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In canto V of Hell of the Divine Comedy, the author presents different examples of those condemned for lust. In this paper a classification of these characters into two categories is proposed: on the one hand, those who subject reason to erotic passion and, on the other, those who subject it to affective passion. Likewise, the reasons why the Florentine author considers these approaches as serious transgressions against «the order of love» are questioned. Next, a comparative analysis is carried out of these two types of love present in two works that establish a clear intertextuality relationship with the Divine Comedy, namely, the Non-Divine Comedy by Zygmunt Krasinski and Don Juan in Hell by Carlos Fisas. This demonstrates the extent of the influence of this author in different times and cultural spaces, as well as his amazing universality., En el canto V del infierno de la Divina Comedia, el autor presenta diferentes ejemplos de condenados por la lujuria. En este trabajo se propone la clasificación de dichos personajes en dos categorías, por un lado, aquellos que someten la razón a la pasión erótica y, por el otro, aquellos que la someten a la pasión afectiva. Así mismo, se cuestionan los motivos por los cuales el autor florentino considera estas aproximaciones como transgresiones graves contra «el orden del amor». A continuación, se lleva a cabo un análisis comparativo de estos dos tipos de amor presentes en dos obras que establecen una clara relación de intertextualidad con la Divina Comedia, a saber, la No-Divina Comedia de Zygmunt Krasinski y Don Juan en el infierno de Carlos Fisas. Se demuestra de este modo la amplitud de la influencia de este autor en diferentes épocas y espacios culturales, así como, su asombrosa universalidad.

De Monarchia is one of Dante’s most politically influential works. He was probably moved to write it around 1313. With it, Dante wanted to contribute to eradicating the prevailing anarchy of his time, in Italy and, specifically, in his Florentine city. He dreamed of a social order that would establish universal peace. The tone of the work, distinctly Ghibelline, shows a Dante who has evolved intellectually. Dante is shown here as an intellectual somewhere between scholasticism and the flowering of a new style. There is a whole series of clearly medieval turns of phrase, expressions, allegories, images and symbolism, but also a set of ideas which, against the tide, contributed to changing the way of interpreting the world. His De Monarchia must be considered an innovative work because, although the text certainly took up preceding legal, juridical, political and theological traditions, its greatest merit lay in the elaboration of a dense, brilliant and novel theory, according to which the emperor not only owed his power to the direct election of God —thus his investiture did not become a mere office of the Church— but also that the imperial institution was superior to the pontifical one. It must therefore be asked whether «Monarchy» is a work that will precede some of the main theses that the Protestant Reformation will later defend in political matters., De Monarchia representa una de las obras de Dante que más influjo político ha ejercido. Probablemente movido a escribirla, hacia 1313. Con ella, Dante quiere contribuir a erradicar la anarquía imperante de su época, en Italia y, concretamente, en su ciudad florentina. Sueña con un orden social que establezca la paz universal. El tono de la obra, netamente gibelino, muestra a un Dante que ha evolucionado intelectualmente. Dante se muestra aquí como un intelectual a caballo entre la escolástica y el florecimiento de un estilo nuevo. Hay en él toda una serie de giros, expresiones, alegorías, imágenes y simbolismos claramente medievales, pero también un conjunto de ideas que, contra corriente, contribuyeron a cambiar el modo de interpretar el mundo. Su De Monarchia ha de considerarse una obra innovadora porque, aunque el texto ciertamente recogió tradiciones legales, jurídicas, políticas y teológicas precedentes, su mayor mérito radicó en la elaboración de una densa, brillante y novedosa teoría, según la cual, el emperador no sólo debía su poder a la elección directa de Dios —con lo que su investidura no devenía un mero oficio de la Iglesia— sino que, además, la institución imperial resultaba superior a la pontificia. Por tanto, hay que plantearse si «De Monarqchia» es una obra que precederá algunas de las principales tesis que posteriormente defenderá la Reforma protestante en cuestiones políticas.

