostrerà, tuttavia, come non si tratti più dell’allegoria figurale di ascendenza auerbachiana che aveva interessato Pasolini negli anni precedenti, bensì di un ritorno all’allegoria vera e propria, ovvero una narrazione favolosa che cela “una veritade” (Dante, Convivio II, I. 4). Infine, un’analisi ravvicinata delle principali allegorie del romanzo svelerà che tali episodi allegorici rimandano inequivocabilmente a personaggi e ambientazioni proprie della Commedia. In questo modo, si potrà concludere che non solo Pasolini si ispira a Dante per costruire il sistema allegorico di Petrolio, ma che lo stesso apparato figurativo delle singole allegorie pasoliniane è costruito sulla falsariga di episodi danteschi.

For Dante and Christianity it is certainly not sex, nor adultery per se or promiscuity, which leads us to mortal sin capable of killing our soul, closing us in hell: and in this sense we can think of fundamental emblems, like the woman of Samaria, the adulteress and the Magdalene of the Gospel. A sincere sexuality radiated with love, True Love, always leads gradually to the glory of heaven: this is the message hidden in the symbols of the Divine Comedy. The cause of inner death and anguish that makes us deeply unhappy (and therefore ‘imprisoned’... – captivi diaboli) is instead the superficiality of our experience of love, rancor and hypocrisy together with the desire to overwhelm others, as in the famous case of Paolo and Francesca. The latter is analyzed in this study with cross-references to the love legends of Lancelot and Tristan, as well as to the poetic love between Arnaut Daniel and Bertrand de Born. The theme of homoeroticism is therefore addressed with regard to Brunetto Latini in hell, however considering that Dante’s vision symbolically shows us that sodomy, as an external act of the body induced by a spontaneous and immediate impulse of the senses, is not in itself a cause of damnation. As can be observed among the various spirits of carnal lovers in purgatory and paradise, the death of the soul seems for the poet to be connected only to an inner risk, an ambiguous limit which is narcissism and selfish isolation within our intellect or political practice. In his tolerant erotic morality, Dante seems to be influenced by the Joachimite movements of the Free Spirit.

The historical reconstruction of the Roman Empire that Dante undertakes in the second book of the Monarchia is grounded on the agonistic similitude of the certamen. As an instrument to ascertain the will of God, the ‘race’ for world domination won by the Roman people would have established an inviolable right to universal monarchy in the hands of the Roman Emperor. Strengthened by this demonstration, Dante disputes the legal nature of the subsequent translationes Imperii, beginning with the Donation of Constantine, especially whereas they are interpreted as a sign of the supreme pontifical power in political matters: the Holy Roman Empire is the direct heir of the universal monarchy gained by right from the Roman people and its authority depends directly on the divine will.

Dante’s Paradiso presents a gothic theophany realizing the divine vision (visio Dei) in poetic language. Specifically, Dante’s vision of a line from Scripture (DILIGITE IUSTITIAM QUI IUDICATIS TERRAM) in the Heaven of Jove (Canto XVIII) gives a concrete form of written letters to his vision of God. Yet all that Dante actually sees is only a sign of the invisible, metaphysical reality of God and the supersensible universe of pure being or love. This tension between the sensory plenitude of his vision and the transcendent truth that Dante envisages lends his poem its extraordinary force and attractive power. The paradoxes of negative theology and its inevitable relation with an affirmative theology expressed as poetic vision are worked out with matchless subtlety in Dante’s descriptions and reflections, some of which are expounded in a speculative key in this essay drawn from a more detailed and comprehensive inquiry into the subject. The immediacy of Dante’s vision of letters of Scripture in the Heaven of Jove serves as a metaphor for an unmediated vision of God, but the vision’s content turns out to be nothing other than mediation – concretely, language as the medium mediating his relation to God as Logos. Dante’s vision from beginning to end of the Paradiso is placed under the sign of the ineffability topos, yet what he sees are words and language and ultimately letters. Dramatically displaying the mediations in which language consists becomes itself a metaphorical realization of divine revelation. The mechanisms of signifying in languagemade visibly manifest in writing and specifically as the first line of the Book of Wisdom in Scripture are unveiled as a negatively theological revelation of divinity.

