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Abstract: This paper presents three brief reading notes on as many passages of the Filostrato (IV 51:1-8; IV 56, 4-8) and the Ninfale fiesolano (229, 1-5) by Giovanni Boccaccio, in the search for probable classical and medieval latin sources and models that have so far escaped the attention of scholars. &nbsp, Questo contributo presenta tre brevi note di lettura su altrettanti passi del Filostrato (IV 51, 1-8; IV 56, 4-8) e del Ninfale fiesolano (229, 1-5) di Giovanni Boccaccio, volte alla ricerca di probabili fonti e modelli classici e mediolatini finora sfuggiti all’attenzione degli studiosi.

This thesis is an exercise in theology and Dante studies. It sets as its central research question, “How does intercessory prayer conduce to the realization of beatitude? How does Dante help us think, in other words, about the ways in which prayer for another person’s good actually serves to help make them blessed or happy?” The question stems from conversations that have been taking place especially within the past twenty years in the study of Dante’s theology about beatitude, metaphysics, and prayer in the 'Commedia'. These conversations reflect theological interest in beatitude and causality, prayer and divine and human interaction, and the eschatological dimension of prayer. By asking this question at the heart of these conversations and interests, this thesis offers not only a fresh approach to understanding how Dante’s 'Commedia' might be said to lead people to happiness but also theological insight into the nature, activity, and effectiveness of intercessory prayer. It claims Dante as a relevant source and authority for theological investigation. In response to its central research question, this thesis argues that Dante shows intercessory prayer as acting in accordance with various principles of beatitude. Intercessory prayer can be construed as a form of participation in divine beatitude and a secondary cause of created beatitude. It serves by grace to merit for others, to hope for others, and to behold others in love, and in these ways, it helps to dispose others for the final grace of being raised to the embodied vision and love of God (and of the created order and human image at the heart of God). Intercessory prayer thus comes to be understood in view of the 'Commedia' as an expression of the blessedness of Christ, as an operative perfection of human nature, and as a reflection of what it means for God to be perfect. Dante helps us think of intercessory prayer as grounds for beatitude.

The article treats the presence of stars in terrestrial landscapes, in opposition to the Underworld and in connection to the topos of katabasis, above all in order to pursue in more depth a textual problem in the fabula Orphei of Vergil’s Georgics (4,509 astris / antris). The philological question is approached both on the basis of context and in relation to the descent into Hades of Aeneas, as well as in diachronic comparison with the earlier Homeric katabasis of Odysseus and the later otherworldly voyage of Dante in the Commedia. This internal and intertextual investigation reveals multiple functions of the celestial bodies in similar stories, as well as analogies between Homer, Vergil and Dante, linked by interests in nature and astronomy and by reciprocal influences. In fact, the Greek model and the Italian emulator seem to help clarify the contested passage in the Vergilian katabasis of Orpheus, while the Latin poet and Dante (who also share echoes of Apollonius Rhodius) rework a celestial detail already present in the νέκυια of Homer. Finally, both these classical authors, as well as Ovid, are subtly present at the ends of the three parts of the Commedia, each of which closes with the suggestive and symbolic image of “stars”, which evokes and renews an ancient tradition.

“Nel mezzo del cammin di nostra vitami ritrovai per una selva oscura,ché la diritta via era smarrita.Ma invero non fu ella di boscura,bensì d’una guittaglia d’ogne sorte,che mai pari vidi per bruttura ;Rio sanza guado, mur sanza porte,fu ’l gramo ’ntralcio ov’io ’ncappai :udite ora, le cose che v’ho scorte.” Così principia la Divina Commedia del buon Durante, muderno discendente del Sommo Poeta Dante Alighieri et vissuto sette secoli dopo. Come ’l suo avo, anco Durante è stato chiamato a vis...

This article aims to read the advertising campaign Magnum x Dante by Algida, launched in the occasion of the seventh centenary of Dante’s death, and to inscribe it within the panorama of ads which appropriate and mediate Dante as an icon (either his image or his works). The analysis of the campaign focuses on : packaging ; re-writing of verses of the Comedy ; TV ads ; other related initiatives. Cet article vise à décoder la campagne publicitaire Magnum x Dante d’Algida, lancée à l’occasion du septième centenaire de la mort de Dante, et à l’inscrire dans le panorama des publicités qui s’approprient et médiatisent Dante en tant qu’icône (soit son image, soit ses œuvres). L’analyse de la campagne se concentre sur : l’emballage, la réécriture des vers de la Comédie, les publicités télévisées, d’autres initiatives connexes. Questo contributo si propone di leggere la campagna pubblicitaria Magnum x Dante di Algida, lanciata in occasione del settimo centenario della morte di Dante, e di iscriverla all’interno del panorama pubblicitario che appropria e riutilizza l’icona dantesca (la sua immagine o le sue opere). L’analisi della campagna si concentra su : confezione ; riscrittura dei versi della Commedia ; spot televisivi ; altre iniziative correlate.