In Canto V of Inferno, one of the most universally known passages of the Divine Comedy, Dante hints at the corrupting force of literature as triggering Paolo and Francesca’s adultery. This scheme in which the literary becomes a reason for perdition reappears in such well-known cases as Don Quixote and others less well known, such as the Dickensian Nicodemus Boffin of Our Mutual Friend. These writers reveal in their works their concerns about an influence they simultaneously seek and fear over their readers. Their «books within books» can be interpreted as a vaccine with which the writer aims to provide the reader with the tools to protect themselves from the perverse effects of a literature interpreted in a more romantic fashion. We follow Renato Poggioli, John Freccero and René Girard to propose an anti-romantic interpretation that underlines the actuality of the moral architecture of the Divine Comedy and its influence on various classics of later modern literature., En el Canto V del Infierno, uno de los pasajes más universalmente conocidos de la Divina Comedia, Dante sugiere la fuerza corruptora de la literatura, desencadenante del adulterio de Paolo y Francesca. Este esquema en que lo literario se convierte en motivo de perdición, reaparece en casos tan conocidos como el de Don Quijote y otros menos conocidos como el dickensiano Nicodemus Boffin de Nuestro común amigo. Estos escritores dejan traslucir en sus obras sus inquietudes respecto a una influencia que simultáneamente buscan y temen sobre los lectores. Sus «libros dentro de los libros» pueden ser interpretados como una vacuna con la que el escritor quiere proveer al lector de las herramientas para protegerse de los efectos perversos de una literatura recibida en clave romántica. Proponemos, siguiendo especialmente a Renato Poggioli, John Freccero o René Girard, una interpretación antirromántica que subraya la actualidad de la arquitectura moral de la Divina Comedia y su ascendencia sobre varios clásicos de la literatura moderna posterior.

With unparalleled literary beauty, the Comedìa reflects the Catholic worldview that formed the backbone of medieval Christianity, whose greatest philosophical and theological exponent was saint Thomas. Throughout the entire itinerary, we see the imprint of Aquinas present at the very heart of the poem. Here I will analyze how the fundamental theological question of the divine government of the world permeates the entire Comedìa, both in its formal structure and in certain concrete aspects of Dante’s journey. From that premise, I will study the consequences of the abovesaid on that juridical order reflected in the «architecture» of the Inferno, whose lintel is so eloquent: «Giustizia mosse il mio alto fattore; / fecemi la divina podestate, / la somma sapienza e ‘l primo amore». Finally, I will focus on the proportionality of punishments suffered by the condemned, as an indicator of the natural measure of decisions made by divine justice., Con una belleza literaria incomparable, la Comedìa refleja la cosmovisión católica que vertebra la Cristiandad medieval, que tuvo su máximo exponente filosófico y teológico en santo Tomás. A lo largo de todo el itinerario poético, vemos la impronta del Aquinate presente en el meollo de la narración. Aquí analizaré cómo la cuestión teológica fundamental del gobierno divino del mundo permea la Comedìa, tanto en su estructura formal como en ciertos aspectos concretos del viaje de Dante. A partir de dicha premisa, estudiaré las consecuencias que ello tiene en ese orden jurídico manifestado en la «arquitectura» del infierno, cuyo dintel es elocuente: «Giustizia mosse il mio alto fattore; / fecemi la divina podestate, / la somma sapienza e ‘l primo amore». Finalmente, abordaré la proporcionalidad de las penas que sufren los condenados, como indicador de la medida natural de los castigos dictados por justicia divina.

