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Boska Komedia.Pdf
Dante Alighieri BOSKA KOMEDIA Przekład: Edward Porębowicz ver. 1.20 http://boskakomedia.korona-pl.com UWAGA !!! Tekst został przeze mnie zeskanowany i potraktowany programem OCR. Może zawierać błędy (literówki, itp.) Będę wdzięczny za wszelkie uwagi i komentarze. - 1 - SPIS TREŚCI PIEKŁO.............................................................................................................................................................................4 PIEŚŃ I ..........................................................................................................................................................................5 PIEŚŃ II.........................................................................................................................................................................8 PIEŚŃ III ..................................................................................................................................................................... 11 PIEŚŃ IV ..................................................................................................................................................................... 14 PIEŚŃ V....................................................................................................................................................................... 18 PIEŚŃ VI ..................................................................................................................................................................... 21 PIEŚŃ VII................................................................................................................................................................... -
La Commedia a Teatro. Gli Intepreti Di Dante
UNIVERSITÀ DEGLI STUDI DI MILANO Facoltà di Studi Umanistici Corso di Laurea Magistrale in Editoria, Culture della Comunicazione e della Moda LA COMMEDIA A TEATRO: GLI INTERPRETI DI DANTE Relatore: Ch.ma Prof.ssa Giuliana NUVOLI Correlatore: Ch.mo Prof. Bruno PISCHEDDA Tesi di laurea di: Greta Maria SPOTTI Matr. 902719 Anno Accademico 2017/2018 2 INTRODUZIONE 1. DANTE IN SCENA: CONSIDERAZIONI GENERALI SULLE TRASPOSIZIONI ORALI DEL POEMA 1.1 La trasmissione orale della Commedia 1.2 La teatralità della Commedia 1.3 I generi della Commedia a teatro 1.4 Il valore didattico delle drammatizzazioni della Commedia 2. INTERPRETARE DANTE 2.1 Introduzione al personaggio di Dante nella Commedia 2.2 Dire Dante: l’esecuzione della Commedia 2.3 Impersonare Dante: la scelta del costume teatrale 2.4 Le chiavi di lettura per Dante e la sua Commedia 3. LA COMMEDIA A TEATRO NELL’OTTOCENTO: L’AVVIO DI UN NUOVO FORMAT CON GUSTAVO MODENA 3.1 Teatro e politica nelle Dantate 3.2 L’eco delle Dantate nelle performance per il sesto centenario della nascita dell’Alighieri 4. INTERPRETARE DANTE NEL XXI SECOLO 4.1 Il Dante di Benigni 4.2 Vergine madre di Lucilla Giagnoni BIBLIOGRAFIA 3 INTRODUZIONE In questa ricerca, La Commedia a teatro: gli interpreti di Dante, prendo in esame modalità e tempi con i quali viene proposta e drammatizzata a teatro la Divina Commedia di Dante Alighieri, opera letteraria alla base della nostra cultura nazionale e che vanta, inoltre, un indiscutibile successo a livello mondiale. In particolare, analizzo come sia mutata l’interpretazione e l’immagine presentata in scena di Dante, autore e, al contempo, personaggio protagonista del poema. -
Divine Comedy” 10/18/20, 2:29 PM
