Allusions in Dante's Infemo
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Dante Alighieri E Farinata Degli Uberti VINCENZO SALERNO (Università Di Cassino E Del Lazio Meridionale) 83-99
Rivista semestrale online / Biannual online journal http://www.parolerubate.unipr.it Fascicolo n. 20 / Issue no. 20 Dicembre 2019 / December 2019 Direttore / Editor Rinaldo Rinaldi (Università di Parma) Comitato scientifico / Research Committee Mariolina Bongiovanni Bertini (Università di Parma) Dominique Budor (Université de la Sorbonne Nouvelle – Paris III) Roberto Greci (Università di Parma) Heinz Hofmann (Universität Tübingen) Bert W. Meijer (Nederlands Kunsthistorisch Instituut Firenze / Rijksuniversiteit Utrecht) María de las Nieves Muñiz Muñiz (Universitat de Barcelona) Diego Saglia (Università di Parma) Francesco Spera (Università Statale di Milano) Segreteria di redazione / Editorial Staff Maria Elena Capitani (Università di Parma) Nicola Catelli (Università di Parma) Arianna Giardini (Università Statale di Milano) Chiara Rolli (Università di Parma) Esperti esterni (fascicolo n. 20) / External referees (issue no. 20) Alberto Cadioli (Università Statale di Milano) Eleonora Capra (Università di Parma) Silvia Contarini (Università di Udine) Matteo Di Gesù (Università di Palermo) Antonio Di Silvestro (Università di Catania) Jérôme Dutel (Université Jean Monnet – Saint-Étienne) Martino Marazzi (Università Statale di Milano) Anna Mirabella (Université de Nantes) Francesco Montone (Università di Napoli Federico II) Francesca Parmeggiani (Fordham University – New York) Elena Spandri (Università di Siena) Rodolfo Zucco (Università di Udine) Progetto grafico / Graphic design Jelena Radojev (Università di Parma) † Direttore responsabile: Rinaldo Rinaldi Autorizzazione Tribunale di Parma n. 14 del 27 maggio 2010 © Copyright 2019 – ISSN: 2039-0114 INDEX / CONTENTS Speciale ALIBI MEDIEVALI. IL MEDIOEVO COME LABORATORIO DI RISCRITTURA a cura di Francesco Bonelli, Giulia Cacciatore, Filippo Fonio Presentazione 3-14 Il medioevo citato di Giovanni Pascoli. Re Enzo fra storia e simbolo FRANCESCA IRENE SENSINI (Université Nice Sophia Antipolis) 15-26 Nell’abisso dell’aldiquà. -
Dante's Political Life
Bibliotheca Dantesca: Journal of Dante Studies Volume 3 Article 1 2020 Dante's Political Life Guy P. Raffa University of Texas at Austin, [email protected] Follow this and additional works at: https://repository.upenn.edu/bibdant Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Italian Language and Literature Commons, and the Medieval History Commons Recommended Citation Raffa, Guy P. (2020) "Dante's Political Life," Bibliotheca Dantesca: Journal of Dante Studies: Vol. 3 , Article 1. Available at: https://repository.upenn.edu/bibdant/vol3/iss1/1 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/bibdant/vol3/iss1/1 For more information, please contact [email protected]. Raffa: Dante's Political Life Bibliotheca Dantesca, 3 (2020): 1-25 DANTE’S POLITICAL LIFE GUY P. RAFFA, The University of Texas at Austin The approach of the seven-hundredth anniversary of Dante’s death is a propi- tious time to recall the events that drove him from his native Florence and marked his life in various Italian cities before he found his final refuge in Ra- venna, where he died and was buried in 1321. Drawing on early chronicles and biographies, modern historical research and biographical criticism, and the poet’s own writings, I construct this narrative of “Dante’s Political Life” for the milestone commemoration of his death. The poet’s politically-motivated exile, this biographical essay shows, was destined to become one of the world’s most fortunate misfortunes. Keywords: Dante, Exile, Florence, Biography The proliferation of biographical and historical scholarship on Dante in recent years, after a relative paucity of such work through much of the twentieth century, prompted a welcome cluster of re- flections on this critical genre in a recent volume of Dante Studies. -
Not the Same Old Story: Dante's Re-Telling of the Odyssey