The aim of this article is to retrace the fundamental premises of Dante’s political thought, which posits a new conception of the relationship between Church and Empire. In particular, three fundamental ideas are pointed out: science as the ultimate perfection of the human soul; the proper operation of the human race in the action of all the possible power of the intellect; and finally the question of the natural and supernatural purpose of man. Secondly, the presence of the interpretation of Aristotelianism of the Faculty of Arts of the University of Paris and of Averroism in the Dantesque approach is analysed, in particular with reference to the different interpretations of Gilson and Nardi. Finally, the question of the transfer of the keys from Jesus to Peter and the relationship between nature and grace in dissonance with the interpretation of Thomas Aquinas are proposed as a key to the overall interpretation of Dantesque political thought., En este artículo se pretenden reconstruir las premisas fundamentales del pensamiento político de Dante, que plantea una nueva concepción de la relación entre Iglesia e Imperio. En particular, se señalan tres ideas fundamentales: la ciencia como perfección última del alma humana; la operación propia del género humano en la actuación de toda la potencia del intelecto posible; y, por último, la cuestión del fin natural y sobrenatural del hombre. A continuación, se analiza la presencia de la interpretación del aristotelismo de la Facultad de Artes de la Universidad de París y del averroísmo presente en el planteamiento dantesco, en particular haciendo referencia a las diferentes interpretaciones de Gilson y Nardi. Finalmente, se proponen como clave de interpretación global del pensamiento político dantesco la cuestión del traspaso de las llaves de Jesús a Pedro y la relación entre naturaleza y gracia en disonancia con la interpretación de Tomás de Aquino.

The external architecture of the Comedy reproduces a signal of its internal geometry, made up of textual references that the ancient exegetes could only guess and sometimes detect, on the basis of a good memory (visual and musical) and a marked synaptic-linguistic sensitivity. The digitization of manuscript texts and the increase of databases and literary applications (The Dartmouth Dante Project and Dante Lab are just a few examples) have literally oriented the 'new' exegetical disposition towards Dante’s text. The possibility of simultaneously carrying out textual searches within the poem has made intratextuality an almost essential element of modern lecturae, increasingly oriented towards the search for a unitary and organic interpretation of the songs of the Comedy that communicate their more exact meaning in relationships which they entertain with the whole of Dante's writing, sometimes going beyond the boundaries of the poem itself. We cannot consider it accidental that the rampant intratextual attitude of Dante's critics - which we place chronologically at the end of the 90s and the beginning of the new millennium - coincided with the flowering of digital humanities and represents the essential consequence of the modern exegetical approach. to Dante's text. &nbsp

This text intends to analyze canto XXVI of Commedia’s Inferno, focusing on the concept of cognitio that the poet represents through the story of Ulysses, whose approach has a clear derivation from Greek philosophy, in particular Aristotelian and Platonic. It is interesting to read the whole canto in the light of the dialectic that Dante outlines around the concept of cognitio, which can be expressed as a tension between the desire for knowledge and the danger of haughtiness that would derive from a search for it without limits. Finally, I analyze the consequences that this approach has on Dante’s conception of poetry and on its cognitive function., Se analiza el canto XXVI del Infierno de la Commedia, poniendo el foco de atención en el concepto de cognitio que el poeta representa por medio de la historia de Ulises y que, en su planteamiento, tiene una clara derivación de la filosofía griega, en particular aristotélica y platónica. Es interesante leer todo el canto a la luz de la dialéctica que Dante esboza y que se puede expresar como una tensión entre el deseo de conocimiento y el peligro de soberbia que derivaría de una búsqueda sin límites del mismo. Finalmente, se analizan las consecuencias que dicho planteamiento tiene en la concepción dantesca de la poesía y en su función cognoscitiva.

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.

Antoine Brea’s L’Enfer mis en vulgaire parlure (the latest translation of Dante’s Inferno, published in 2021) illustrates a semantic duplicity of the term error which, etymologically, means both to err and to wander. Brea’s Enfer wanders, in the sense that it programmatically distances itself from the translators who preceded it (a retranslation is always a correction and, as such, it presupposes the error of the previous translations). But this “traduction à la diable” also errs in the literal sense of the term, since it deviates from an established linguistic norm. Brea’s reaction to the purist or puritanical translations of his predecessors produces in fact a degradation of language into « parlure » and of vulgaris (the illustrious vernacular theorized by Dante) into vulgar. But is this erring really an error? To answer this question, this essay will focus the violation of a translational taboo and, in particular, the presence of scatological vocabulary in Brea’s Inferno. A qualitative analysis will be supported by the tools offered by textometry and by an automatic survey of the lexicon of a corpus, “Les Divines”, comprising 40 French translations of Dante’s Inferno (totaling 1,474,726 words) published from 1800 to 2021