Dante’s Global Vision: Seeing & Being Seen in the “Divine Comedy” 10/18/20, 2:29 PM Dante’s Global Vision: Seeing & Being Seen in the “Divine Comedy” theimaginativeconservative.org/2015/07/dantes-global-vision-seeing-and-being-seen-in-the-divine- comedy.html Peter Kalkavage July 29, 2015 “The things of friends are common.” —Greek proverb (quoted by Socrates in the Phaedrus) It is a pleasure to be with you today, to visit Belmont University and see Nashville for the very first time. My talk takes its cue from your theme for the year —“Living in a Global Community.” I have chosen to speak about Dante because his global outlook is well suited to this theme. Dante dared to think the whole of all things and to capture his vision in a single poem—the Divine Comedy. Dante’s globalism, his vision of the whole, is not confined to the earth but extends to the entire universe. This includes the invisible, spiritual world as well as the visible, corporeal one. It embraces the human and the divine, the natural and the supernatural. As we know from his writings and the events of his life, Dante cared passionately—one might say, desperately—about community and about “how it goes” with the world. The cosmos for him is the Community of communities. This Community affirms, rather than negates, the human individual and all the smaller, local groups to which we belong: our cities, towns, and neighbourhoods. On a more intimate level, these “little platoons,” as Burke called them, include our families, friendships, romantic attachments, relations with colleagues, and the communal bonds forged by students and their teachers and mentors. -
Interpreting Dante
Nasti-00FM_Layout 1 11/11/13 1:28 PM Page i INTERPRETING DANTE © 2013 University of Notre Dame Nasti-00FM_Layout 1 11/11/13 1:28 PM Page ii Zygmunt G. Baranski, Theodore J. Cachey, Jr., and Christian Moevs, editors ´ —————— VOLUME 13 VOLUME 6 Interpreting Dante: Essays on the Understanding Dante Traditions of Dante Commentary • John A. Scott • edited by Paola Nasti and VOLUME 5 Claudia Rossignoli Dante and the Grammar of the Nursing Body VOLUME 12 Gary P. Cestaro Freedom Readers: The African • American Reception of Dante Alighieri VOLUME 4 and the Divine Comedy The Fiore and the Detto d’Amore: • Dennis Looney A Late 13th-Century Italian VOLUME 11 Translation of the Roman de la Rose, Dante’s Commedia: Theology as Poetry attributable to Dante • edited by Vittorio Montemaggi • Translated, with introduction and and Matthew Treherne notes, by Santa Casciani and Christopher Kleinhenz VOLUME 10 Petrarch and Dante: Anti-Dantism, VOLUME 3 Metaphysics, Tradition The Design in the Wax: The Structure edited by Zygmunt G. Baranski of the Divine Comedy and Its Meaning • ´ and Theodore J. Cachey, Jr. • Marc Cogan VOLUME 9 VOLUME 2 The Ancient Flame: Dante and the Poets The Fiore in Context: Dante, • Winthrop Wetherbee France, Tuscany edited by Zygmunt G. Baranski • ´ VOLUME 8 and Patrick Boyde Accounting for Dante: Urban Readers VOLUME 1 and Writers in Late Medieval Italy Dante Now: Current Trends • Justin Steinberg in Dante Studies VOLUME 7 • edited by Theodore J. Cachey, Jr. Experiencing the Afterlife: Soul and Body in Dante and Medieval -
Note Linguistiche E Lessicali Sul Dramma Dante a Verona Di Angelica Palli
FRANCESCA FAVARO Amor di patria e culto della Commedia: note linguistiche e lessicali sul dramma Dante a Verona di Angelica Palli In L’Italianistica oggi: ricerca e didattica, Atti del XIX Congresso dell’ADI - Associazione degli Italianisti (Roma, 9-12 settembre 2015), a cura di B. Alfonzetti, T. Cancro, V. Di Iasio, E. Pietrobon, Roma, Adi editore, 2017 Isbn: 978-884675137-9 Come citare: Url = http://www.italianisti.it/Atti-di- Congresso?pg=cms&ext=p&cms_codsec=14&cms_codcms=896 [data consultazione: gg/mm/aaaa] L’Italianistica oggi © Adi editore 2017 FRANCESCA FAVARO Amor di patria e culto della Commedia: note linguistiche e lessicali sul dramma Dante a Verona di Angelica Palli Nella ricca produzione di Angelica Palli Bartolommei (Livorno, 1798-1875), scrittrice i cui interessi letterari risultano inscindibili dal sentimento patriottico e dalla condivisione degli ideali del Risorgimento, spicca un gruppo di azioni teatrali ispirate alla figura di Dante e ai personaggi della Divina Commedia maggiormente significativi per illustrare il tema della discordia civile che lungo i secoli insanguinò la penisola. Il contributo qui presentato offre dunque una lettura e un’interpretazione del dramma Dante a Verona, analizzato principalmente sotto il profilo delle scelte lessicali compiute dall’autrice; caratterizzato dall’avere Dante stesso come protagonista, il dramma conferma la devozione dell’autrice verso l’Alighieri, ‘fondatore’ dell’Italia futura non solo in virtù della lingua che, di fatto, creò con il poema, ma anche per la sua deplorazione, -