By delving into Dante Alighieri’s oeuvre, the present contribution investigates the principal aspects of his ethical, linguistic, and political thought. By adopting a historical-philosophical perspective, the portrait of Dante the philosopher that this essay provides is rooted in his conception of philosophy, as well as on the ideas he expresses on language, love, moral responsibility, governance, happiness and human freedom.

In Heaven of the Sun, Dante celebrates Saint Dominic as a great saint and erudite preacher. While this panegyric displays some unique, distinctive features, it should also be read in connection to the tribute to Saint Francis in the preceding canto and, more broadly, the entirety of Heaven of the Sun containing both eulogies. Only within this larger framework is it possible to fully appreciate their breadth of references and depth of meaning, for a fuller comprehension of Dante’s meditation on wisdom and how it is so vibrantly exemplified by Francis and Dominic.

The presence of quotations from the Laus heremiticae vitae contained in Peter Damian’s letter 28 in Paradiso XXI has led scholars to claim that Dante was familiar with the writings of the hermit and cardinal who lived in the 11th century. Instead, the author believes that Dante had only read the Laus heremiticae vitae, which circulated independently of the other works of Peter Damian, whose writings were otherwise unknown to Alighieri. This conclusion is reached on the basis of the poor quality of the information Dante offers on Peter Damian’s biography, which derives from the traditions of Ravenna and not from Fonte Avellana, where he could have found the manuscripts of the hermit and cardinal’s works.

Visions and representations of Hell in the works of J.M. Synge, James Joyce and W.B. Yeats often originate in a conflation of the Irish and Italian literary traditions, where references to Dante’s Divine Comedy are intermingled with elements deriving from old Irish stories of the Otherworld.

Il saggio, dopo aver indicato le circostanze e i motivi che indussero i medievisti fiorentini del Novecento, da Gaetano Salvemini a Giovanni Cherubini, a prestare scarsa attenzione alla figura storica di Dante, prende in esame i cinque saggi danteschi di Ernesto Sestan, tutti legati al cen- tenario del 1965. In essi si affronta il complicato rapporto dell’Alighieri con la Firenze del tempo, il formarsi e l’evoluzione del suo pensiero politico, la sua visione della storia e la conoscenza e l’utilizzo nella Commedia di personaggi storici.

The essay intends to offer an overview of Dante’s influence on nineteenth-century English poetry, highlighting the various appropriations and introducing a discussion on individual authors. It is an essential pivot in the development of modern and contemporary culture inasmuch as, during the nineteenth century, Italian literature seemed to flow into English literature and at the same time represent a sort of great moment in universal literature. Furthermore, with the birth of the United States, the great English tradition converges with the more mature American literature and therefore the whole focus of Western and also contemporary culture relates to an extraordinary basin in which the set of sources that complement each other, in particular Dante and English literature, establish a fundamental element for understanding the imaginary itself not only of the twentieth century but also of the contemporary one.

The celebrated epigraph to Howards End (1910), “only connect”, provides a fitting motto for the life and work of Edward Morgan Forster. With the epigrammatic intensity of a manifesto, the famous locution also encapsulates the compositional principle of Forster’s art, informed by intertextual references and quotations, ranging from Pope to Whitman, from Plato to Shakespeare, from Shelley to Dante. Less explicit than that of other models, the presence of the Sommo Poeta permeates Forster’s fictional as well as critical universe like a basso continuo, to use one of the musical metaphors so dear to the English writer: while Dante’s spirit can be caught in the literary interstices in which the narration aspires to become vision – in his early novels and most notably in Forster’s fictional representation of Dante in the supernatural tale “A Celestial Omnibus” (1911) –, the Italian poet features as a privileged interlocutor in Forster’s criticism and journals. This essay intends to retrace the forms and development of this artistic dialogue starting from the lecture on Dante that Forster delivered in 1907 for the Working Men’s College, the result of a study of the Florentine poet and of The Divine Comedy over which, as the author wrote in 1958, he had “put in quite a lot of work”.