Questo contributo analizza la presenza dantesca nel genere giallo all’interno di tre recenti riscritture dantesche : il ciclo di Dante Alighieri di Giulio Leoni, la serie tv RAI “La Omicidi” e la miniserie a fumetti Detective Dante. Attraverso un’analisi comparatistica, vengono sottolineati i punti in comune e le divergenze di tali operazioni, individuando come il mezzo utilizzato abbia influito su questo specifico uso dell’autorità e immaginario danteschi. Cette étude se penche sur la présence de Dante dans trois réécritures récentes de la Divine Comédie relevant du genre policier : le cycle Dante Alighieri de Giulio Leoni, la série télévisée de la RAI La Omicidi et la mini-série BD Detective Dante. Une analyse comparative met en lumière procédés communs et spécifiques de réécriture, et envisage la façon dont le médium utilisé a conditionné l’usage de la figure d’autorité et de l’imagerie dantesques. This contribution analyzes the Dantean influence in the crime genre, in particular within three recent Dantean re-writings : Giulio Leoni’s series of novels on Dante, the RAI tv series “La Omicidi” and the graphic novel Detective Dante. Through a comparative analysis, the article locates the similarities and differences of each operation, and shows how the three media have handled this specific use of the Dantean authority and imaginery.

This article explores the challenges of teaching Dante’s Divine Comedy to contemporary American college students. In particular, the study addresses the role of subtext that the “Canto di Ulisse” plays to rap-pop artist Jovanotti’s song “Bruto” (Album : Buon Sangue, 2005) and to director Emanuele Crialese’s film Terraferma (2011). It further argues that the gap between “high” and “low” culture can be bridged by adopting alternative pedagogical tools (e.g., blogging, Twitter) to be used in the classroom. Cet article explore les défis de l’enseignement de la Divine Comédie de Dante aux étudiants américains actuels. L’étude aborde en particulier le rôle de sous-texte que joue le « Canto di Ulisse » dans la chanson Bruto de l’artiste rap-pop Jovanotti (dans son album Buon Sangue, 2005) et dans le film Terraferma (2011) du réalisateur Emanuele Crialese. Il montre en outre que le fossé entre la « haute » et la « basse » culture peut être comblé en adoptant des outils pédagogiques alternatifs (comme les blogs, Twitter) à utiliser en classe. L’articolo esplora le difficoltà pratiche dell’insegnamento della Divina Commedia di Dante agli studenti universitari americani di oggi. In particolare lo studio esamina il ruolo di sottotesto che il “Canto di Ulisse” svolge rispetto alla canzone “Bruto” dell’artista rap-pop Jovanotti (Album : Buon Sangue, 2005) e al film Terraferma (2011) del regista Emanuele Crialese. Argomenta inoltre che il divario tra la cultura “alta” e “bassa” può essere colmato adottando metodi di valutazione e strumenti pedagogici alternativi (ad esempio blog, Twitter) da utilizzare in classe.

In the novel Forse che sì forse che no (1910), Gabriele D’Annunzio provides an interesting contamination of suggestions from Dante’s Inferno with ancient Etruscan art and, more generally, with the mystifying landscape of the Tuscan city of Volterra. In doing so, he productively combines his typical imaginative and synaesthetic style with scholarly and cultural trends of the time suggesting that a secret ‘blood memory’ might tie together Tuscan art of all times – from the Etruscans to Dante to the modern era. This essay explores D’Annunzio’s rendering of the ‘Etruscan Dante’ by setting it in the wider context of the reception of Dante and of ancient Italian art with a particular focus on the synaesthetic contaminations between suggestions from the text and the visual and tactual features of ancient Etruscan art.

This article examines Primo Levi’s engagement with the work of Dante, focusing on Levi’s meditation on language in describing his confinement at Auschwitz and its later representation. Firstly, it establishes the importance of Dante as an ‘infernal’ model for Levi. It then identifies some suggestive parallels between the linguistic and auditory dimensions of Levi’s Se questo è un uomo and Dante’s Inferno, and the degradation of language associated with these two infernal realms. The essay then highlights each writer’s concern with the limitations of human language in describing a place that it is understood as sub-linguistic. The article contends, by highlighting a number of precise textual parallels, that Levi’s reflections on this sub-linguistic essence of the Lager are substantially informed by the closing cantos of the Inferno. The essay concludes by considering how Dante represents a productive communicative model for Levi as well as carrying associations with unattainable notions of justice, salvation, and plenitude.

Polazeći od antičkih filozofa i sokratskih razgovora, preko Augustina, Boetija i Dantea Alighierija, do Wittgensteina, Jaspersa i Pierrea Hadota, ovo istraživanje upućuje na filozofiju kao ars medicinalis i philosophia medicans, tj. na terapeutsku funkciju filozofije. Rad otkriva da filozofija, usmjerena na stvarnost, na život i na način kako treba živjeti, kao liječnica u kriznim životnim situacijama potiče na razgovor i promišljanje, prepoznaje uzroke bolesti i određuje terapiju, vodi do ozdravljenja bolesti duše, srca, uma i jezika, te da stoga čovjek svakoga doba u filozofiji može naći radost prijelaza iz bolesti k zdravlju., Starting from Antique philosophers and Socratic discourses, to Augustine, Boethius, and Dante Alighieri, to Wittgenstein, Jaspers, and Pierre Hadot, this study draws attention to philosophy as ars medicinalis and as philosophia medicans, i.e., to the therapeutic function of philosophy, while revealing that philosophy, directed to reality, to life and to the way one ought to live, as a physician in critical life situations, prompts one to discuss and to reflect, recognises causes of illness and proscribes therapies, leads to healing of illnesses of the soul, heart, mind, and language, and, thus, a human person of each era can find in philosophy the joy of transitioning from illness to health.