info:eu-repo/semantics/published

Dante expresses the relationship between temporal and spiritual authority in terms of the independence between the two orders, but the autonomy granted to the emperor is ‘reverent’. The political actions of the universal monarch must follow reason, but he must keep in mind the religious horizon – Christian – that allows him to embody charity and piety, virtues he must possess to govern correctly. Dante goes so far as to support a religiosity of politics, making explicit a religious sense of laicity by recognizing the legitimacy of the State’s independence from the Church. In Dante’s political perspective, man’s ultimate earthly end is the common life in a universal kingdom, where the juridical authority is autonomous concerning the spiritual authority of the Church, a kingdom where there is peace, and where a man can dedicate himself to knowledge, realizing himself and acquiring freedom that removes him from his biological determinism. The political and theological perspectives converge in the project of the diarchy, of the building of the dual supreme and independent authority.

In this paper we will analyse Borges' projections on the Divine Comedy, under the premise that intertextuality is a deconstructive process in itself, to which are added the criteria of the analysis of the subversion of the Dantesque centres or anchors of thought and a process of self-projection, by means of which Borges, with a markedly postmodern accent, resemanticises and subverts the most famous passages of the Comedy, eclipsing the medieval facet of the work, with a view to highlighting his own presuppositions, previously emptying it of its original content. The intertextual relations between Borges and Dante show how the Argentinean instrumentalises and transforms the Comedy in pursuit of his recurrent philosophical-literary ideas, subjecting it to a kind of poetic alchemy, resulting in a veritable compendium of his philosophical ideas, making it clear that all hierarchy and order can be subverted., En el presente trabajo analizaremos las proyecciones borgeanas sobre la Divina Comedia, bajo la premisa de que la intertextualidad es un proceso deconstructivo en sí mismo, al que se suman los criterios del análisis de la subversión de los centros o anclajes de pensamiento dantescos y un proceso de autoproyección, mediante el cual Borges, con un acento marcadamente posmoderno, resemantiza y subvierte los pasajes más célebres de la Comedia, eclipsando la faceta medieval de la obra, en vistas a destacar sus propios presupuestos, vaciándola previamente de su contenido original. Las relaciones intertextuales entre Borges y Dante muestran cómo el argentino instrumentaliza y transforma la Comedia en pos de sus recurrentes ideas filosófico-literarias, sometiéndola a una especie de alquimia poética, arrojando como resultado un verdadero compendio de sus ideas filosóficas, dejando en evidencia que toda jerarquía y todo orden pueden ser subvertidos

This study wants to highlight how a literature, in this case Spanish literature, cannot live, transform and produce works of high value without the need for a reading of the Other, also through the need for a translation that feeds back over time. Our reflection focuses on the possibility of seeing how literary dialogue can be an effective part of the historical construction of a literature itself. We thus want to demonstrate how the idea that Dante's presence in Spanish poetry has been, and continues to be today, fundamental in the creative process of literary writing., El presente estudio quiere remarcar cómo una literatura, en este caso la española, no puede vivir, transformarse y producir obras de alto valor sin la necesidad de una lectura del Otro, sobre todo a través de la necesidad de una traducción que se realimenta durante el tiempo. Nuestra reflexión se centra en la posibilidad de llegar a ver cómo el diálogo literario puede ser parte efectiva en la construcción histórica de una propia literatura. Queremos así demostrar cómo la idea que la presencia de las obras en traducción de Dante en la poesía española ha sido, y sigue siendo hoy en día, fundamental en el proceso creativo de una escritura literaria, también a través de la importante labor traductiva.

In questo contributo si studia il funzionamento del procedimento traduttivo ed esegetico messo in atto da Alberico da Rosciate nella composizione del suo commento alla Divina Commedia. Nella seconda redazione il giurista di Bergamo affianca la traduzione latina del commento bolognese di Iacomo della Lana a una parafrasi completa del poema, arricchita da numerose glosse giuridiche, storiche e documentarie.