This essay investigates Walter Pater’s reception of Dante. From his juvenile production to his later writings, Pater’s oeuvre is interspersed with references, quotations, or allusions to Dante, and often directly discusses important aspects of the poet and his works. Pater strongly sensualises Dante’s idea of love, which he sees as functional to his own exploration of sensoriality. In this sense, his reading of Dante emphasises the features of Dante’s realism (and symbolism) that are closer to his own poetics, interpreting them as emblematic of his artistic ideal of the fusion of matter and spirit. Moreover, Pater views Dante as instrumental in some of the cultural-historical phenomena – the Renaissance, Romanticism, modernity – which are pivotal for his aestheticist conception of history.

The multitude of appropriations, transformations, reinterpretations, and rewritings of Dante’s Comedy through a variety of media and cultural productions testifies Dante’s hold on modern imagination. Due to its plurilingualism, visual vividness, meticulous graphic descriptions, and polyphonic auditory allusions, this universally acclaimed masterwork has been made accessible to all ages and cultures. One recent example of controversial rewriting is Mary Jo Bang’s translation of Dante’s Inferno (2012), which includes references to contemporary (popular) culture and figures: from Mick Jagger to Freud, from Stephen Colbert to the Addams Family, from Bob Dylan to Ronald Rumsfeld and Qaddafi. Bang’s version is here analyzed in the light of Edwin Gentzler’s theory of post-translation studies to reflect on the translator’s (sub)version and on the role of translation as rewriting in the age of digital revolution.

The Divine Comedy is one of the most famous and timeless narrative poems, being still translated into several languages and inspiring movie adaptations (from Pasolini to Greenaway), pop and rock music, advertisement videogames and graphic novels.The transformations the text has gone through throughout the years reveal several different interpretations of Dante’s work and of its meaning. This essay aims at tracing a history of Dante-based graphic novels in the Anglo-American tradition. Particular attention is devoted to Birk and Sanders’ Dante’s Inferno (2004) and to Seymour Chwast’s graphic novel, Dante’s Divine Comedy (2010), which is the only ‘translation’ into a poster design style. This paper also examines how the Divine Comedy changes migrating from its original context to the contexts that characterized the different adaptations and remediations, and from its original poem form to new genres. It argues that the graphic novel is the genre better able to give to a contemporary reader a new Dante’s Divine Comedy keeping intact the delicate balance between words and imagines (the long history of the Divine Comedy’s illustration testifies it: from Botticelli to Joshua Reynolds, from Gustave Doré, to William Blake until Guttuso, see Battaglia Ricci 2018). Between losses and compensations, the graphic novel establishes a dialogue with its reader on several levels, depending on the expertise of source work and stimulating the reading (or the re-reading) of the classic; in this way they could be considered a strategy of survival of the classic.

More than one contemporary Irish poet becomes anxious when quoting Dante, not only because Dante is the unsurpassable poet of all times, but also because Heaney’s improvisations on the Florentine poet appear, in Ireland, to carry more weight than that of the Italian poet himself. The path Heaney followed in his ‘research’ mainly meant ‘digging’ into the depths of history, language and myth. Dante, in particular, had surely not been studied prior to Hopkins and Frost, Hughes and Hardy, MacDiarmid and Larkin, MacCaig and Maclean, all the poets Heaney had read and, in part, even met before producing some of his middle- and late-career masterpieces. From the very beginning, Heaney’s ‘underground’ theme was his personal process of ‘digging’. In his interviews and essays, Heaney often quoted the Inferno and the Purgatorio and his insights into the ‘underground’ were often presented as spatial and symbolic contraries: surface/underground; high/low; light/darkness, outside/inside, hell/heaven; demon/angel, etc. The attraction to Dante and the presence of the Florentine poet as a background influence on Heaney’s poetry is here underlined by exploring some of his key collections and poems.