If Virgil’s damnation motivates Dante in the heaven of Jupiter to interrogate the inner workings of divine justice, the ultimate theological point in contention is the nature of predestination. This article offers Augustine as an unconsidered textual anchor and hermeneutic lens for illuminating predestination in the Commedia: a doctrine concerning not so much humanity’s attempt at impossible comprehension of God’s salvific will, as an invitation to creative participation in it, realized in and through ongoing, historical practices of caritas conforming the self to the body of Christ.

Humanists were convinced of the power of human knowledge, so their greed for the comprehensive accumulation of knowledge was one of their characteristic features. They strive to restore ancient culture, return to the sources of ancient wisdom, study Plato, Aristotle, and other ancient thinkers, and pay great attention to ancient art, history, literature, and Natural Science. Humanists have created a new life-affirming worldview.

Dante’s Inferno presents an essentially non-tragic view of reality based on the Christian concept of Man in his historical and eschatological aspect. Nonetheless, some of Dante’s episodes, like the one of Farinata degli Uberti, appear to contain a certain element of tragedy because of the virtues marking the characters involved, which endow them with a certain nobility, giving rise to an air of tragedy. To examine the nature of this “tragic” quality, I shall invoke Erich Auerbach’s concept of figural realism as applied to Dante’s masterpiece. A character’s life on earth is a prefiguration of his life after death, the fulfilment of his earthly existence concluding his earthly deeds. The soul’s fate post mortem bespeaks the quintessence of its life, the tangible sign of which is its contrappasso. The chief conflict takes place between the character and his fulfilment, but it also generates further conflicts: between the soul’s past on earth and its current condition in Hell; between the qualities that marked it in the past that could objectively be considered virtuous, and its current status amongst the damned, and others. Only in the eyes of sinners are these conflicts seen as tragic, but not from the point of view of Dante the Author, who discredits these conflicts with a variety of rhetorical and stylistic devices. I endeavour to explain the seemingly tragic quality in Farinata degli Uberti, one of the “magnanimous” spirits confined in Hell. At first glance he may seem reminiscent of the heroes of Greek tragedy, but on closer scrutiny his “magnanimity” takes on a sinister quality, and this is how Dante wants his readers to see the connection between Farinata’s perverse political commitment verging on fanaticism, and his sin of heresy, to which Farinata seems to turn a blind eye. L’Inferno dantesco presenta sostanzialmente una visione non tragica della realtà, basata sulla concezione cristiana dell’uomo nella sua dimensione storica ed escatologica. Eppure alcuni episodi, tra cui quello che si svolge nel canto X dell’Inferno, sembrano non privi di tragicità a causa di una certa nobiltà d’animo dei loro protagonisti e dello stile alto il quale rimane in sintonia con essa creando un clima tragico. Per indagare la vera natura di quel “tragico” ricorreremo al concetto del realismo figurale applicato da Erich Auerbach al capolavoro dantesco, secondo cui la vita terrena è prefigurazione di quella oltremondana che, a sua volta, si presenta come adempimento definitivo dell’altra. La condizione raggiunta dalle anime esprime la quintessenza della loro vita il cui segno visivo è il contrappasso. Il conflitto più significativo sarebbe quello tra la figura e il suo adempimento, ma esso ne genera altri: tra il passato terreno e il presente infernale, tra i valori oggettivamente positivi che appartengono a quel passato e l’attuale condizione dei dannati. I conflitti in questione sono tragici solo se considerati dal punto di vista dei peccatori, non lo sono invece dalla prospettiva di Dante autore il quale mette in discussione quei valori tramite l’uso di artifici retorico-stilistici caratterizzanti i dannati e i discorsi che loro rivolgono a Dante pellegrino, decostruendo così il tragico. Tenendo conto di queste considerazioni, si cerca di dimostrare in che cosa consiste il tragico apparente di Farinata degli Uberti, uno dei “magnanimi” infernali. A prima vista egli assomiglia agli eroi delle tragedie greche, ma un attento esame fa vedere come la sua magnanimità si riveste di un’accezione negativa e in questa prospettiva va visto il legame tra la sua passione politica, degenerata in fanatismo politico, e il peccato di eresia che egli sembra ignorare.

Recensione al libro di Alberto Casadei Dante oltre l'allegoria, all'interno del quale l'autore espone una sua proposta interpretativa per la Commedia di Dante e alcune proposte esegetiche su alcuni controversi aspetti critico-filologici.

In this thesis, I investigate the figure of Christ in Dante’s Commedia as the redemption of human relation, realized in and as the mystical body of Christ. If, as is claimed in the Paradiso, what it means to inhabit beatitude is so fully to practice justice and mercy as to be able to speak I and we simultaneously, then the redemption of self and other in Christ is inextricably linked, and oriented towards the ever-greater opening out of this redemptive life not only to those who have abandoned hope, but also to those of whom one abandons hope of eternal life. It is towards this radical soteriological vision of the “redemptive communality” of the body of Christ that Dante can be seen most concertedly and profoundly to engage with Augustine. Dante’s predominant interest, as I hope to show, lies in Augustine’s theology of love, and takes the form in the present argument of a tripartite meditation on the reality of love as irreducible, as effusive, and as incorporative, offering critical, constructive, and meta-textual modes of articulating the redemptive communality of Christ, respectively. Throughout, I argue that Dante can be seen to adopt Augustine’s theology of love in order ultimately to “redeem” it, regarding the premature limits it sets upon its redemptive remit, with regards not only to the civitas terrena, but ultimately to its eschatological fulfillment in the massa damnata., Trinity College Internal Graduate Studentship

Even if Venice is never directly mentioned in Dante’s works, its silent presence is undeniable along the narrative plot of the Commedia, starting with the well-known similarity of the Arsenale, through which, in the incipit of the XXI canto of the Inferno, the poet describes the pain of the barterers immersed in boiling pitch. Venice, however, is also a significant presence in Dante’s biography, starting from the circumstances of the poet’s death: according to the chronicler Giovanni Villani, in fact, Dante died between September 13 and 14 in Ravenna after having returned from an embassy in Venice to the Doge Giovanni Soranzo on behalf of Guido Novello da Polenta. The article examines the function of Venice in the literary elaboration of Alighieri’s work and in the perimeter of his biography.