religions Article Not the Same Old Story: Dante’s Re-Telling of The Odyssey David W. Chapman English Department, Samford University, Birmingham, AL 35209, USA; [email protected] Received: 10 January 2019; Accepted: 6 March 2019; Published: 8 March 2019 Abstract: Dante’s Divine Comedy is frequently taught in core curriculum programs, but the mixture of classical and Christian symbols can be confusing to contemporary students. In teaching Dante, it is helpful for students to understand the concept of noumenal truth that underlies the symbol. In re-telling the Ulysses’ myth in Canto XXVI of The Inferno, Dante reveals that the details of the narrative are secondary to the spiritual truth he wishes to convey. Dante changes Ulysses’ quest for home and reunification with family in the Homeric account to a failed quest for knowledge without divine guidance that results in Ulysses’ destruction. Keywords: Dante Alighieri; The Divine Comedy; Homer; The Odyssey; Ulysses; core curriculum; noumena; symbolism; higher education; pedagogy When I began teaching Dante’s Divine Comedy in the 1990s as part of our new Cornerstone Curriculum, I had little experience in teaching classical texts. My graduate preparation had been primarily in rhetoric and modern British literature, neither of which included a study of Dante. Over the years, my appreciation of Dante has grown as I have guided, Vergil-like, our students through a reading of the text. And they, Dante-like, have sometimes found themselves lost in a strange wood of symbols and allegories that are remote from their educational background. What seems particularly inexplicable to them is the intermingling of actual historical characters and mythological figures. -
Appendix A: Selective Chronology of Historical Events
APPENDIX A: SELECTIVE CHRONOLOGY OF HIsTORICaL EVENTs 1190 Piero della Vigna born in Capua. 1212 Manente (“Farinata”) degli Uberti born in Florence. 1215 The Buondelmonte (Guelf) and Amidei (Ghibelline) feud begins in Florence. It lasts thirty-three years and stirs parti- san political conflict in Florence for decades thereafter. 1220 Brunetto Latini born in Florence. Piero della Vigna named notary and scribe in the court of Frederick II. 1222 Pisa and Florence wage their first war. 1223 Guido da Montefeltro born in San Leo. 1225 Piero appointed Judex Magnae Curia, judge of the great court of Frederick. 1227 Emperor Frederick II appoints Ezzelino da Romano as commander of forces against the Guelfs in the March of Verona. 1228 Pisa defeats the forces of Florence and Lucca at Barga. 1231 Piero completes the Liber Augustalis, a new legal code for the Kingdom of Sicily. 1233 The cities of the Veronese March, a frontier district of The Holy Roman Empire, transact the peace of Paquara, which lasts only a few days. © The Author(s) 2020 249 R. A. Belliotti, Dante’s Inferno, https://doi.org/10.1007/978-3-030-40771-1 250 AppeNDiX A: Selective ChrONOlOgY Of HistOrical EveNts 1234 Pisa renews war against Genoa. 1235 Frederick announces his design for a Holy Roman Empire at a general assembly at Piacenza. 1236 Frederick assumes command against the Lombard League (originally including Padua, Vicenza, Venice, Crema, Cremona, Mantua, Piacenza, Bergamo, Brescia, Milan, Genoa, Bologna, Modena, Reggio Emilia, Treviso, Vercelli, Lodi, Parma, Ferrara, and a few others). Ezzelino da Romano controls Verona, Vicenza, and Padua. -
Inferno Canto 05
!Inferno: Canto 5! pg.1 Entrance to Second Circle - Minos - Good Friday Night THE STORY. Dante and Virgil descend from the First Circle to the Second (the first of the Circle of Incontinence). On the threshold sits Minos, the judge of Hell, assigning the souls to their appropriate places of torment. His opposition is overcome by Virgil's word of power, and the Poets enter the Circle, where the souls of the Lustful are tossed for ever upon a howling wind. After Virgil has pointed out a number of famous lovers, Dante speaks to the shade of Francesca da Rimini, who tells him her story. From the first circle thus I came descending To the second, which, in narrower compass turning, Holds greater woe, with outcry loud and rending. There in the threshold, horrible and girning,!4 Grim Minos sits, holding his ghastly session, And, as he girds him, sentencing and spurning; For when the ill soul faces him, confession!7 Pours out of it till nothing's left to tell; Whereon that connoisseur of all transgression Assigns it to its proper place