And the “Divine Comedy”
LINGUA INDISCIPLINATA. A STUDY OF TRANSGRESSIVE SPEECH IN THE “ROMANCE OF THE ROSE” AND THE “DIVINE COMEDY” by Gabriella Ildiko Baika BA, “Babes-Bolyai-University,” Cluj-Napoca, Romania, 1991 MA, “Babes-Bolyai-University,” Cluj-Napoca, Romania, 1992 Submitted to the Graduate Faculty of the University of Pittsburgh in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh, 2007 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Gabriella Ildiko Baika It was defended on December 1, 2006 and approved by Dissertation Advisor: Renate Blumenfeld-Kosinski, Department of French and Italian Co-Advisor: Dennis Looney, Associate Professor, Department of French and Italian Diana Mériz, Associate Professor, Department of French and Italian Bruce Venarde, Associate Professor, Department of History ii Copyright © by Gabriella Ildiko Baika 2007 iii LINGUA INDISCIPLINATA. A STUDY OF TRANSGRESSIVE SPEECH IN THE “ROMANCE OF THE ROSE” AND THE “DIVINE COMEDY” Gabriella Baika, PhD University of Pittsburgh, 2007 My dissertation is an investigation of the two masterpieces of medieval, allegorical literature from the perspective of the Latin moral tradition of their time. Discussing Jean de Meun and Dante’s obsessive concern with the sinfulness of speech, I relate the numerous verbal transgressions treated in the Romance of the Rose and the Divine Comedy to what historians of moral philosophy have called “the golden age of the sins of the tongue” (1190-1260), a time span during which moralists, theologians and canonists wrote a great number of Latin texts on peccata linguae. I argue that the radical inclusion of the sins of speech among the other classes of sins treated in the Romance of the Rose and the Divine Comedy is to be accounted for in light of the major thirteenth-century treatises on peccata linguae. -
Bibliografia Dantesca Internazionale Circoscrivi La Ricerca Per Periodo
Bibliografia Dantesca Internazionale Circoscrivi la ricerca per periodo: Da anno 2013 Ad anno 2017 1. Dante Sommo Poeta, "Paradiso", "Inferno" e Contrappasso 2.0. Un viaggio immaginario di Dante attraverso l'Italia del XXI secolo, Enna, Nulla die, 2016, pp. 164 (parva res. Lecturae) 2. Elena Abramov-van Rijk, Singing Dante. The Literary Origins of Cinquecento Monody, Farnham, Ashgate, 2014, pp. VIII, 148 (Royal Musical Association Monographs, 26) 3. Vincenza Accardi, Tra sublimi vette e infimi abissi: declinazioni della metafora del cammino nella lirica dellacasiana , in «Bollettino di Italianistica. Rivista di critica, storia letteraria, filologia e linguistica», n.s., 12, (2015), 2, pp. 11-29 [Dante passim] 4. Damiano Acciarino, La "Lettera intorno al Discorso del Fato" di Vincenzio Borghini, in «Lettere Italiane», LXIX, (2017), 2, pp. 221-255 [Dante passim; alle pp. 238-255 edizione del testo] 5. * Valentina Accietto, in «Rassegna della letteratura italiana», s. 9ª, 118, (2014), 2, pp. 493-494 6. * Valentina Accietto, in «Rassegna della letteratura italiana», s. 9ª, 118, (2014), 1, pp. 123-124 [rec. all'ed. italiana] 7. * Valentina Accietto, in «Rassegna della letteratura italiana», s. 9ª, 119, (2015), 2, p. 380 8. * Valentina Accietto, in «Rassegna della letteratura italiana», s. 9ª, 119, (2015), 1, p. 82 9. * Valentina Accietto, in «Rassegna della letteratura italiana», s. 9ª, 119, (2015), 1, pp. 84-85 10. Rachel Adams, Ulysses' voice, in «Dante Notes», (2016) *rivista elettronica: https://www.dantesociety.org/publications/dante-notes] Collegamenti esterni: https://www.dantesociety.org/publications/dante-notes 11. * Martina Adani, in «Annali d'Italianistica», XXXI, (2013), pp. 615-617 [solo nella versione online: http://www.ibiblio.org/annali/toc/2013.html#toc] Collegamenti esterni: http://www.ibiblio.org/annali/toc/2013.html#toc 12. -
Dante's Purgatory