This dissertation investigates Dante’s reworking of classical myths and tropes connected to Parnassus in the Commedia. References to Parnassian imagery, seemingly scattered throughout the poem, have been studied by Dante’s scholars only on a case-by-case basis and in the context of single cantos. However, these references are not isolated and independent from one another and I propose to look at them as part of a carefully planned metaphorical system. Through an in-depth analysis of the text of the Commedia and an investigation on classical and medieval sources, this research examines how Dante reshapes the classical idea of Parnassus and adapts it to his needs. My intent is to show how Parnassian imagery fosters some fundamental reflections on the power, the limits, and the purpose of poetry. Following an Introduction that describes the aims,scope, and method of the dissertation, Chapter 1 analyses the occurrence of Parnassian images in Purgatorio XXII and pinpoints the main lines of reflections conveyed by the presence of Parnassus in the poem. Chapter 2 and 3 focus on the cantos of the Earthly Paradise (which contain the majority of Parnassian allusions in the Commedia) and investigate Dante’s reuse of Parnassian myths and tropes at the end of Purgatorio, proposing a series of parallels between Parnassian and Edenic landscapes. Chapter 4 revolves around the last reference to Parnassus in Paradiso I and reflects on the interaction between classical and Christian poetry at the beginning of the third cantica. Finally, the conclusion summarises the most significant findings of the dissertation and suggests future related lines of research.

This contribution focuses on coordinated synonymous clauses in Dante’s Commedia. After having clarified the rhetorical value of this particolar 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.

Il saggio studia le perifrasi (stranamente poco considerate dalla critica) che nella Commedia vengono impiegate per indicare Dio. Si sa che sul nome di Dio Dante interviene ben due volte, legandolo alla questione della prima parola umana, ma nel poema c’è anche una ricca varietà di perifrasi usate per indicare la divinità. Da un regesto di queste figure retoriche si ricavano le caratteristiche che Dante assegna al divino con qualche originalità. La trattazione discute anzitutto i fondamenti biblici e teologici delle opzioni poetiche di Dante, confrontando in particolare le perifrasi su Dio con il De divinis nominibus dello Pseudo-Dionigi. Si rileva però anche l’originalità di Dante per le qualità divine che fa emergere attraverso la creazione poetica.

My thesis analyses Dante’s dreams and visions in the Vita nuova and the Commedia from a sensory-cognitive point of view, examining them as moments of privileged perception, when the sensations described appear not to correspond to perceptions necessitated by immediate external surroundings. While Dante’s dreams have been examined by scholars such as Dino Cervigni (Dante’s Poetry of Dreams 1986) and Guglielmo Barucci (‘Simile a quel che talvolta si sogna’: i sogni del Purgatorio dantesco 2012), to mention only a few, the novelty of my research lies in the methodological approach chosen. Drawing upon cognitive literary studies, the history of the senses, and the philosophy of mind, I focus not so much on decoding the meaning of dreams, but rather the purpose of the sensory and affective responses that dreams elicit from the pilgrim Dante and the readers of Dante’s poetry. The project looks at Dante’s representation of dreams and visions across his oeuvre, with the greatest emphasis on Purgatorio. The Introduction traces the development of Dante’s visionary vocabulary in the early poetry and the Vita nuova. Chapter 1 looks at the depiction of visions in Purgatorio 15 and 17, the cantos that offer the most extensive explicit reflection on the so-called inner senses, thought to be crucial in the reception of dreams and visions. Finally, Chapters 2 and 3 offer a close analysis of Dante’s purgatorial dreams, showing how they question the dominant medieval discourses about rapture (Purgatorio 9) and sensory delight and pleasure (Purgatorio 19 and 27). While each chapter of my thesis takes an individual dream or a series of dreams as a starting point, further analysis reveals them to be representative of larger issues in the scholarship on medieval dreams and visions. These issues are explored by linking Dante’s writing to some of the most influential medieval visionary texts, such as Augustine's classification of visions in De genesi ad litteram, and Augustine’s and Thomas Aquinas’s theories of rapture. The project offers an extensive analysis of Dante’s visionary vocabulary, situating it within the developing Italian medieval dream vision tradition more generally. My work’s larger contribution to Italian and medieval studies consists in highlighting the key role of the multisensory in the ethics and aesthetics of Dante’s dreams and visions. I demonstrate that the representation of perceptual acts in Dante shows a greater synergy of the senses than has hitherto been accounted for in the scholarship, which has emphasised the primacy of vision and/or hearing in medieval Italian culture., The Cambridge Trust (the Vice‑Chancellor’s & Selwyn Sykes Postgraduate Research Scholarship)

“Non vide mei di me chi vide il vero”: L’art “verace” in the circle of proud as a mise en abyme of Dante’s art in the Comedy The purpose of this study is to discuss the problem of meta-poetic themes in the Divine Comedy, focusing in particular on the relationship between God’s art and Dante’s art in the context of the impression caused by the sight of the rock reliefs in the cornice of the proud in the Purgatorio, where the poet, presenting and imitating the art of God, in fact shows the mastery of his own art. The analysis leads to the conclusion that the examples of humility and pride carved on the walls and the rock path – the perfect work of God-the Artist, vibrant with life and called by Dante visibile parlare – are, on the one hand, a mise en abyme of its macroscopic version, which is the Universe created by him, and, on the other hand, a mise en abyme of the universe narrated with the simile perfection by Dante.