Bound by the environment where the problems are settled with blood, Malatestino slaughters the Parcitade, left to him in custody by Guido Malatesta. Dante places him with his father in the eighth circle, where flames envelop fraudulent people (they are the «mastiffs» that «fan d’i denti succhio», Inf. XXVII 48). From here d’Annunzio recovers him to make a key character of his Francesca da Rimini, the real troublemaker and «executioner» who sends the woman to hell. We propose a reflection on D’Annunzio’s lexicon of vengeful justice in the light of dantisms and variants.

The article is dedicated to L’Inferno della Tirannide by Bernardo Bellini, a poem on the First Italian War of Independence which is also a bouts-rimés version of Dante’s Inferno. The first theme considered is the sixth centenary of Dante’s birth (1865), for which the poem was published. The next section is a summary of Bellini’s bio-bibliography, intending to give an appropriate contextualization. The rest of the essay consists in the analysis of the text, in order to recognize some links with some historical sources, and to consider the relationship between Bellini’s poem and Dante’s Commedia.

Who would not have liked to obtain the same privilege of the one given to Odysseus by the Goods? What does it mean to us as human beings undertaking a journey to the underworld? The answer to these questions is given by the myth that inspires an immersion into our emotions, going beyond the apparently insuperable borders of our consciousness. The aim of Calasso’s narratives is to make the readers get over their loneliness, in order to see themselves in the mythological story and its grieving characters. In this way, a connection is established between the reader’s and the character’s inner feelings. Calasso acknowledges the process of psychologization of the myth that represents the key to comprehend the most obscure sides of the underworld belonging to Ulysses, Aeneas, Achille and the entire human race.

The recognition and dating of corrective stratigraphies, in the study of manuscript writings, is fundamental in the preparation of critical editions, for author philology and variant criticism, and in cases of authorship. The analysis of the different "corrective campaigns" of a text can now be carried out with some imaging techniques, from RTI, to interferometers, to photometric stereo, which allow to reconstruct the third dimension: "z", that of time: a technology widely used in cultural heritage, but still not very widespread in the study of texts. The contribution illustrates some cases of 3D reconstruction of manuscripts, from Dante to Leopardi, and proposes a protocol for sharing digital reproduction standards.

The article examines the history of the first three printed editions of Dante’s Commedia (1472; Foligno, Mantua, and Iesi/Venice), analyzing their respective vicissitudes from a socio-economic perspective. Specifically, through a joint analysis of the relevant academic literature, the local socio-economic history, and the material provenances recorded within numerous copies, the essay intends to highlight to what degree and form commercial events such as regional fairs influenced the development and distribution of typographic products in Italy in the 1470s.

No es frecuente encontrar dentro del shōnen historias que se focalicen en los vínculos y lazos familiares, sean estos de sangre o políticos. Por lo general, la imagen de los padres está relegada a un segundo plano, ya sea por el carácter de huérfano del protagonista, ya sea porque los progenitores funcionan como un alivio cómico o, las más de las veces, llegan a pasar desapercibidos. En cambio, la fraternidad es mucho más explorada, alcanzando las tonalidades de una fuerte rivalidad. En el siguiente trabajo, analizaremos en profundidad la primera versión del anime Fullmetal Alchemist (2003) inspirada parcialmente en la obra homónima de Hiromu Arakawa (2001), la cual, a diferencia de lo que se estila, construye su conflicto principal en torno a las dinámicas familiares. Su director, Seiji Mizushima, retoma el argumento de la mangaka y potencia ciertos rasgos disfuncionales latentes en la construcción de la familia Elric para retratarnos una estampa poco frecuente dentro del género. Veremos cómo muchas de sus fuentes de inspiración han sido tomadas del ámbito literario occidental para configurar un árbol genealógico conflictivo que postula la disfuncionalidad como regla antes que como excepción en contraposición al esquema tradicional de la familia como institución social., It is not common to find stories within the shōnen that focus on family ties, whether they are blood ties or political ties. In general, the image of the parents is relegated to the background, due to the orphan character of the protagonist or because the parents function as a comic relief, in any case the parents go unnoticed. Instead, fraternity is explored much more, reaching the nuances of a strong rivalry. In the following paper we will analyze in depth the first version of the anime Fullmetal Alchemist (2003) partially inspired by the homonymous work of Hiromu Arakawa (2001), which unlike the popular, builds its main conflict around family dynamics. Its director, Seiji Mizushima, takes up the plot of the mangaka and highlights certain latent dysfunctional traits in the construction of the Elric family to portray a rare seal within the genre. We will see how many of his sources of inspiration have been taken from the western literary field to configure a conflicting genealogical tree that posits dysfunction as a rule rather than an exception to the traditional scheme of the family as a social institution.