in hell,!10 As many grades as he would have it fall, So oft he belts him round with his own tail. Before him stands a throng continual;!13 Each comes in turn to abye the fell arraign; They speak - they hear- they're whirled down one and all. "Ho! thou that comest to the house of pain,"!16 Cried Minos when he saw me, the appliance Of his dread powers suspending, "think again How thou dost go, in whom is thy reliance;!19 Be not deceived by the wide open door!" Then said my guide: "Wherefore this loud defiance? Hinder not thou his fated way; be sure!22 Hindrance is vain; thus it is willed where will And power are one; enough; ask thou no more." And now the sounds of grief begin to fill!25 My ear; I'm come where cries of anguish smite My shrinking sense, and lamentation shrill - A place made dumb of every glimmer of light,!28 Which bellows like tempestuous ocean birling In the batter of a two-way wind's buffet and fight. -
SELECTING a NEW POPE Time to Choose the College of Cardinals Is to Meet Today to Begin Selecting a New Pope
MN_A_8_A8_LA_1_04-18-05_mo_1_CMYK 2005:04:17:21:37:53_abrown A8 MONDAY, APRIL 18, 2005 LOS ANGELES TIMES THE WORLD SELECTING A NEW POPE Time to choose The College of Cardinals is to meet today to begin selecting a new pope. After a security check of the Sistine Chapel to ensure that the deliberations remain secret, and the cardinals take an oath not to reveal anything of the proceedings, they will begin their work. The conclave could last several days, or extend almost two weeks. Deciding factors Inside the Sistine Chapel The cardinals will weigh various traits of papal candidates and issues, including: The chapel was built between 1475 and 1481, during the time of Pope Sixtus IV. ■■■■Leadership style Linguistic ability Radical or moderate leanings Whether to return the papacy to an Italian ■■■■Ecumenism and how to increase The shift from Catholicism to Effect of globalization, especially Autonomy for local dioceses dialogue with other religions, evangelical Protestant faiths, in developing countries especially Islam especially in Latin America The electorate Detailed Almost all of the 115 cardinals expected to vote in this conclave were appointed by Pope John Paul II. About half are from Europe. Cardinals, by region of origin Europe 58 Stoves Latin America 20 North America 14 (U.S. 11) Michelangelo’s “The Last Africa 11 Asia 10 Oceania 2 Judgment” The conclave Here’s how the process of choosing a new pope will unfold: Entrance to “Room of Tears” Scrutineers 5 3 4 Urns 6 1 2 I The voting The rectangular ballot bears the words “Eligo in Summum Pontificem” (I elect as supreme pontiff) with space at the bottom for the elector’s choice. -
New Mutants Epic Collection: Curse of the Valkyries Pdf, Epub, Ebook
NEW MUTANTS EPIC COLLECTION: CURSE OF THE VALKYRIES PDF, EPUB, EBOOK Louise Simonson | 496 pages | 13 Mar 2018 | Marvel Comics | 9781302910174 | English | New York, United States New Mutants Epic Collection: Curse Of The Valkyries PDF Book Immediately she and Brightwind were consumed in flame and began to attack the others with their new fiery powers Luckily, X-Factor's former wards, the X-Terminators, Community Reviews. Buy what you want today, pay for it over time. Cancel Update. Want to Read Currently Reading Read. Unfortunately just as Illyana ran into her mother's arms, Mirage screamed and collapsed. John Byrne Illustrations ,. Sort order. Swing through the checkout with Afterpay. This will not affect the original upload Small Medium How do you want the image positioned around text? Get weekly updates on new arrivals, reviews and recommended reads, links to cool places we find on the net and much more by signing up for our newsletter! And the Avengers never looked mightier than when Rictor began to quarrel with her, and teased her that he time-bomb didn't even work. JavaScript seems to be disabled in your browser. After that, Magneto turns bad, which is really stupid. Luckily, X-Factor's former wards, the X-Terminators, are on the scene! They aren't the X-Men-in-training anymore! Community Discussion. All prices are inclusive of VAT. Reset it. Right now, Vols. Derrick Ranostaj rated it really liked it Sep 12, It's the culmination of all the super-smart seeds DnA have planted throughout the series in a shocking story that - yeah, we're saying it - will change the New Mutants as you know them! Nobody has reviewed this product yet. -