This manuscript centers the world of women's boxing, based on the author’s time training as a fighter in New York City. The opening section, "Diatribe on Women Gladiators," situates the reader within the dynamic context of the boxing gym. The second section, "here this hollow space," is a Dantean reimagining of the boxing ring, following one woman boxer as she descends into the hellish "rings" of an abusive relationship with her coach. As we count-down from 34 to 1, stuttering at times, the speaker gets closer and close to the heart of her "passionate, lonely, punishing, and transformative" journey. This manuscript is an ecstatic long poem, a spiritual quest, and an illness narrative.

The aim of the article is to analyze the development of the traditional image of Beatrice in poetry by Lesya Ukrainka and Sara Teasdale. The comparative method is used to determine the differe nces in presenting the image of Beatrice and her relationship with Dante in poems by the aforementioned artists. The problems of gender, as seen through the interpretation of t he traditional feminine image, are studied. The role of the symbols, connected w ith this image, is specified. Due to the chosen approach, it is stated that both Lesya Ukrainka and Sara Teasdale reimagine the symbolic image of Beatrice, applyin g modernistic problematics to i t s semantics. However, Lesya Ukrainka`s poem is also marked by the portraying Dante`s civil wife, Gemma Donati, in the context of woman`s self sacrifice. The two images are opposed in her poem. Both poetesses underline the unique female psychology, the value of a woman in the society, and her role in art.

The aim of the article is to analyze the development of the traditional image of Beatrice in poetry by Lesya Ukrainka and Sara Teasdale. The comparative method is used to determine the differe nces in presenting the image of Beatrice and her relationship with Dante in poems by the aforementioned artists. The problems of gender, as seen through the interpretation of t he traditional feminine image, are studied. The role of the symbols, connected w ith this image, is specified. Due to the chosen approach, it is stated that both Lesya Ukrainka and Sara Teasdale reimagine the symbolic image of Beatrice, applyin g modernistic problematics to i t s semantics. However, Lesya Ukrainka`s poem is also marked by the portraying Dante`s civil wife, Gemma Donati, in the context of woman`s self sacrifice. The two images are opposed in her poem. Both poetesses underline the unique female psychology, the value of a woman in the society, and her role in art.

In Biblioteca Apostolica Vaticana MS Vat.lat.4776 (c. 1390-1400) line drawings, of particularly high quality draughtsmanship, accompany Paradiso I-XI. Although Christ does not in any straightforward sense participate in the narrative of Paradiso I-XI, the majority of the drawings contain a small head and neck of Christ enclosed in a nimbus, strongly reminiscent of the devotional iconography of the Veronica or Holy Face. The images explore one of the central questions in the Commedia: how the divine is present in, or mediated by, human encounters. I investigate how, in different ways, in both the images and Dante’s text (here focusing on Dante’s ‘in’ neologisms in Paradiso IX and on Paradiso XIV), Christ is understood as the reality that allows humans to share in a capacity for relatedness that is not bound by normal spatiotemporal limits.

espanolEl problema de la alegoria en la Comedia es uno de los mas debatidos entre los dantistas. Este trabajo se propone analizar la cuestion a partir de los siguientes presupuestos: el examen del contexto intelectual y teologico de la exegesis alegorica desde el siglo XII al XIV; la relacion entre la poesia y la historia a traves de su conexion con la verdad en el ambito de la lectura medieval y sus diferencias con el concepto actual de ficcion; los testimonios aparentemente contradictorios de Dante en torno a la figura de la alegoria; la apreciacion critica de la alegoria en la investigacion del siglo XX, cuando se hicieron las aportaciones mas importantes en esta materia; y, finalmente, el examen de algunos de los mas relevantes pasajes del poema. EnglishThe problem of allegory in Dante s Comedy is one of the most debated among scholars. This paper aims to analyze the question from the following assumptions: the examination of the intellectual and theological context of allegorical exegesis from the 12th to the 14th century; the relation between poetry and history through its connection with truth in the medieval reading field and its differences with the current concept of fiction; the seemingly contradictory testimonies of Dante around the figure of allegory; the critical appreciation of the allegory in twentieth century research, when the most important contributions in this matter were made; and, finally, the examination of some of the most relevant passages of the poem.

In questo lavoro si esplora la possibilità che l’inserzione dello sfruttamento umano all’interno del processo lavorativo e la conseguente apparizione sociale dell’uomo-merce abbiano lasciato tracce nell’opera di Dante. Si rintracciano così in una selezione di passi i problemi che questo processo impone alla nascente concezione dell’identità individuale e all’assunzione in una cornice ideologica ancora sacralizzata della distinzione fra ambito pubblico e ambito privato, che caratterizzerà il capitalismo fino a poche decadi fa. This article explores the possibility that the introduction of human exploitation within the labor process and the consequent appearance in society of the man-commodity may have left traces in Dante’s works. Looking at selected passages, the essay recognizes the problems that such a process creates for the rising conception of individual identity and for the adoption – in a still sacralized ideological framework – of the distinction between the public and private domains that characterized capitalism until a few decades ago.