Charles Wright is one of the contemporary American poets who have most profoundly absorbed Dante’s Commedia into their work. This paper places Wright’s interest in Dante in context, focusing on Purgatorio as the canticle he relates to most in his poetry, and the book closest to his own poetics. Examples taken from various texts support this reading of Wright’s relationship with the medieval Florentine poet.

In eighteenth-century Great Britain the Divine Comedy took an active part in literary discussions on genre (epic poetry) as well as on gender (women and education). To discuss this role, I will examine in particular William Hayley’s The Triumphs of Temper (1781), a poem which draws on Dante’s Commedia to produce for English literature a new kind of heroic poetry featuring “female excellence;” and his Essay on Epic Poetry (1782), a scholarly essay which introduces the Commedia as an epic model and includes a translation of Inferno I-III in terza rima.

Alice Munro’s “Pictures of the Ice” is a reflection on betraying and being betrayed that aggrandizes the ordinary to epic proportions and expands the personal and the local into the historical, the mythical and the canonical. Her pictures of the ice look like ordinary snapshots of a Canadian winter phenomenon, but they are indexed to several canonical counterparts evidencing felony and ranging from Dante’s frozen lake at the bottom of the Inferno to James Hogg’s The Private Memoirs and Confessions of a Justified Sinner (1824) or James Galt’s Bogle Corbet or the Emigrants (1831) and including references to Walter Scott’s Marmion: A Tale of Flodden Field (1808) as well Tennyson’s “The Passing of Arthur” from Idylls of the King (1859-1885). Through the synchronisation of the distant and the near, the personal and the historical, the legendary and the biblical, Munro collapses frontiers between the infinitely small and the infinitely large and generates a new topography of the moral universe.

Among the many re-uses of Dante’s Comedy in contemporary artistic expressions (movies, music, novels, poetry) the essay presents John Kinsella’s trilogy, Divine Comedy. Journeys Through a Regional Geography (2008), On the Outskirts (2017), and Musical Dante (2021). Here Dante’s poem inspires an ecological poetry in defense of the multiplicity of life on our planet. The paper discusses why Dante inspires such a poetic discourse on one of the most topical and urgent problems. Presenting the similarities and differences between Dante’s and Kinsella’s poetry, evident in the structures and in the concept of Nature, it eventually indicates their profound affinity in the ethical sphere and regarding the focus on small territories as case studies for the entire world.

In this article, I argue that Dante's philosophical goal is what I term "self-angelizing," an ennobling philosophical education granting one the knowledge and power of an angel, which the medieval scholastics conceived as celestial intelligences. Dante's own path to self-angelizing begins in his early New Life, which approaches a living Beatrice as exemplar of terrestrial angels. Next, Dante's middle-period Banquet discusses following Beatrice into self-angelizing through an education in philosophical virtue. Finally, in his climactic Paradise, Dante performs his own self-angelizing. The upshot of this journey is Dante's prophecy of an egalitarian transhumanism.

Il saggio esamina alcuni contributi pubblicati dal poeta Durs Grünbein in occasione del settimo centenario della morte di Dante. Particolare attenzione viene dedicata alla terzina di Paradiso XXXIII, vv. 94-96 che impegna il poeta tedesco almeno dal 2009. In base alla terminologia impiegata da Grünbein per descrivere le sue trasposizioni dantesche in termini di rendering, il saggio indaga l’influenza del Sommo Fiorentino nella poetica dell’autore di Dresda alla luce dell’era globale-digitale per risalire alle fonti dell’ispirazione poetica, dove Grünbein rilegge Dante con Cartesio e Mandel’štàm.