In the world literature’s otherworldly representations, according to their different configurations, the body dimension has had more or less importance. In the infernal world of Horcynus Orca it plays a central role and, in an analogous way to the Dante’s use of the body in the Comedy, is one of the most important instruments used by the writer for the representation of the novel’s post-war hell pains. Furthermore, the broken corporeity that characterizes the novel is not only an instrument of representation, but, in the image of the wounded body, it is itself the allegory of the hell represented.

The essay, through the analysis of the history of upper Piedmont, aims to reinterpret the vv. 55-50 If XXVIII where Mohammed addresses the prophecy on Dolcino to Dante, with particular attention to some key words and their coherence with the style and themes present in the poem.

The «lago del cor», which one encounters even before crossing the threshold of the «secret things» of the kingdom of the underworld, can be read and interpreted as a pulcer tropus placed to embellish the opening lines of Dante’s Comedy. And this is certainly true, but the semantic universe that accompanies the image emerges in all its polysemic value as soon as one looks beyond the sphere of tout court literary criticism and explores different scopes that, in spite of the totally modern sectoral approach, they are instead rediscovered as being adjacent and complementary in the figure created by Dante.

The essay examines the presence of Dante’s Inferno in the journalistic and narrative production of the Scapigliatura democratica dedicated to the slums of Milan. Starting from the late 1870s, in fact, in the works of ‘scapigliati’ authors such as Paolo Valera, Francesco Giarelli and Lodovico Corio, it is possible to find numerous references to Dante’s first cantica, both on an intertextual and a structural level. In this regard, the essay intends to highlight the forms and ideological motivations behind such infernal characterization, focusing on the function of Dante’s Inferno as a reservoir of images and motifs capable of validating, among the public, the vision of the most hidden areas of the “moral capital” of Italy.

This article reflects on literature and disaster, using works by Maurice Blanchot, Italo Calvino, Julia Kristeva, Gilles Deleuze, and Félix Guattari. To test the link between literature and disaster, the article offers an analysis of Dante’s text, but, unlike previous readings of the Divine Comedy in relation to Covid-19, which are metaphorical or allegorical, here is a formal analysis of Dante’s verse that is proposed, in particular of Inf. iii, 1-3 and the mechanism of terza rima. Using Deleuze’s and Guattari’s De la ritournelle, the article treats Dante’s poetry and Covid-19 as two contiguous systems and shows how literature, with its rhetorical devices, is modelled on and affects our deep inner structures, which are particularly touched during traumatic events, such as natural disasters and pandemics.

Il saggio affronta le problematiche sottese all'interpretazione delle Egloghe di Dante con particolare riferimento alle allusioni storiche presenti sia nella parte di Giovanni del Virgilio, maestro bolognese, sia in quella dantesca. Si riflette nello specifico sull'interpretazione della misteriosa figura di Polifemo.

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.

Through the textual analysis of eight poems from Variazioni belliche, the article intends to demonstrate how Amelia Rosselli’s appropriation of Inferno vmainly presents a metapoetic connotation. Dantean echoes in Poesie (1959), the collection's first section, embody a kind of poetry in which the lyrical I has a distinctive role – hence, the use of the free verse, even if already projected towards the spazio metrico, the fixed form which has the task to distinguish Rosselli’s poetry from the previous lyrical tradition. On the contrary, in Variazioni (1960-1961), the second section of the volume, the strong lyrical subject conveyed by Paolo and Francesca’s canto collides with the «pretesa di universalità» of Rosselli’s new poetic form. This conflict results in a deep fracture within the lyrical voice.