This paper presents some historical, cultural and literary elements which are essential to understand the emergence of inwardness from the Middle Ages onwards. It discusses that Shakespeare did not invent inwardness or subjectivity by himself as Bloom and Fineman propose in their works. Rather, he developed a mimesis of inwardness specifically in the drama and that was his greatest innovation in literature. Beforehand, it is necessary to exemplify the emergence of inwardness in mediaeval writings, especially in Augustine’s Confessions and in Dante’s Vita Nuova. Thus, the analysis by Harrison in his book The Body of Beatrice (1988) is helpful to understand such process. He analyses Dante’s Vita Nuova and demonstrates that Dante represented sensual inwardness in his work. Also, it is worth discussing some ideas in Montaigne’s Essays and how he depicted inward feelings, sensations, thoughts and anxieties in his work. Shakespeare introduced the mimesis of inwardness in his drama in an on-going process of the development of inwardness.

Sorti en 2010, le jeu vidéo Dante’s Inferno développé par Visceral Games se présente comme une adaptation de l’Enfer de Dante. Le joueur contrôle un Dante Alighieri transformé en chevalier des croisades pécheur qui entre en Enfer pour libérer l’âme de Béatrice des griffes du diable. Son parcours est une succession de combats contre de petits ennemis et contre des monstres gigantesques dans lesquels on reconnaît de nombreux personnages du poème, et chaque cercle est un niveau au sens ludique qui présente autant d’énigmes et de pièges divers correspondant à la thématique dominante. Même si le jeu présente une forte proximité avec le texte de Dante, on ne peut que remarquer l’apport des éléments ayant trait à l’horreur ainsi que la déformation de la lettre par les mécanismes ludiques appartenant au genre du beat’em up. Le but de cet article est donc de se demander si l’adaptation vidéoludique du premier tome de la Commedia ne se comporte pas en réalité comme une parodie de l’œuvre de Dante. Uscito nel 2010, il videogioco Dante’s Inferno sviluppato da Visceral Games si presenta come un adattamento dell’Inferno di Dante. Il giocatore controlla un Dante Alighieri trasformato in un cavaliere crociato peccatore che entra in Inferno per liberare l’anima di Beatrice dal giogo del Diavolo. Il suo percorso è un susseguirsi di combattimenti contro nemici minori e mostri giganteschi nei quali si riconoscono numerosi personaggi del poema, e ogni girone è un livello nel senso ludico che presenta enigmi e trappole varie corrispondenti alla tematica dominante. Anche se il gioco pretende una forte vicinanza con il testo di Dante, palesi sono l’apporto di elementi horror e la deformazione della lettera per via dei meccanismi ludici appartenenti al genere del beat’em up. Perciò lo scopo di questo articolo è chiedersi se l’adattamento videoludico della prima cantica della Commedia non si comporti in realtà come una parodia del poema.

La Divina Commedia si propone, durante la crisi ideologica degli anni ’50, tramite gli studi di Gianfranco Contini e di Antonio Gramsci, come modello autoriale, esistenziale e politico e come modello plurilinguistico, ai quali si unisce, a partire dal 1957, il concetto di Mimesi di Auerbach, già profeticamente sensibile all’avvento del neocapitalismo degli anni ’60, coincidente in modo non casuale con il trionfo della neoavanguardia e del Gruppo 63. Testimone artistico dell’agonica lotta contro tale avvento è La Divina Mimesis, incompiuto rifacimento del poema dantesco, in cui Pier Paolo Pasolini raffigura la crisi della sua poetica mimetica nell’incontro fra il suo io degli anni ’50 e quello degli anni ’60. La caratterizzazione delle tre fiere costituisce un quadro sociolinguistico in cui l’autore-attore non rinuncia alla dialettica allegorica, individuando, in ognuna di esse (lonza-illusione, leone-superbia, lupa-conformismo), i mali che riconosce in sé e nella realtà. During the ideological crisis of the 1950s, through the studies of Gianfranco Contini and Antonio Gramsci, the Divine Comedy proposed itself as an authorial, existential and political model and as a multilingual model, to which Auerbach's concept of Mimesis was added from 1957. A concept already prophetically sensitive to the arrival of neo-capitalism in the 1960s, which coincided, not by chance, with the triumph of the neo-avant-garde and the Gruppo 63. An artistic witness to the agonizing struggle against this arrival is La Divina Mimesis, an unfinished remake of Dante's poem, in which Pier Paolo Pasolini depicts the crisis of his mimetic poetics in the encounter between his 1950s self and his 1960s self. The characterization of the three beasts constitutes a sociolinguistic framework in which the author-actor does not renounce allegorical dialectics, identifying, in each one of them (lion-illusion, lion-superbia, she-wolf-conformism), the evil he recognizes in himself and in reality.

Ce livre interroge ce que pourrait être un mythe de la Romania : un champ linguistique et littéraire défini par la philologie romane, une quête culturelle des origines et de l’identité qui a commencé avec le romantisme, une aire géographique transfigurée en un territoire artistique et le lieu où l’art roman est né., This book inquires about what could be a myth of Romania: in the same time a linguistic and literary field determined by romance philology, a cultural quest for origins and identity which begun with romanticism, a geographic area transfigured into an artistic territory and the place where romanesque art was born.