This article discusses an anti-sovranist variant of political theology. Recent work on the sociology of modern constitutionalism has identified its source in the so-called Papal legal revolution that proclaimed the autonomy of the Church in relation to the Empire. The claim is that this legal revolution contributed to the “secularization” or de-sacralization of political power and established legali-ty as the principle of legitimacy. This paper critically discusses this genealogy of constitutionalism. It proposes an alternative route to modern secularism and constitutionalism that passes through the reception of Averroistic doctrines in the philosophy of Dante.

«Paz en la tierra», además de ser testimonio de tal vida en la «nube de luz», es una invitación a compartirla, una invitación remitida precisamente a quienes todavía no estamos en esa trascendencia, de modo que esta pieza tanto nos comunica un deseo referido a nosotros como nos hace extensiva la cordialidad de la que ya goza quien nos la dedica.

This contribution focuses on coordinated synonymous clauses in Dante’s Commedia. After having clarified the rhetorical value of this particular syntactic construction (with the help of both ancient and modern interpretations), the analysis focuses on its individual occurrences, illustrating the different ways in which the synonymic structure affects the text. All these different forms are shown to be one of the tools with which the author carried out his extraordinary research on vernacular language.

Rozpatrując zagadki "Boskiej Komedii", można przyjąć, że kultura muzułmańska była dobrze znana Dantemu, przede wszystkim poprzez dzieła takie jak "Księga Drabiny Mahometa", "Podróże Marco Polo" czy prace Riccolda z Montecroce. Islam jest uznawany za zagrożenie, a jednak podziwiany w wizji Dantego. Miłość jest postrzegana jako kluczowy element chrześcijaństwa, jest to caritas i obejmuje ona każdy aspekt życia człowieka, utrzymując go w harmonii. Według Dantego Mahomet nie rozumiał tej koncepcji, dlatego stworzył nowy rodzaj wiary. Zgodnie z wizją "Boskiej Komedii" Mahomet znalazł się w piekle, z poczuciem winy z powodu oszustwa. Z kolei w "Raju" Dante wskazuje, że zbawienie jest możliwe również w islamie, gdzie Prawda jest tolerancyjna, braterska i całkowita.

In this article, I argue that Dante's philosophical goal is what I term "self-angelizing," an ennobling philosophical education granting one the knowledge and power of an angel, which the medieval scholastics conceived as celestial intelligences. Dante's own path to self-angelizing begins in his early New Life, which approaches a living Beatrice as exemplar of terrestrial angels. Next, Dante's middle-period Banquet discusses following Beatrice into self-angelizing through an education in philosophical virtue. Finally, in his climactic Paradise, Dante performs his own self-angelizing. The upshot of this journey is Dante's prophecy of an egalitarian transhumanism.

This article considers Dostoevsky’s novel Crime and Punishment as the subtle elaboration of a complete Christian eschatology. Through the relationship of the two principal protagonists, Raskolnikov and Sonia, readers are drawn into the enigma and lack of closure at the end which is either frustrating or fulfilling, depending on readers’ understanding of the Christian doctrine of eschatology. For it is “The Four Last Things” (Death, Judgment, Heaven, Hell) that underpin and orient the entire narrative, particularly as they are refracted through the experiences of the two deliberately opposite characters. In his creation of Raskolnikov, Dostoevsky certainly succeeds in conveying all the horrors of Hell (before dying); but it is his creation of Sonia ‒ especially as intimated earlier in Winter Notes on Summer Impressions ‒ that Dostoevsky succeeds in suggesting the greater abiding powers of Heaven to quietly and mysteriously heal. Crime and Punishment is thus proposed as an enduring artistic triumph because of its deep underlying sense of a specifically Christian call to ontological consciousness, following as it does in the footsteps of earlier Christian writers such as Dante and Bunyan, who had equally understood the crucial necessity of female wisdom leading the male pilgrim back to his home in the heart of God.