This paper is meant to introduce a specifically designed tool for the purpose of combining rhythmic and syntactic data to analyse literary works written in third rhyme and to look for identical rhythmical-syntactical structures in different tercets, finally studying their use in the many restrictions imposed by meter and its rules. TRIARS is still in its preliminary stage, and it has only been tested on Dante's Comedy. The paper is then structured as follows: after a short overview of the research project that led to its creation, in Section 2, the main studies and scientific basis from the original project are reviewed; Section 3 reports the most important steps in the development of the early version of TRIARS; in Section 4, all the features and functionalities of TRIARS are described in detail; Section 5 outlines the major flaws and weaknesses of the current version of TRIARS, whilst all the potential improvement are examined; additionally, Section 7 focuses on the final purpose of the research, showing a brief example of compared analysis on the Comedy and other different poems in third rhyme, such as the Caccia di Diana by Giovanni Boccaccio and the Trionfi by Francesco Petrarca; finally, general conclusions are reported in Section 8.

Dante Alighieri, "the great poet, prophet of hope, witness of infinite thirst" (Pope Francis) invites us to immerse ourselves in his masterpiece, The Divine Comedy, in the depths of man, on a journey that leads through the lights and shadows that both he and we, today, experience on this path of life. Nel mezzo del cammin di nostra vita, mi ritrovai per una selva oscura, che la diritta via era smarrita. […] Lasciate ogne speranza, voi ch’intrate. These verses refer us to the pilgrim who forges his life in each step and in action he wishes, chooses, suffers, loves. It is in the existential dynamic where ontologically, as a source, the source of being, the drama of freedom in which we are all immersed is manifested. Dante is the subject of that drama and makes us part of it. In the central songs of Purgatorio, XVI, XVII and XVIII, the poet sings the dynamism of freedom, responsibility, good and evil in dance and interdisciplinary dialogue, but above all existential., Dante Alighieri, “el sumo poeta, profeta de esperanza, testigo de sed infinito” (Papa Francisco) nos invita a sumergirnos en su obra cumbre, La Divina Comedia, en las profundidades del hombre, en un viaje que conduce a través de las luces y sombras que tanto él como nosotros, hoy, experimentamos en este camino de la vida. Nel mezzo del cammin di nostra vita, mi ritrovai per una selva oscura, che la diritta via era smarrita. […] Lasciate ogne speranza, voi ch’intrate. Estos versos nos remiten al peregrino que forja su vida en cada paso y en la acción desea, elige, sufre, ama. Es en la dinámica existencial donde ontológicamente, como una fuente, la fuente del ser, se manifiesta el drama de la libertad en el cual todos estamos inmersos. Dante es sujeto de ese drama y nos hace partícipes del mismo. En los cantos centrales del Purgatorio, XVI, XVII y XVIII el poeta canta el dinamismo de la libertad, de la responsabilidad, del bien y el mal en danza y en diálogo interdisciplinario, pero sobre todo existencial.

Tra le numerose pubblicazioni favorite dalla celebrazione del VII centenario della morte di Dante Alighieri, lo studio Dante in conclave di Gian Luca Potestà è uno tra i più singolari. Scritta con il consueto rigore ed onestà che non risparmia critiche documentate e fondate – sempre garbate – a «narcisismi interpretativi», l’indagine offre una prospettiva storico-filosofica su ecclesiologia, religiosità e profetismo in Dante, linea precedentemente tracciata da Ernesto Bonaiuti, Raffaello Morghen e Raul Manselli, «di recente retrocessi a testimoni di stagioni storiograficamente concluse» (p. 10). Il volume, diviso in dodici capitoli, comprende in appendice la nuova edizione della Lettera ai cardinali, indicata solitamente come Epistola di Dante ai cardinali italiani. È arricchito inoltre da un’ampia bibliografia (particolarmente interessante nella sezione dedicata alle Fonti) e da una serie di indici (dei manoscritti, dei passi biblici e dei nomi).

Leo S. Olschki andò sempre orgoglioso del suo impegno editoriale rivolto alla diffusione della conoscenza di Dante Alighieri e delle sue opere.