Dante's Inferno Study Guide
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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................................................................................................................................................................... -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
University of Florida Thesis Or Dissertation Formatting
THE ANATOMY OF ROMAN EPIC: A STUDY OF POETIC VIOLENCE By JAMES MOSS LOHMAR A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 James Moss Lohmar 2 Meis parentibus sororibusque bellis 3 ACKNOWLEDGMENTS I must first thank my mother, for forcing me to take Latin, and my father, for always talking shop. My sisters, Sarah and Elizabeth, have supported me throughout my studies, and their enthusiasm for my progress is always welcome. I have profound respect for Dr. Robert Burgess and Professors Mario Erasmo and James Anderson, without whose enthusiasm and instruction my decision to pursue a Ph.D. would have never come about. My gratitude goes to Professor Victoria Pagán and the students of her Lucan seminar during Fall 2009, whence the nascent stages of this project were born. My thanks go to Seth Boutin, Megan Daly and George Hendren, in particular, for their erudition and collegial support in this process. Lindsay Rogers offered me much support in the way of professional and academic advice throughout my graduate studies. I have appreciated the criticisms of Professor Gene Witmer in UF Philosophy, who has offered help in making this project appeal to a non-specialist audience. His suggestions of horror bibliography and modern film comparanda have been indispensible. Professor Kostas Kapparis has been a steady mentor in my teaching and writing since I began Ph.D. work, and his objectivity has kept my argument grounded in the text. -
Dante's Hell and Its Afterlife Spring 2013: Unique Numbers 64395, 64400, and 64405
UGS 303: Dante's Hell and Its Afterlife Spring 2013: Unique Numbers 64395, 64400, and 64405 Professor Guy P. Raffa Office: Homer Rainey Hall (HRH) 3.104A Department of French and Italian Office Hours: M 1:30-3:30, W 3-4, and by appointment E-mail: [email protected]; Phone: 232-5492 Home Page: http://uts.cc.utexas.edu/~guyr Teaching Assistant: TA E-mail and Phone: TA Office Hours: Lectures: MW 11-12 in Parlin 301 Discussion sections: F 9-10 in MAI 220C (64395) F 10-11 in MAI 220C (64400) F 11-12 in MAI 220C (64405) Course Description Dante Alighieri may not have invented Hell but he created the most powerful and enduring vision of the underworld as a place of eternal punishment for lost souls in the afterlife. This course takes you on a journey down through the nine circles of Hell presented in Dante's Inferno. "Danteworlds," a book and award-winning Web site created here at UT, will help guide you by portraying infernal creatures and scenes and by explaining the medieval poem's vast array of references to religion, philosophy, history, politics, and other works of literature. Along the way, you will encounter adaptations and echoes of Dante's Inferno in selected literary, artistic, cinematic, and popular works, ranging from Sandro Botticelli's illustrations, Mary Shelley's Frankenstein, and a silent Inferno film to T. S. Eliot's "The Love Song of J. Alfred Prufrock," Vincent Ward's What Dreams May Come, and Dante-inspired music and video games. Course themes, based on the Inferno and its resonance in modern culture, include moral values, emotional or psychological hell, religion and politics, oppression and injustice, attitudes toward gender and sexuality, and the risks and rewards of pursuing knowledge. -
Pausanias' Description of Greece
