Punti critici del testo. Fifty numbered observations or emendations on precise details of Contini's critical edition of the Fiore. Nine, mostly verbal correspondences, bear upon the attribution of the Fiore to Dante; chief of these is an apparent allusion to the first sonnets of the Fiore in Cecco Angiolieri's sonnet Dante Allaghier, Cecco, 'l tu' servo e amico. In general Gorni's textual emendations are more conservative with regard to the manuscript than Contini's.
Book review: Dante: The Divine Comedy, translated by Clive James
He prefaces his list with general observations on the peculiar editorial problems of the Fiore , and on Contini's editorial practice. Gough, Melinda Jane. Doctoral dissertation, Yale University, It examines Circe, the Sirens, and their Renaissance daughters as emblems for the seductive yet dangerous nature of literary signs, bewitching to poet and reader, playwright and spectator. Hagedorn, Suzanne C. To the dismay of Deidamia, who has secretly borne Achilles a son, Ulysses persuades Achilles to abandon his family to gain heroic glory at Troy.
These verbal and thematic similarities demonstrate that Dante condemns Ulysses for the social destruction that his deceptive rhetoric causes and hides. Hollander, Robert. Most of these essays try to show how carefully Boccaccio reflects the texts of Dante in the Decameron. Hollander, Robert , with Courtney Cahill. Huot, Sylvia. Emphasizes the importance of the reception and early manuscript tradition of the Roman de la Rose as the context for Durante's reworking of the poem in the Fiore.
For example, such manuscripts already divided the Roman into small units with rubrics identifying the speaker, as the Fiore does; the Fiore' s feminization of Bel Acueil into Bellacoglienza also has precedents in Rose manuscripts. Iannucci, Amilcare A. Links the description of the mountainquake of Purgatorio to the harrowing motif established in Inferno IV. Illiano, Antonio. Examines the history of the critical question of Virgil and Cato being historical figures as opposed to literary or cultural ones.
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I-III Firenze: Edizioni Cadmo, Il Confronto, 8. E la narrazione, trascendendo la funzione metrico-prosodica dei canti, si svolge in una compatta e coerente successione di cicli articolati in episodi e segmenti. Johnson, Gary. Ultimately, the author argues that Dante, despite his place near the center of the Western literary canon, can be seen as a precursor to a group of contemporary critics—including African-American, Latin-American, working-class, and feminist critics—who are working against the very idea of that canon.
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Kleinhenz, Christopher. Brewer, , pp. Mancini, Paolo A. Giordano, and Anthony J. Lansing, Richard. Lazzerini, Lucia. The essay examines a number of these presumed echoes, and concludes that they are either commonplaces or reflected in the Roman de la Rose itself.
The same applies to the Fiore' s presumed borrowings from satirical occitanic troubadours such as Peire Cardenal, though the polemic against clerical corruption, stimulated perhaps also by Pietro di Giovanni Olivi at Santa Croce, is certainly dear to the author of the Fiore , and may have led him to re-work the Roman de la Rose , itself quite engaged with current political and religious affairs.
Leonardi, Lino. The author traces many structural parallels between the Fiore and the Guittonian cycle, as well as a subtle but insistent web of allusions; the latter also sarcastically evoke the conversion of Frate Guittone. The corrosive ironic allusions of the Fiore extend to other pre- stilnovo poets, including among others Rinaldo d'Aquino, Giacomo da Lentini, and Chiaro Davanzati.
The analysis supports the attribution of the Fiore to Dante. Lund-Mead, Carolynn. Dante draws extensively on this tradition in the Commedia , particularly in his portrayal of Beatrice. Maffia Scariati, Irene.
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Traces the genesis of specific images, themes, and formal structures, and in particular the contrapassi of Inferno 28, 21, and 22 for the sowers of discord and the barrators , in the Fiore' s treatment or appropriation of materials in the Roman de la Rose. Often the contrapasso sy stgs from a metaphoric use of a word in the Roman and the Fiore , which becomes concrete reality in the Inferno.
The author also traces a set of descriptive patterns used in the Comedy for the devils, and shows its origin in the Roman and the Fiore. The author concludes that the Fiore is the transitional link between the Roman and the Comedy , and that the Roman mediates classical sources for Dante; the argument also supports the attribution of the Fiore to Dante.
Martinez, Ronald L.
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The essay argues that the Purgatorio is informed, thematically and structurally, by reference to the biblical book of Lamentations or Threni in its medieval reception, which inter alia saw the book as a repertory of topics of complaint and reproach. Maziar, Anne Lee Tomlinson. Doctoral dissertation, University of Colorado at Boulder, Mechanic, Rebecca Ann. Mehlman, Jeffrey. Small wonder, then, that Dante should affirm his difference from Ulysses, to purge himself of all identification with the purge.
The canon is virtually complete. Moleta, Vincent. Moleta points out that each time Dante confronts an apparently impassable city wall in Hell Inf. III; Inf.
Papka, Claudia Rattazzi. Doctoral dissertation, Columbia University, Parker, Deborah.
The composition of extensive commentaries to elucidate a vernacular author was unprecedented, and these commentaries employed the critical apparatus normally reserved for scriptural and classical authors. It is essential to take into account the social and political context in which this commentary was produced, as these prove to have a formative effect on how Dante was read. Similarly, the history of the reception of the commentary tradition depends upon historical factors; the nationalism of the late nineteenth century led to renewed interest in the tradition that resulted in many new editions of the early commentaries.
More recently, interest in the commentary tradition has revived once again, as scholars have turned to the early commentators for a variety of reasons. Pertile, Lino. The journey of the pilgrim through Paradise contradicts the common assumption that the third canticle is that of visio Dei ; it is, instead, one of desire for that vision.
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Picone, Michelangelo. In his other minor works, Dante finds a continuity between the classical and Christian vernacular poets; in the Commedia , however, Dante posits a rupture between the classical and Christian worlds. Dante ultimately treats the classical authors as forerunners in the sense that they anticipate what the true Christian auctor Dante himself will make manifest in his poem.
Pike, David L. Although structured around a repeated motif, [the book] is not a motif study; even less would it claim to be a history of the genre of the descensus. Rather, it explores the means by which motifs are constantly revised and transformed, and influences constantly rewritten and configured, how history is made into myth and myth into history. Classical and medieval literature are interpreted through the lens of their construction in and by modernism, and modernism is viewed anew in light of a medieval model freed of that construction.
The book follows a series of paths back and forth between modern and medieval in order to trace the reciprocal effects of each descent on its past and on its future. The Conversion of Dante The Gender of Descent Psaki, Regina F. Riviello, Tonia Caterina.