Incest, Cannibalism, Filicide: Elements of the Thyestes Myth in Ovid’S Stories of Tereus and Myrrha
INCEST, CANNIBALISM, FILICIDE: ELEMENTS OF THE THYESTES MYTH IN OVID’S STORIES OF TEREUS AND MYRRHA Hannah Sorscher A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial ful- fillment of the requirements for the degree of Master of Arts in the Department of Classics. Chapel Hill 2017 Approved by: Sharon L. James James J. O’Hara Emily Baragwanath © 2017 Hannah Sorscher ALL RIGHTS RESERVED ii ABSTRACT Hannah Sorscher: Incest, Cannibalism, Filicide: Elements of the Thyestes Myth in Ovid’s Stories of Tereus and Myrrha (Under the direction of Sharon L. James) This thesis analyzes key stories in Books 6–10 of Ovid’s Metamorphoses through a focus on the pair of stories that bookend the central section of the poem, the narratives of Tereus and Myrrha. These two stories exemplify the mythic types of the family-centered stories in Books 6– 10: Tereus’ is a tale of filicide (specifically, filial cannibalism), while Myrrha’s features incest. Ovid links these stories through themes and plot elements that are shared with the tragedy of Thyestes, a paradigmatic tragic myth encompassing both filial cannibalism and incest, otherwise untold in the Metamorphoses. Through allusions to Thyestes’ myth, Ovid binds together the se- quence of human dramas in the poem, beginning and ending with the Tereus and Myrrha stories. Furthermore, the poet reinforces and signals the connections between the stories through textual echoes, lexical formulations, and shared narrative elements. iii TABLE OF CONTENTS Introduction………………………………………………………………………………………..1 Thyestes…………………………………………………………………………………………...2 Lexical Connections……………………………………………………………………………...13 Conclusion…………………………………………………………………………………….....34 Works Cited…………………………………………………………………………………...…3 iv Introduction In the central books of Ovid’s Metamorphoses, six episodes share a dark but very Ovidi- an theme: the destruction of human families. -
St. John – St. Paul Catholic Collaborative
St. John - St. Paul Collaborative Pentecost Sunday May 20, 2018 Mass Schedules Saint John the Evangelist Saint Paul Daily Mass 7:00am Daily Mass 9:00am Saturday Vigil Mass 5:00pm Saturday Vigil Mass 4:00pm Sunday Masses 7:30am Sunday Masses 7:30am 9:00am 9:00am 11:00am 11:00am 5:00pm Confession: Saturday 3:30 - 4:00pm Confession: Saturday 3:00 - 3:45pm (or by appointment) in the Chapel (or by appointment) www.sjspwellesley.org Serving Wellesley - Newton ST. JOHN - ST. PAUL COLLABORATIVE OUR COLLABORATIVE SJSP Collaborative Pastoral Council Sacramental and Devotional Services Carolyn Anderson (SJ) Jerry Kehoe (SJ) Anointing of the Sick: First Saturday, following the Jon Bonsall (SJ) Mary Mullen (SJ) 4:00pm Mass at St. Paul and the 5:00pm Mass at Leah Cinelli (SP) Edward Ryan (SP) St. John • Baptism: 1st & 3rd Sundays of the month at Rose Mary Donahue (SJ) Doug Smith (SP) St. Paul and the 2nd & 4th Sundays of the month at Mary Kay Heath (SP) Thomas Ulfelder (SP) St. John • Funeral: Contact the Parish • Marriage: Arrange six months prior • Confession: Saturdays, 3:00 to 3:45pm at St. Paul and 3:30pm at St. John in the Email: [email protected] Chapel (or by appointment) Collaborative Staff Collaborative Staff can be reached by calling the main number of either Parish Office - see below. Pastor Technology and Communications SP Religious Education Rev. James Laughlin Tricia Amend Bombara Kathy Curley, Grades 1-10 [email protected] [email protected] Donna Tosti, Administrative Assistant [email protected] Parochial Vicar SP Parish Secretary Rev. -
Singing for Dante in 'Purgatorio'