Contributeurs : Antony de Araujo-Rousset, Laurent Baggioni, Guido Castelnuovo, Cécile Le Lay et Raffaele Pinto.

Resumen: No solo Platón y Aristóteles son recordados en la Firenze comunal. También está Epicuro, que mencionan Dante, Boccaccio y Villani. Pero ¿existió un epicureísmo florentino? En su imaginario viaje de la Commedìa, Dante y Virgilio -con la ayuda divina- logran entrar en la Ciudad de Ditis, donde se encuentran los heréticos. Dentro de sepulcros llenos de fuego, deberían estar los miembros de todas las sectas y también los seguidores de Epicuro (muerto el 270 a.C.), que era conocido a través de Cicerón. En realidad, el poeta pone en evidencia a connotados gibelinos. Habla con Farinata degli Uberti e interviene también el padre de Guido Cavalcanti, al que da una ambigua respuesta que, en mi opinión, es un rayo de esperanza para uno que es tachado de sostener la “opinión de los epicúreos”. Más bien podría ser un averroísta, lo que acomuna a todo un grupo de intelectuales de la época que niegan la inmortalidad del alma.

Il saggio presenta tutti i dati disponibili utili al ritrovamento di un testo per ora fantasma, quale la Rispostadi Paolo Paruta (Venezia, 1540 -1598) alla Lettera XXXdello pseudo-Dante, falso d’autore editando il quale nel 1547 il fiorentino Anton Francesco Doni scatenò una violenta polemica politica anti-veneziana. Nuove ricerche dimostrano come nella celebre biblioteca padovana di Gian Vincenzo Pinelli fosse conservata una copia della Risposta. Paruta e Pinelli, infatti, condividevano molti interessi e conoscenze negli ambienti della Padova e della Venezia del Secondo Cinquecento. The essay provides all available data useful for the discovering of an up-to-now lost text by Paolo Paruta (Venice, 1540-1598), the Risposta[Reply]to Lettera XXXby Pseudo-Dante, a fake letter published in 1547 by Florentine Anton Francesco Doni, in order to arouse a bitter anti-Venetian controversy. New evidence shows that one copy of Paruta's Rispostalay in Gian Vincenzo Pinelli library (located in Padua). In fact, Paruta and Pinelli shared a lot of interests and friends in the middle and late 16thcentury Padua and Venice.

This article analyses Dante’s cross-sensory metaphors in Purgatorio 24 and discusses the applicability of the term ‘synesthesia’ to describe the testing of the boundaries of the human sensorium that happens in the canto. The article then reconstructs some of the semantic contexts that the word sentire might have had for Dante and explains how it operates in the pilgrim’s encounter with the Angel of Temperance. Finally, by comparing the use of sentire in Purgatorio 24 with the synesthetic imagery in the Earthly Paradise, this study outlines the broader significance of the canto in the context of Purgatorio as a whole., Cambridge Trust (Vice-Chancellor's & Selwyn Sykes Scholarship)

Balbuziente, guercia, storpia, senza mani e dilavata nel colore: ecco come appare la cosiddetta femmina balba nel sonno di Dante. Un essere orribile e ripugnante che però, nel corso del sogno narrato nel canto XIX del Purgatorio, subisce una straordinaria, incredibile metamorfosi: la nuova, bellissima immagine di donna inizia un canto di seduzione in cui si dichiara colma di piacere, tanto da saper appagare chiunque, una dolce sirena che ha tentato Ulisse nel suo viaggio. Anche questa è una delle figure femminili del Purgatorio, e non certo la meno significativa: ‘falsa immagine di bene’ creata dagli occhi desideranti del pellegrino. Da ripensare tenendo sullo sfondo la lunga riflessione sull’amore dei canti precedenti; da porre in relazione con la tradizione misogina, nei suoi rapporti con la letteratura medica e con la letteratura mistica, la femmina balba / dolce sirena è emblematica della natura perturbante del femminile, della doppiezza e ambiguità che è rintracciabile nella rappresentazione di molte altre donne della cantica. Bègue, borgne, infirme, sans mains et aux couleurs délavées : c’est ainsi que la femme dite balba (bègue) apparaît dans le sommeil de Dante. Un être horrible et répugnant qui, cependant, au cours du rêve raconté dans le chant XIX du Purgatoire, subit une métamorphose extraordinaire, incroyable : la nouvelle image de très belle femme entame un chant de séduction dans lequel elle se déclare remplie de plaisir, au point de pouvoir satisfaire n’importe qui, telle la douce sirène qui tenta Ulysse dans son voyage. Elle aussi est l’une des figures féminines du Purgatoire, et certainement pas la moins significative : une « fausse image du bien », créée par les yeux désirants du pèlerin. Étant à reconsidérer dans le contexte de la longue réflexion sur l’amour dans les chants précédents, et à replacer par rapport à la tradition misogyne, dans ses rapports avec la littérature médicale et la littérature mystique, la femme balba / douce sirène est emblématique de la nature perturbatrice du féminin, de la duplicité et de l’ambiguïté que l’on retrouve dans la représentation de nombreuses autres femmes du cantique. Stuttering, one-eyed, crippled, maimed, and wan: this is how the so-called femmina balba appears in Dante’s sleep. A horrible and repulsive being who nonetheless, in the course of the dream narrated in Canto XIX of Purgatorio, undergoes an extraordinary, incredible metamorphosis: the new image of a beautiful woman begins a song of seduction in which she declares herself full of pleasure, thus able to satisfy anyone, a dolce sirena who led Ulysses into temptation. This too is one of the female figures in the Purgatorio, and certainly not the least significant: “falsa immagine di bene” created by the wishing eyes of the pilgrim. To be reinterpreted based on the long reflection on love of the previous Canti; to be related with the misogynist tradition, in its linkages with medical literature and with mystical literature, the femmina balba / dolce sirena is emblematic of the perturbing nature of the feminine, of the duplicity and ambiguity that can be traced in the representation of many other women of the Cantica.