The paper deals with some aspects of the early works by T.S. Eliot (1888-1965). The object of the research is a collection of poetry, the notebook under the title “The Inventions of the March Hare” (1909-1917). In the paper presented “The Inventions of the March Hare” are considered as a creative laboratory of a young American poet, a collection of texts including the primary elements of the main themes and images of the subsequent poetic and dramatic works, an important commentary to the later works being instrumental in better understanding of Eliot’s mature works. The paper presents a study of history of the creative process, cultural-historical and biographical contexts, the poetics of the title, peculiarities of the composition, the key images and themes, such categories as “musicality” and “dance”, etc. The author of the paper concentrates on three central images-masks: “Pierrot lunaire” (“Suite Clownesque”, etc.), “a King-Bully” (“Columbo and Bolo Verses”) and “a Burnt Dancer” (“Suppressed Complex”, “The Burnt Dancer”). They refer to three important “avatars” of the young poet’s personality (the “dandy”, “bully” and “mystic”) and connect his works to three literary traditions: French symbolism, English literature of nonsense and Dante’s works.

This article examines Andrea di Bonaiuto’s image of Averroes in the Triumph of St Thomas Aquinas (Spanish Chapel, Florence: 1365–69), explored alongside Bonaiuto’s primary visual source, Lippo Memmi’s panel painting, Triumph of St Thomas Aquinas (Pisa, c. 1323–30), and Dante’s Commedia. I argue that Bonaiuto’s iconography, developed within a Dominican context, is unique to the Spanish Chapel Triumph because it propagates Averroes as both a heterodox philosopher and a heretical Muslim precisely at a time when the Arab philosopher was acclaimed as the Great Commentator. Through comparative analysis, I demonstrate that Bonaiuto makes significant modifications to Memmi’s Triumph, the panel painting which first establishes an Aquinas-Averroes iconographic formula created to uphold the orthodoxy of Thomistic Aristotelianism by casting Averroes into a contemptible position, a formula also utilised by Benozzo Gozzoli in a later Triumph of St Thomas Aquinas (Pisa, c. 1470–75). I argue that Memmi’s image of Averroes can be read as a Dominican comment on the heterodoxy of Arabic Aristotelianism in spite of its widespread reception into Latin scholasticism. This feature is further developed by Bonaiuto who presents Averroes as an indolent philosopher and in a departure from Memmi’s formula, as a heretical Muslim. Such a reading is further elucidated when Bonaiuto’s Triumph is considered alongside Dante’s literary treatment of Arabic philosophers, the Prophet Muhammad, and Christian heresy in the Commedia, ultimately revealing that the reception of Arabic philosophers is entangled with Islam in a far more complex and ambiguous manner than once considered.

Durante il corso di Letteratura italiana (anno 2017/18), dedicato alla Commedia di Dante, gli studenti sono stati invitati a cimentarsi nell’impresa di concentrare un romanzo nello spazio conchiuso di un endecasillabo o più terzine dantesche – o, in alternativa, nella misura di un tweet: si trattava (in un certo senso) di emulare la capacità del sommo poeta di distillare un’intera esistenza (Paolo e Francesca, Ulisse, Conte Ugolino…) nel volgere di poche terzine. Una giuria di ‘addetti ai lavori’ ha selezionato i migliori componimenti – sorvolando, di tanto in tanto, su alcune infrazioni creative rispetto alle misure canoniche…

Copyright of Amsterdamer Beiträge zur Älteren Germanistik is the property of Brill Academic Publishers 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.)

The figure of the Apostle Paul is present in all three parts of The Divine Comedy of Dante Alighieri. This study aims to verify the congruence of the portrait of Dante with the data of the Pauline tradition (Letters, Acts, apocryphal documents) and explore the rhetorical-narrative function entrusted by the Poet to the Apostle, described as the one who brings to human being the solace of faith, as the champion of eloquence, as the witness of heroic fidelity to the gospel.L’Apôtre Paul il est présenté dans les trois parties de la Divine Comédie de Dante. Cette étude vise à vérifier la cohérence du portrait de Dante avec les données provenantes de la tradition Pauline (Lettres, Actes, documents apocryphes) et sonder la fonction rhétorique-narrative que le poète confie à l’Apôtre, décrit comme celui qui donne aux hommes la consolation la foi, l’échantillon de l’éloquence, le témoin de fidélité héroïque à l’Évangile.Il presente studio analizza i riferimenti alla persona dell’apostolo Paolo allo scopo di verificare la congruenza del ritratto paolino offerto da Dante con i dati tradizionali a nostra disposizione (Lettere paoline, Atti degli Apostoli, documenti apocrifi) e la funzione retorico-narrativa che il Poeta affida alla figura paolina nel suo poema.