Bibliotheca Dantesca: Journal of Dante Studies Volume 1 Dante and Music Article 7 2018 SINGING FOR DANTE IN ‘PURGATORIO’ 30–31 Helena Phillips-Robins Follow this and additional works at: https://repository.upenn.edu/bibdant Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Italian Language and Literature Commons, Medieval History Commons, and the Music Commons Recommended Citation Phillips-Robins, Helena (2018) "SINGING FOR DANTE IN ‘PURGATORIO’ 30–31," Bibliotheca Dantesca: Journal of Dante Studies: Vol. 1 , Article 7. Available at: https://repository.upenn.edu/bibdant/vol1/iss1/7 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/bibdant/vol1/iss1/7 For more information, please contact [email protected]. Phillips-Robins: SINGING FOR DANTE Bibliotheca Dantesca, 1 (2018): 127-145 SINGING FOR DANTE IN ‘PURGATORIO’ 30–31 HELENA PHILLIPS-ROBINS, University of Cambridge This essay investigates types of sociality enacted through song, as depicted in Dante’s Earthly Paradise. The first section of the essay argues that the singing of Psalm 30 (In te, Domine, speravi) in Purgatorio 30 is a way of enacting a particular mode of compassion. In the second section of the essay I argue that Dante’s depiction of Psalm 30—together with his depiction of the antiphon sung in Purgatorio 31, the Asperges me—invites a devotional response from the reader. The sociality of prayer can involve not only the characters, but also the readers of the Commedia. I investigate the liturgical context in which Dante and medieval readers would have known and lived the Asperges me. I argue that here, at the end of the narrative of his penitential journey, Dante, with this antiphon, invites the reader to her own performance of penance. -
Combat Trauma in Dante's Inferno Patrick
A Hell of One’s Own: Combat Trauma in Dante’s Inferno Patrick Whalen Must you have battle in your heart forever? —Odyssey 12:132 ante Alighieri was twenty-four years old in 1289 when he saw combat in the Battle of Campaldino as a “feditore”, a cavalry soldier from Florence.1 From what we D know of the battle,2 Dante’s unit would have been one of the first to be engaged by the oncoming Aretine cavalry, and for the first several minutes of the battle, Dante would have faced the prospect of imminent death when he saw the men and horses of his unit dying as their resistance crumbled before the Aretine’s charge. The historian Herbert Oerter notes that the catastrophe of this initial attack actually saved the Florentine forces, and likely Dante with them, because it caused Corso Donati, the flamboyant commander of the Florentine reserves, to disregard his orders and commit to the battle immediately. His orders, on pain of death, were to wait for a signal from one of the senior officers, Guillaume de Durfort. But Guillaume was dying— bleeding out on the plain—and would never give the signal. As it happened, Corso’s reserve position was in defilade to the attacking Aretine’s northern flank. When Corso attacked, his cavalry pierced the unexpecting and unprotected flank of the Aretine force, causing massive chaos and an almost immediate disintegration of the Aretine attack. The battle was over in a few 1 Robert M. Durling and Ronald L. Martinez, Inferno (Oxford: Oxford University Press, 1996), 88. -
St. Celestine Feast: May 19
St. Celestine Feast: May 19 When the father of this Italian saint died, his good mother brought up her twelve children well, even though they were very poor. "Oh, if I could only have the joy of seeing one of you become a saint!" she use to say. Once when she asked as usual, "which one of you is going to become a saint?" little Peter (who was to become Pope Celestine) answered with all his heart, "Me, mama! I'll become a saint!" And he did. When he was twenty, Peter became a hermit and spent his days praying and reading the Holy Bible. If he was not praying or reading, he would copy books or do some hard work so that the devil would not find him doing nothing, and tempt him. Because other hermits kept coming to him and begging him to guide them, he started a new Order. Peter was an old monk, eighty-four years of age when he was made Pope. It came about in a very unusual way. For two years, there had been no Pope, because the Cardinals could not decide whom to choose. St. Peter sent them a message to decide quickly, for God was not pleased at the long delay. Then and there, they chose the holy old hermit himself! Poor Peter wept when he heard the news, but he sorrowfully accepted and took the name Celestine V. He was Pope only about five months. Because he was so humble and simple, everyone took advantage of him. He could not say "no" to anyone, and soon matters were in great confusion.