Dante’s Purgatory: A Discussion Guide By David Bruce SMASHWORDS EDITION Copyright 2009 by Bruce D. Bruce Thank you for downloading this free ebook. You are welcome to share it with your friends. This book may be reproduced, copied and distributed for non-commercial purposes, provided the book remains in its complete original form. If you enjoyed this book, please return to Smashwords.com to discover other works by this author. Thank you for your support. This is a royalty-free discussion guide. I will not make a dime from it — even from the print edition. I recommend that you read the translation by Mark Musa. The translation by John Ciardi is also very good. I also recommend the course on Dante’s Divine Comedy by William R. Cook and Ronald B. Herzman, which is available from the Teaching Company. ••• Preface The purpose of this book is educational. I have read, studied and taught Dante’s Divine Comedy, and I wish to pass on what I have learned to other people who are interested in studying Dante’s Divine Comedy. In particular, I think that the readers of this short introduction to Dante’s Divine Comedy will be bright high school seniors and college first-year students, as well as intelligent adults who simply wish to study The Divine Comedy despite not being literature majors. This book uses a question-and-answer format. This book goes through the Purgatory canto by canto. I recommend that you read the relevant section of the Purgatory, then read my comments, then go back and re-read the relevant section of the Purgatory. -
DANTE in DAD Lina Curcio: "Le Rime Aspre E Chiocce: Il XXXII Dell’Inferno”
Domande, dubbi, ipotesi interpretative degli studenti del Liceo Ugo Foscolo, in dialogo con insegnanti, ex alunni laureati e laureandi… …a la dimanda che mi faci quinc’entro satisfatto sarà tosto, e al disio ancor che tu mi taci. DANTE in DAD Lina Curcio: "Le rime aspre e chiocce: il XXXII dell’Inferno” https://drive.google.com/file/d/12gMXfc7yoDwbqKIxt0O6uaf2usoHyrDV/view?usp= Riccardo Franchi: “L’altro Dante: la tenzone con Forese Donati” https://drive.google.com/file/d/1gvFn3OfckwV6LBiH4AcH2OtyGs7ImwXF/view?usp=drivesdk Federica Luzi: La “Tre-Sfera” di Dante https://wakelet.com/wake/xv7z8hAZ5nm6usOgnA5Q0 Dominga Meloni: “Spigolature dalla Vita Nova” https://drive.google.com/file/d/1f6L7pq7qow01jfgu-Bit5Q-IITCwrgpK/view?usp=drivesdk 1 DANTE 1321-2021 IL PERCORSO DEL DESIDERIO 1. DANTE in DAD. Lezioni per tutti All’interno del Progetto su Dante, i colleghi Curcio, Franchi, Luzi e Meloni hanno tenuto delle videolezioni a classi aperte, registrate in Drive. Le lezioni risultano particolarmente apprezzabili sia per la perfezione e ricchezza dei contenuti che per l’abilità e la perizia nel produrre una comunicazione sintetica e completa. Sono reperibili attraverso i link indicati in copertina e utilizzabili liberamente. 2. …a la dimanda che mi faci / quinc’entro satisfatto sarà tosto, / e al disio ancor che tu mi taci. Durante la lezione del prof. Rino Caputo - all’interno del progetto “Dante. Il percorso del desiderio” - sono emerse delle domande, alle quali non è stato possibile rispondere. Per non lasciarle senza riscontro, si è pensato di porle ad ex studenti del Liceo, in un’ideale staffetta culturale. Hanno fornito il loro contributo: Alberto Annarilli, Eleonora Di Felice, Claudia Prochilo, Marina Uttaro. -
(And Beyond!): Dante's Divine Comedy Week
Going to Hell (and beyond!): Dante’s Divine Comedy Week 8 Paradiso, Cantos I–XII Paradise contains nine concentric circles (spheres), ending with the Empyrean, the realm of God. Dante is careful to point out that all the blessed souls, though located in their specific spheres, still live in bliss with God in the Empyrean. While the structures of Inferno and Purgatorio were based around different classifications of sin, the structure of the Paradiso is based on the four cardinal virtues (Fortitude, Justice, Temperance, and Prudence) and the three theological virtues (Faith, Hope, and Love) Cantos 1-4, The Moon (The Inconstant: those who failed to maintain their religious vows and showed themselves deficient in fortitude) “transhumanize” (1.70-71) Dante invents a word to describe ascending to Paradise, saying “Transumanar significar per verba non si poria (To transhumanize (i.e. go beyond being human) cannot be expressed in words)” moon spots (2.49-148) In seeking to explain the dark spots on the moon, Dante abandons tradition for a pseudo- scientific explanation: he attributes them to the presence of “denser” and “rarer” portions of the lunar body. Beatrice’s refutation of this view points to the limits of reason and the need for a different, spiritual knowledge in Paradise. Piccarda Donati (3.34-123) Sister of Forese Donati (see Purgatorio 24), Piccarda was a member of the “Poor Clares,” a mendicant order founded by St. Clare of Assisi (1194–1253). Her brother, Corso, forced her to leave the convent and marry his henchman for political reasons. Constance (3.109-120) Empress Constance (1152–1198) of the Holy Roman Empire, mother of Frederick II. -
Page 1 of 6 “Terrace 6: Gluttony” Guy P. Raffa Forese Donati. Cantos
“Terrace 6: Gluttony” Guy P. Raffa Forese Donati. Cantos 23.37-117, 24.7-27, 70-97 Forese was a childhood friend of Dante in Florence and a relative of Dante's wife (Gemma Donati). He died in 1296. In their youth Forese and Dante exchanged a series of sonnets (a literary genre known as tenzone), in which they honed their poetic craft by playfully and cleverly insulting one another in the basest terms. Dante, for instance, not so subtly hints at Forese's dissolute ways and his inability to "satisfy" his wife, while Forese implicates Dante's father (and Dante himself) in shady financial dealings. Dante now encounters Forese on the terrace of gluttony, where the emaciated spirits (their eyes sunk so far back into their sockets the face resembles the letter M) suffer excruciating hunger and thirst. In the purgatorial spirit of repentance, Forese (along with Dante) looks back on his wild past with sorrow, and he credits the prayers of his good wife Nella for enabling him to advance so far up the mountain in a relatively short time (less than 5 years since his death). Bonagiunta da Lucca. Canto 24.19-63 Another poet on the terrace of gluttony (thus drawing our attention to the mouth as a conveyor of both words and food), Bonagiunta came from the Tuscan city of Lucca (born c. 1220). He played an important role in the development of Italian lyric poetry, which drew its inspiration from the Provençal poetry of the Troubadours and first flourished in Sicily (at the court of Frederick II) before taking hold on the Italian peninsula. -
Beatrice Portinari: L'iter Ad Deum. L'evoluzione Del Personaggio Nelle
UNIVERSITÀ CA’ FOSCARI VENEZIA Corso di laurea Magistrale in Filologia e Letteratura italiana Prova finale di laurea Beatrice Portinari: l’iter ad Deum. L’evoluzione del personaggio nelle opere dantesche. Relatore: Ricciarda Ricorda Correlatore: Aldo Maria Costantini Correlatore: Gian Carlo Alessio Laureanda: Mariarosaria Fogliaro Matricola: 810263 Anno 2011-2012 Dal profondo del cuore a tutti coloro che mi hanno amata e mi amano. RINGRAZIAMENTI Un sentito ringraziamento al professor Aldo Maria Costantini per la fiducia in me riposta durante la mia carriera universitaria, per la costante disponibilità e pazienza prestatemi durante la stesura della tesi. Un grazie a Massimiliano per il suo amore, per la sua infinita pazienza e per il coraggio che mi ha sempre trasmesso. Un grande grazie alla mia «grande» famiglia perché è per merito loro che oggi sono quello che sono. INDICE Introduzione ..................................................................................... 5 1. La storicità di una donna: Beatrice Portinari ...................... 10 1.1 Beatrice nella storia ................................................................... 10 1.2 Il personaggio storico nell’opera ............................................... 43 1.3 Beatrice tra nomi e numeri ........................................................ 60 2 Da protagonista a controfigura ................................................. 89 2.1 Un racconto taciuto.................................................................... 89 2.2 Beatrice e la donna gentile-Filosofia