BONN'S CLASSICAL LIBRARY. PAUSANIAS' DESCRIPTION OF GREECE. PAUSANIAS' TRANSLATED INTO ENGLISH \VITTI NOTES AXD IXDEX BY ARTHUR RICHARD SHILLETO, M.A., Soiiii'tinie Scholar of Trinity L'olltge, Cambridge. VOLUME IT. " ni <le Fnusnnias cst un homme (jui ne mnnquo ni de bon sens inoins a st-s tlioux." hnniie t'oi. inais i}iii rn>it ou au voudrait croire ( 'HAMTAiiNT. : ftEOROE BELL AND SONS. YOUK STIIKKT. COVKNT (iAKDKX. 188t). CHISWICK PRESS \ C. WHITTINGHAM AND CO., TOOKS COURT, CHANCEKV LANE. fA LC >. iV \Q V.2- CONTEXTS. PAGE Book VII. ACHAIA 1 VIII. ARCADIA .61 IX. BtEOTIA 151 -'19 X. PHOCIS . ERRATA. " " " Volume I. Page 8, line 37, for Atte read Attes." As vii. 17. 2<i. (Catullus' Aft is.) ' " Page 150, line '22, for Auxesias" read Anxesia." A.-> ii. 32. " " Page 165, lines 12, 17, 24, for Philhammon read " Philanimon.'' " " '' Page 191, line 4, for Tamagra read Tanagra." " " Pa ire 215, linu 35, for Ye now enter" read Enter ye now." ' " li I'aijf -J27, line 5, for the Little Iliad read The Little Iliad.'- " " " Page ^S9, line 18, for the Babylonians read Babylon.'' " 7 ' Volume II. Page 61, last line, for earth' read Earth." " Page 1)5, line 9, tor "Can-lira'" read Camirus." ' ; " " v 1'age 1 69, line 1 , for and read for. line 2, for "other kinds of flutes "read "other thites.'' ;< " " Page 201, line 9. for Lacenian read Laeonian." " " " line 10, for Chilon read Cliilo." As iii. 1H. Pago 264, " " ' Page 2G8, Note, for I iad read Iliad." PAUSANIAS. BOOK VII. ACIIAIA. -
Dante's Inferno</H1>
Dante's Inferno Dante's Inferno The Divine Comedy of Dante Alighieri Translated by Henry Wadsworth Longfellow Volume 1 This is all of Longfellow's Dante translation of Inferno minus the illustrations. It includes the arguments prefixed to the Cantos by the Rev. Henry Frances Carey, M,.A., in his well-known version, and also his chronological view of the age of Dante under the title of What was happening in the World while Dante Lived. If you find any correctable errors please notify me. My email addresses for now are [email protected] and [email protected]. David Reed Editorial Note page 1 / 554 A lady who knew Italy and the Italian people well, some thirty years ago, once remarked to the writer that Longfellow must have lived in every city in that county for almost all the educated Italians "talk as if they owned him." And they have certainly a right to a sense of possessing him, to be proud of him, and to be grateful to him, for the work which he did for the spread of the knowledge of Italian Literature in the article in the tenth volume on Dante as a Translator. * * * * * The three volumes of "The Divine Comedy" were printed for private purposes, as will be described later, in 1865-1866 and 1877, but they were not actually given to the public until the year last named. Naturally enough, ever since Longfellow's first visit to Europe (1826-1829), and no doubt from an eariler date still, he had been interested in Dante's great work, but though the period of the incubation of his translation was a long one, the actual time engaged in it, was as he himself informs us, exactly two years. -
159Dante Peklo.Pdf
Dante Alighieri edice EUROPA Kniha byla zakoupena na serveru Palmknihy.cz. Kupující: Jindriska Svobodova Adresa: Radova, 62300 BRNO, cz ID 8545-45090944295687107034-159-120 Upozorňujeme, že kniha je určena pouze pro potřeby kupujícího. Kniha jako celek ani žádná její část nesmí být volně šířena na internetu, ani jinak dále zveřejňována. V případě dalšího šíření neoprávněně zasáhnete do autorského práva s důsledky dle platného autorského zákona a trestního zákoníku. Neoprávněným šířením knihy poškodíte rozvoj elektronických knih v České republice. Tak nám, prosím, pomozte v rozvoji e-knih a chovejte se ke knize, k vydavatelům, k autorům a také k nám fér. Jindriska Svobodova » Radova, 62300 BRNO, cz Dante Alighieri Peklo Přeložil Vladimír Mikeš ACADEMIA PRAHA 2007 Jindriska Svobodova » Radova, 62300 BRNO, cz KATALOGIZACE V KNIZE – NÁRODNÍ KNIHOVNA ČR Dante Alighieri, 1265-1321 Peklo / Dante Alighieri ; přeložil Vladimír Mikeš. – Vyd. 3., (V Academii 1.). – Praha : Academia, 2007. – (Europa ; sv. 7) Přeloženo z italštiny ISBN 978-80-200-1504-4 821.131.1-1 - italská poezie - alegorie 821.131.1-1 - Italská poezie [11] Translation © Vladimír Mikeš, 1978, 1996, 2007 Notes and epilogues © Vladimír Mikeš, 1978, 1996, 2007 ISBN 978-80-200-1504-4 Jindriska Svobodova » Radova, 62300 BRNO, cz PEKLO Jindriska Svobodova » Radova, 62300 BRNO, cz ZPĚV PRVNÍ Ve věku pětatřiceti let, v noci, Dante zabloudí v temném lese. Za úsvitu se pokouší z něho vyjít, zamíří k vrchu ozářenému sluncem, ale tři šelmy (pardál – smyslnost, lev – pýcha a vlčice – lakota) mu brání v cestě. Málem se zřítil do propasti, jak před nimi ustupoval. A tu se mu zjeví Vergiliův stín a nabízí mu jako jediné východisko sestup do pekel a cestu očistcem k ráji. -