Il saggio indaga il rapporto tra biografia e filologia nell’episodio della Pia (Purg. V, 130‑136), allo scopo di sottoporre a revisione due luoghi comuni della critica: la ‘reticenza’ di Dante riguardo alla donna, e la coloritura patetico-elegiaca solitamente attribuita a questi versi. Sottoponendo a nuovo esame il celebre passo nel quadro del canto V e dell’intero Antipurgatorio, e proponendo la ragionata scelta della lezione disposata al v. 136, si giunge a meglio definire la vicenda biografica e il carattere della Pia, nonché a leggere l’episodio in una chiave meno convenzionale e più consona alla tonalità tragica con cui Dante presenta l’esperienza umana dei «morti per forza». L’article étudie le rapport entre biographie et philologie dans l'épisode de Pia de’ Tolomei (Purg. V, 130‑136), afin de revisiter deux lieux communs de la critique : la « réticence » de Dante à l’égard de la femme, et la coloration pathétique-élégiaque habituellement attribuée à ces vers. En réexaminant le célèbre passage dans le contexte du chant V et de l’Anti-purgatoire tout entier, et en proposant le choix raisonné de la leçon exposée au v. 136, on peut mieux définir l’événement biographique et le personnage de Pia, et lire l’épisode de façon moins conventionnelle, plus conforme à la tonalité tragique avec laquelle Dante présente l’expérience humaine des « morts forcés ». The essay investigates the relationship between biography and philology in the episode of Pia (Purg. V, 130–136), in order to revise two commonplaces of criticism: Dante’s ‘reticence’ regarding the woman, and the pathetic-elegiac tones usually attributed to these verses. Subjecting to a new examination this famous passage in the framework of Canto V and the entire Antipurgatory, and proposing the reasoned choice of the lesson disposata in v. 136, it is possible to better define the biographical story and the character of Pia, and furthermore, to read the episode in a less conventional key and more in keeping with the tragic tone with which Dante presents the human experience of the “morti per forza”.

«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.

Este estudo estabelece relações dialógicas entre os três volumes/espaços definidos pela Divina Comédia de Dante e pela tradição cristã. Apresentamos relações epifânicas entre as três camadas tanatográficas percorridas pelo autor do século XIV: Inferno, Purgatório e Paraíso. A partir das noções de catábase (descida mágica e transformadora aos infernos, conforme Eudoro de Sousa), liminaridade (condição liminar, limite, entre-lugar, a partir de Victor Turner) e anábase (retorno espetacular do inferno que engendra sabedoria também conforme Sousa), engendramos mirada pela tanatografia (escrita de morte) em Dante a fim de perscrutar o logos dialógico (no esteio de Bakhtin) que se desdobra no imenso universo autoral constituído pela tradição dos diálogos dos mortos. A Divina Comédia, como a entendemos, figura uma profunda catábase em relação ao eu-autoral: epifania do literário às portas da modernidade no Ocidente.

Seamus Heaney has introduced the theory of redress of poetry as a personal means to elaborate his poetic abilities and to respond to the conflicts in his native land, Northern Ireland. This theory bears some resemblances to the postcolonial and postmodernist theory of adaptation put forth by Linda Hutcheon. This paper aims at representing the similarities of Heaney’s redress and Hutcheon’s adaptation by exploring the functioning of these ideas in Heaney’s translation of Dante’s story of Ugolino. The main subjects addressed in this study are the definition of these two terms in the mentality of Heaney and Hutcheon; the institutional mechanisms involved in Heaney’s adaptation of Dante’s narrative; adaptation as a tripartite process of indigenisation; the significance of “Ugolino” in comparison with Heaney’s earlier adaptations; the relation of this poem to the historical moment in which it is translated and the weaknesses and the strength of this technique.

Nous sentons qu’une civilisation a la même fragilité qu’une vie. Paul Valéry, La Crise de l’esprit (1919) Personne n’a résumé plus lucidement que Claude Lévi-Strauss le mouvement irrégulier et fragmenté qui dessine l’espace des civilisations comme une sorte d’objet fractal : Le développement des connaissances préhistoriques et archéologiques tend à étaler dans l’espace des formes de civilisation que nous étions portés à imaginer comme échelonnées dans le temps. Cela signifie deux choses : d’a...

This paper presents the early stages of the development of a new treebankcontaining all of Dante Alighieri’s Latin works. In particular, it describes theconversion of the original TEI-XML files to CoNLL-U, the creation of a gold standard,the process of training four annotators and the evaluation of the syntactic annotationin terms of inter-annotator agreement and LA, UAS and LAS. The aim is to releasea new resource, in view of the celebrations for the 700th anniversary of Dante’s death,which can support the development of the Vocabolario Dantesco.