Notes on the Divine Comedy
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The Divine Comedy Inferno • Purgatory • Paradise • a Life of Dante POETRY Read by Heathcote Williams with John Shrapnel Inferno
Dante The Divine Comedy Inferno • Purgatory • Paradise • A Life of Dante POETRY Read by Heathcote Williams with John Shrapnel Inferno 1 Canto I 7:43 2 Canto II 7:27 3 Canto III 7:45 4 Canto IV 8:02 5 Canto V 8:16 6 Canto VI 6:55 7 Canto VII 7:44 8 Canto VIII 7:28 9 Canto IX 7:34 10 Canto X 7:29 11 Canto XI 5:51 12 Canto XII 7:03 13 Canto XIII 7:21 14 Canto XIV 7:50 15 Canto XV 5:58 16 Canto XVI 7:39 2 17 Canto XVII 6:30 18 Canto XVIII 7:36 19 Canto XIX 6:35 20 Canto XX 6:29 21 Canto XXI 6:18 22 Canto XXII 7:11 23 Canto XXIII 8:00 24 Canto XXIV 7:45 25 Canto XXV 7:17 26 Canto XXVI 7:36 27 Canto XXVII 6:21 28 Canto XXVIII 7:43 29 Canto XXIX 7:10 30 Canto XXX 7:57 31 Canto XXXI 7:55 32 Canto XXXII 6:35 33 Canto XXXIII 8:34 34 Canto XXXIV 8:30 Time: 4:10:30 3 Purgatory 35 Canto I 8:16 36 Canto II 8:01 37 Canto III 8:24 38 Canto IV 8:45 39 Canto V 8:23 40 Canto VI 9:01 41 Canto VII 7:35 42 Canto VIII 8:11 43 Canto IX 9:00 44 Canto X 8:20 45 Canto XI 8:14 46 Canto XII 7:54 47 Canto XIII 9:07 48 Canto XIV 8:05 49 Canto XV 8:31 50 Canto XVI 8:11 4 51 Canto XVII 8:13 52 Canto XVIII 7:53 53 Canto XIX 8:17 54 Canto XX 8:28 55 Canto XXI 8:11 56 Canto XXII 8:12 57 Canto XXIII 7:44 58 Canto XXIV 8:55 59 Canto XXV 8:06 60 Canto XXVI 8:28 61 Canto XXVII 8:09 62 Canto XXVIII 7:47 63 Canto XXIX 7:20 64 Canto XXX 7:55 65 Canto XXXI 7:58 66 Canto XXXII 8:32 67 Canto XXXIII 8:59 Time: 4:33:28 5 Paradise 68 Canto I 8:42 69 Canto II 8:36 70 Canto III 6:38 71 Canto IV 7:48 72 Canto V 7:47 73 Canto VI 7:44 74 Canto VII 8:12 75 Canto VIII 7:41 76 Canto IX 7:48 -
A REFORMULATION of NEW Chiticism A
A REFORMULATION OF NEW ChITICISM A Thesis Presented to the Faculty of the Department of Englis~ Kansas State Teachers College In Partial Fulfillment of the Requirements for the Degree Master of Arts by Paul D. Hahn July 28 t 1972 j'l. App Graduate Counci: 4 327730 PREFACE Because recent trends in new criticism include tendencies toward misunderstanding of the theory and new discoveries by which explication may more easily be applied to literature, there exists a need for a reformulation of the principles of new criticism. Explica tion should be made a simple but complete system of critical concepts which are simultaneously applicable to a work of literature and which better aid the reader toward an understanding of a work's total meaning. Such a system of concepts is attempted in the following study and is then illustrated by application to "Burnt Norton," sections one and two, in T. S. Eliot's Four guartets. This author would like to express his appreciation to Dr. Green D. Wyrick, whose dedicated teaching of literary criticism and of modern poetry motivated this study and whose many useful suggestions have helped in the writing of the text. Dr. Charles E. Walton is also gratefully acknowledged for his help in the preparation of this pape~. July 28, 1972 ? D. ?. Emporia, Kansas TABLE OF CONTENTS CHAPTER PAGE PREFACE . • . iil I. THEORY: A SYSTEMATIC METHOD OF EXPLICATION . • . 1 II. PRACTICE: AN EXPLICATION OF "BURNT NORTON," SECTIONS I AND II . • . • . 60 BI BLI OGRAPH Y . • . 121 CHAPTER I THEORYz A SYSTEMATIC METHOD OF EXPLICATION -
Teaching Dante
Teaching Teaching Dante • Christopher Metress Teaching Dante Edited by Christopher Metress Printed Edition of the Special Issue Published in Religions www.mdpi.com/journal/religions Teaching Dante Teaching Dante Special Issue Editor Christopher Metress MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tokyo • Cluj • Tianjin Special Issue Editor Christopher Metress Samford University USA Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Religions (ISSN 2077-1444) (available at: https://www.mdpi.com/journal/religions/special issues/Dante). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03928-472-6 (Pbk) ISBN 978-3-03928-473-3 (PDF) Cover image courtesy of Christopher Metress. c 2020 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. Contents List of Contributors ............................................ vii About the Special Issue Editor ...................................... ix Preface to “TCIT Series” .......................................... xi Christopher Metress Introduction: Teaching Dante Reprinted from: Religions 2020, 11, 82, doi:10.3390/rel11020082 .................... 1 Albert Russell Ascoli Starring Dante Reprinted from: Religions 2019, 10, 319, doi:10.3390/rel10050319 .................. -
Authorial Agency and Textual Borrowing in Inferno XIII
Syracuse University SURFACE at Syracuse University Languages, Literatures, and Linguistics College of Arts and Sciences 2015 «Tante voci [. .] tra quei bronchi1»: Authorial Agency and Textual Borrowing in Inferno XIII Anne C. Leone Syracuse University Follow this and additional works at: https://surface.syr.edu/lll Part of the Italian Language and Literature Commons Recommended Citation Leone, Anne C. “« TANTE VOCI [. .] TRA QUEI BRONCHI »: AUTHORIAL AGENCY AND TEXTUAL BORROWING IN INFERNO XIII.” Le Tre Corone, vol. 2, 2015, pp. 111–130. https://www.jstor.org/stable/ 26493434 This Article is brought to you for free and open access by the College of Arts and Sciences at SURFACE at Syracuse University. It has been accepted for inclusion in Languages, Literatures, and Linguistics by an authorized administrator of SURFACE at Syracuse University. For more information, please contact [email protected]. «Tante voci [. .] tra quei bronchi1»: Authorial Agency and Textual Borrowing in Inferno XIII Anne Leone In Inferno XIII, Virgil and Dante-the pilgrim speak with two souls guilty of suicide: an anonymous Florentine and Pier delle Vigne, the chancellor of Frederick II and a gifted rhetorician, who, accused of betraying his master, killed himself.2 The suicides in Hell endure a strange combination of punishments. Instead of radiating aerial bodies that resemble human forms, as do most of the other souls in Dante’s Hell,3 the suicides’ souls are trapped in the form of trees, or, to use Leo Spitzer’s useful expression, they radiate ‘arboreal bodies’.4 The Harpies wound the suicides by feeding on their leaves, thereby enabling them to speak, albeit through bloody words.