Dante Alighieri's Divine Comedy – Inferno
DIVINE COMEDY -INFERNO DANTE ALIGHIERI HENRY WADSWORTH LONGFELLOW ENGLISH TRANSLATION AND NOTES PAUL GUSTAVE DORE´ ILLUSTRATIONS JOSEF NYGRIN PDF PREPARATION AND TYPESETTING ENGLISH TRANSLATION AND NOTES Henry Wadsworth Longfellow ILLUSTRATIONS Paul Gustave Dor´e Released under Creative Commons Attribution-Noncommercial Licence. http://creativecommons.org/licenses/by-nc/3.0/us/ You are free: to share – to copy, distribute, display, and perform the work; to remix – to make derivative works. Under the following conditions: attribution – you must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work); noncommercial – you may not use this work for commercial purposes. Any of the above conditions can be waived if you get permission from the copyright holder. English translation and notes by H. W. Longfellow obtained from http://dante.ilt.columbia.edu/new/comedy/. Scans of illustrations by P. G. Dor´e obtained from http://www.danshort.com/dc/, scanned by Dan Short, used with permission. MIKTEXLATEX typesetting by Josef Nygrin, in Jan & Feb 2008. http://www.paskvil.com/ Some rights reserved c 2008 Josef Nygrin Contents Canto 1 1 Canto 2 9 Canto 3 16 Canto 4 23 Canto 5 30 Canto 6 38 Canto 7 44 Canto 8 51 Canto 9 58 Canto 10 65 Canto 11 71 Canto 12 77 Canto 13 85 Canto 14 93 Canto 15 99 Canto 16 104 Canto 17 110 Canto 18 116 Canto 19 124 Canto 20 131 Canto 21 136 Canto 22 143 Canto 23 150 Canto 24 158 Canto 25 164 Canto 26 171 Canto 27 177 Canto 28 183 Canto 29 192 Canto 30 200 Canto 31 207 Canto 32 215 Canto 33 222 Canto 34 231 Dante Alighieri 239 Henry Wadsworth Longfellow 245 Paul Gustave Dor´e 251 Some rights reserved c 2008 Josef Nygrin http://www.paskvil.com/ Inferno Figure 1: Midway upon the journey of our life I found myself within a forest dark.. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Recognition and its Dilemmas in Roman Epic Permalink https://escholarship.org/uc/item/4hn808p4 Author Librandi, Diana Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Recognition and its Dilemmas in Roman Epic A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics by Diana Librandi 2021 © Copyright by Diana Librandi 2021 ABSTRACT OF THE DISSERTATION Recognition and its Dilemmas in Roman Epic by Diana Librandi Doctor of Philosophy in Classics University of California, Los Angeles, 2021 Professor Francesca Katherine Martelli, Chair The present dissertation examines the widespread presence of tropes of tragic recognition in Roman epic poetry from an interdisciplinary perspective. I argue that Roman epic poets draw at once on tragedy and ancient philosophy to address the cognitive instability generated by civil war, an event which recurrently marks the history of Rome since its foundation. When civil conflicts arise, the shifting categories of friend and enemy, kin and stranger, victor and vanquished, generate a constant renegotiation of individual identities and interpersonal relationships. It is in light of these destabilizing changes that I interpret the Roman epic trend of pairing civil war narratives with instances of tragic recognition. Far from working exclusively as a plot device or as a marker of the interaction between the genres of epic and tragedy, tropes of tragic recognition in Roman epic are conducive to exploring the epistemological and ethical dilemmas posed by civil war. -
Cari Dantisti: I Very Much Enjoyed Our First Session Together on 9/30 And
Cari Dantisti: I very much enjoyed our first session together on 9/30 and am grateful to those of you who’ve written with your own reactions. There was nothing tentative about our beginning; we are already well on our way. That said, I know from Sharon Small that there were raised hands that were not acknowledged. Also, because text largely occupied the screen, you were not able to see one another. And we were only looking at snippets of text rather than the entire canto under discussion. So, I’d like us to try something different on 10/7. Please have your Durling-Martinez text available so that we can work from it: can read from the text, paraphrase it, comment on it, draw your attention to this or that line. All of this by way of setting you up for Q&A and discussion. A great additional resource