Dante’s Paradise is the place where the soul arrives after having passed through the long path of sacrifice and difficulties which is meant to bring purification in order to be saved. It is the purged space of perfection and pure happiness, where the believers who have washed their clothes in the blood of the Lamb are in harmony, together with the angels, continuously praising the saving and triumphant Holy Trinity. It is the feast of the bog weeding, of the union between Christ and His Church, it is the divine Liturgy which is the union of the saints’ and the angels’ voices who worship the divine glory.

Copyright of Fichte -- Studien is the property of Brill / Rodopi 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.)

L’articolo è il resoconto di una lezione-tipo, tenuta in collaborazione dai due autori, pensata come propedeutica e introduttiva al corso per affrontare con gli studenti uno dei problemi fondativi delle poetiche d’autore. Prendendo a esempio diversi testi della tradizione letteraria e figurativa, si propone il tema del rapporto tra verità e menzogna, finzione e realtà, palcoscenico e platea, per far rilevare quanto il gioco del linguaggio possa essere più serio (e utile) di quanto appaia.

Im Rahmen der Tagung „Dante 2015: 750 Jahre eines europäischen Dichters“, die vom Italienischen Kulturinstitut Köln und der Bonner Romanistik am 11. und 12. Dezember 2015 organisiert wurde, setzten sich 11 Vortragende aus ganz verschiedenen Blickwinkeln mit dem italienischen Dichter auseinander, dessen Geburtstag sich 2015 zum 750. Mal jährte.

The Commedia project aims to investigate the manuscript transmission of the poem, using Sanguineti's previous edition and checking the validity of his stemma with computer methods. Full transcriptions of the seven selected witnesses are provided alongside the corresponding facsimiles. The end results of the collation and phylogenetic analysis differ from Sanguineti's edition and reshape the stemma. No new critical text is provided. The edition is easy to navigate and high quality editorial materials are available. A metrical markup enriches the text and the integrated VBase tool allows the user to retrieve variants in different witnesses and parts of the poem.

Recensiamo il volume di Piero Boitani, Letteratura e verità. Roma: Studium, 2013. Stampa.

Este trabajo busca analizar los vínculos entre el uso del lenguaje y el pecado en uno de los episodios más famosos de la Comedia de Dante: su encuentro con el héroe griego Ulises. Para ello, en primer lugar analizo la concepción del lenguaje de Dante y su definición filosófica de pecado. Luego de revisar distintas tesis que Dante propuso en trabajos previos, despliego un análisis completo del episodio de Ulises, tratando de exponer la naturaleza filosófica y lingüística de su pecado. Para concluir, me concentro en la resolución ortodoxa dada por Dante para el problema general del pecado.

"Tu dici che di Silvio il parente [...] ad immortale secolo ando" (inf., II, 13-15): Il protagonista della Divina Comedia di Dante come "Nuovo Enea" The protagonist of the famous poem of Dante Alighieri has a lot in common with the Virgilian Aeneas: both have a mission to accomplish, but its meaning is profoundly different: political in the case of the son of Anchises and universal in that of Dante-pilgrim. Aeneas will encounter, in the Otherworld, his father and from him he will learn about his own future as well as that of the Roman Empire of which he will become a protoplast. The disciple of Virgil in Dante will know a posthumous destiny of Man with the purpose of showing mankind the way of moral and spiritual renewal. This paper presents a comparative analysis of the figures of “old” and “new” Aeneas, involving an intertextual approach to the theme of their katabasis. The illustration of the similarities and differences between them takes into consideration the changed cultural and spiritual context and the aspiration of the Italian poet to become a “new” Virgil whose masterpiece is superior to the Aeneid both in content and form.