is Columbia University’s dedicated Dante website (https://digitaldante.columbia.edu/dante/divine-comedy/). where you can find for each canto the text (along with Longfellow and Mandelbaum translations), a written commentary by Teodolinda Barolini, a taped hour-long lecture by Barolini (select “video”), and a reading of the poem in Italian by a native speaker (“audio”). This site is a treasure trove. Another treasure is Lino Pertile’s “Introduction to the INFERNO” in the Cambridge Companion to Dante, 2nd ed. I’ve just gotten a pdf of the chapter and attach it to this email. It’s comprehensive and beautifully written. All of these are extras, which I draw your attention to while we are proceeding at a leisurely pace compared to our velocity in the succeeding weeks, Although you may not have time or inclination to pursue them now, I want you to know that they are there if and when you are interested in going further. -
Myth in Dante and Petrarch
MYTH IN DANTE AND PETRARCH J. A. Scott THE ANNUAL LECTURE delivered to The Australian Academy of the Humanities at its Twentieth Annual General Meeting at Canberra on 23 September 1987 Australian Academy of the Humanities, Proceedings 14, 1987-89 The sheer presence of classical - not to speak of Christian - myths in Dante's Comedy is overwhelming (as is his astonishing choice of the pagan poet Virgil to be his guide through both Hell and Purgatory), especially when we remember that a contemporary bishop went to great lengths to apologize for simply reading some of Virgil's poetry and that in his early poetry Dantc had not shown any predilection for classical myths. Suddenly, about the year 1307, in exile and after a few years of intense study, Dante began to write a unique work in which he set out to depict the entire universe as experienced by men and women. He called it his "comedy" as it was intended to describe both the sublime and the vulgar aspects of this experience, thus reflecting the whole gammut of human emotions and their language. And, by a miracle of genius. Dame decided to show us his moral message as illustrated in the lives of real men and women, most of whom were contemporaries or near contempor-aries. No critic has expressed this better than Etienne Gilson, who points out:'// n'y a pas un seal morf dans tome la Divine Co&e.' Even as he discarded the medieval reliance on allegory, so one would expect the Christian poet to have eschewed the figures and legends of classical mythology. -
The Two Voices of Statius: Patronymics in the Thebaid
The Two Voices of Statius: Patronymics in the Thebaid. Kyle Conrau-Lewis This thesis is submitted in total fulfilment of the requirements for the degree of Master of Arts School of Historical and Philosophical Studies University of Melbourne, November 2013. 1 This is to certify that: 1. the thesis comprises only my original work towards the degree of master of arts except where indicated in the Preface, 2. due acknowledgement has been made in the text to all other material used, 3. the thesis is less than 50,000 words in length, exclusive of tables, maps, bibliographies and appendices. 2 Contents Abstract 4 Introduction 5 Chapter 1 24 Chapter 2 53 Chapter 3 87 Conclusion 114 Appendix A 117 Bibliography 121 3 Abstract: This thesis aims to explore the divergent meanings of patronymics in Statius' epic poem, the Thebaid. Statius' use of language has often been characterised as recherché, mannered and allusive and his style is often associated with Alexandrian poetic practice. For this reason, Statius' use of patronymics may be overlooked by commentators as an example of learned obscurantism and deliberate literary self- fashioning as a doctus poeta. In my thesis, I argue that Statius' use of patronymics reflects a tension within the poem about the role and value of genealogy. At times genealogy is an ennobling feature of the hero, affirming his military command or royal authority. At other times, a lineage is perverse as Statius repeatedly plays on the tragedy of generational stigma and the liability of paternity. Sometimes, Statius points to the failure of the son to match the character of his father, and other times he presents characters without fathers and this has implications for how these characters are to be interpreted.