Der Dante-Spezialist Ruedi Imbach veröffentlicht dieses Jahr eine deutschsprachige einbändige Ausgabe der philosophischen Werke des Commedia -Autors. Die Medienimpulse bieten einen exklusiven Auszug aus dem erhellenden (und hier leicht gekürzten) Vorwort dieser Ausgabe – die in der renommierten Buchreihe Philosophische Bibliothek des Felix Meiner Verlags erscheinen wird – das neue Facetten an Dante Alighieri erfahrbar machen. Eine anregende Leseeinladung zur Begegnung mit einem Klassiker.

El objeto central del De monarchia de Dante es exponer qué es la “temporalis Monarchia” y qué “typo (…) et secundum intentionem” (I, ii). Dado que la filosofía es siempre, de acuerdo con Aristóteles, un conocimiento de principios, Dante busca el “principium directivum” de la política. Estos son la pax universalis y el bonum commune de toda la humanidad, esto es, la realización del intellectus possibilis. Pero, aunque aluda aquí a la doctrina de la unidad del intelecto de Averroes (I, iii) no es esta realmente una de las fuentes centrales del pensamiento político dantesco. Las fuentes principales son Aristóteles y el Liber de causis. Al referir a la dialéctica de la unidad y la pluralidad, la última siendo uno de los presupuestos y condiciones de la política, Dante utiliza la forma de argumentación del Liber de causis pero no así su trasfondo metafísico. Considera que el objetivo de la filosofía política es demostrar cómo puede haber unidad en la pluralidad.

Tanto Tomás de Aquino cuanto Aristóteles afirmaron decididamente el primado de la metafísica sobre la moral. Uno de los puntos ele inflexión más relevantes de la filosofía medieval lo constituye la inversión de esa relación. Esta inversión es uno de los rasgos distintivos y novedosos del pensamiento de Dante. El modo en que Dante justifica ese primado es sorprendente y confirma la originalidad de su pensamiento. Su argumentación es doble. Por una parte ofrece una clasificación de las ciencias -fundamentada sobre principios metodológicos aristotélicos- en correspondencia con los cielos del sistema tolemaico. Por la otra, recurre al original expediente de fundamentar un orden inferior en su propia inferioridad. Esta estructura -clave para comprender el lugar siempre preeminente de la filosofía práctica en el pensamiento político dantesco- es expuesta detalladamente en Il Convivio.

The paper suggests a reading about Dante’s acceptance of the Averroist thesis about the unity of intellect in his political work Monarchia. I consider the philosophical sources of discussion of this thesis in the second half of the thirteenth century, among which I specially focus on its refutation by Thomas Aquinas and on its nuanced admission by Siger of Brabant. I argue that the distinction between the universality and unity of the possible intellect and the plurality of received forms by the imagination of each individual, a position suggested by Siger of Brabant, is the clue of the use that Dante makes of monopsychism in Monarchia, an appraisal that gives birth to a new model of human community signally immanent and secular.

Nella descrizione di Giovanni Villani, Dante appare un onorevole cittadino di antica discendenza la cui condanna all’esilio fu dettata esclusivamente dal suo ruolo nella politica fiorentina. Questo ritratto risulta tuttavia a tratti sorprendente: le biografie e gli studi sul poeta lo hanno infatti descritto come un uomo di mediocri natali e dal peso politico impalpabile. Tra dati storici e ricostruzioni più o meno accurate, la figura di Dante presenta quindi elementi assai contraddittori, capaci di generare più dubbi che certezze. Un’indagine più approfondita della rete sociale nella quale il poeta si mosse negli ultimi anni fiorentini aiuterà a contestualizzarne la vicenda.