The Divine Comedy by Dante Alighieri (1265-1321)
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Tables of Contemporary Chronology, from the Creation to A. D. 1825
: TABLES OP CONTEMPORARY CHUONOLOGY. FROM THE CREATION, TO A. D. 1825. \> IN SEVEN PARTS. "Remember the days of old—consider the years of many generations." 3lorttatttt PUBLISHED BY SHIRLEY & HYDE. 1629. : : DISTRICT OF MAItfE, TO WIT DISTRICT CLERKS OFFICE. BE IT REMEMBERED, That on the first day of June, A. D. 1829, and in the fifty-third year of the Independence of the United States of America, Messrs. Shiraey tt Hyde, of said District, have deposited in this office, the title of a book, the right whereof they claim as proprietors, in the words following, to wit Tables of Contemporary Chronology, from the Creation, to A.D. 1825. In seven parts. "Remember the days of old—consider the years of many generations." In conformity to the act of the Congress of the United States, entitled " An Act for the encouragement of learning, by securing the copies of maps, charts, and books, to the authors and proprietors of such copies, during the times therein mentioned ;" and also to an act, entitled "An Act supplementary to an act, entitled An Act for the encouragement of learning, by securing the copies of maps, charts and books, to the authors and proprietors of such copies, during the times therein mentioned ; and for extending the benefits thereof to the arts of designing, engraving, and etching historical and other prints." J. MUSSEV, Clerk of the District of Maine. A true copy as of record, Attest. J MUSSEY. Clerk D. C. of Maine — TO THE PUBLIC. The compiler of these Tables has long considered a work of this sort a desideratum. -
The Thirteenth Century
1 SHORT HISTORY OF THE ORDER OF THE SERVANTS OF MARY V. Benassi - O. J. Diaz - F. M. Faustini Chapter I THE THIRTEENTH CENTURY From the origins of the Order (ca. 1233) to its approval (1304) The approval of the Order. In the year 1233... Florence in the first half of the thirteenth century. The beginnings at Cafaggio and the retreat to Monte Senario. From Monte Senario into the world. The generalate of St. Philip Benizi. Servite life in the Florentine priory of St. Mary of Cafaggio in the years 1286 to 1289. The approval of the Order On 11 February 1304, the Dominican Pope Benedict XI, then in the first year of his pontificate, sent a bull, beginning with the words Dum levamus, from his palace of the Lateran in Rome to the prior general and all priors and friars of the Order of the Servants of Saint Mary. With this, he gave approval to the Rule and Constitutions they professed, and thus to the Order of the Servants of Saint Mary which had originated in Florence some seventy years previously. For the Servants of Saint Mary a long period of waiting had come to an end, and a new era of development began for the young religious institute which had come to take its place among the existing religious orders. The bull, or pontifical letter, of Pope Benedict XI does not say anything about the origins of the Order; it merely recognizes that Servites follow the Rule of St. Augustine and legislation common to other orders embracing the same Rule. -
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. -
Women in Hell Donne All'inferno
All’Inferno, e anche in quello dantesco, non c’è solo Francesca alla quale da anni sono dedicate giornate di studio prima riminesi e quest’anno anche californiane. Sembra infatti che spesso la condizione infernale femminile sia sottovalutata, o addirittura messa da parte, qualche volta con malcelato fastidio. E non solo in Dante: anche nella società, 2012 e quindi anche nella letteratura, che della società è sempre in qualche modo uno specchio. Questo convegno quindi vuol contribuire a pareggiare i conti e a colmare qualche lacuna. Donne letterarie, quindi, precipitate in un qualche inferno (vero o metaforico) per le loro colpe, o per la loro passione, o per quello che una volta si definiva la follia. O per scelta, anche. O semplicemente per la loro natura di donne, spesso innocenti. È un aspetto della condizione femminile da scoprire, ancora oggi. E su cui riflettere. Così, anche questa volta, la vera Francesca, quella da Rimini, Giornate Internazionali Francesca da Rimini avrà avuto la sua giusta considerazione: come la prima, forse, delle donne Sesta edizione (celebri, ma anche quasi anonime come lei) che ha elevato la sua dannazione a simbolo o a metafora di una vita comunque esemplare: anche, e soprattutto, nel dolore, nel ‘peccato’ Los Angeles, 20-21 aprile 2012 e nell’emarginazione. Grazie a Dante, naturalmente. Il convegno di Los Angeles è il sesto appuntamento internazionale all’insegna di Francesca da Rimini per discutere e riflettere sul significato, il valore e i valori del suo mito, tra i più diffusi, popolari, radicati e longevi della cultura occidentale, dilagato da due secoli, in tutti i continenti in tutte le forme d’espressione artistica. -
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 -
Katabasis in Eliot's the Waste Land
“I had not thought death had undone so many”: Katabasis in Eliot’s The Waste Land Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in English in the undergraduate colleges of The Ohio State University by Noah Mastruserio The Ohio State University May 2018 Project Advisor: Professor Sebastian Knowles, Department of English 1 Introduction Of the many works referenced in Eliot’s The Waste Land, Dante’s Divine Comedy holds the most prominent position. Eliot’s dedication to Pound on the title page alludes to a line from Purgatorio, and Dante makes an appearance in every section of the poem, either by direct quote or veiled allusion. Such an association brings Dante’s journey through the Underworld to the forefront of the mind when reading The Waste Land, and provides one of the easiest avenues toward unpacking the poem’s density. But I propose that the poem’s exploration of the Underworld extends beyond a kinship to Dante and toward a deeper structural and thematic debt to the narrative of the katabasis, the descent into the Underworld. I suggest that the five parts of The Waste Land can be united via a traditional katabasis narrative, a narrative of metamorphosis and self-refinement. The katabasis is only one of the many classical and mythological structures Eliot employs throughout the poem. Already thoroughly explored in criticism are his use of the Grail legend1 and the burial and rebirth of a dying god figure. Less so is the appearance of the katabasis in the poem. The poem’s debt to Dante is obvious, but the presence of katabasis extends beyond Eliot quoting pieces of Inferno. -
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. -
Download a Pdf File of This Issue for Free
Issue 70: Dante's Guide to Heaven and Hell Dante and the Divine Comedy: Did You Know? What a famous painting suggests about Dante's life, legend, and legacy. Big Man in the Cosmos A giant in the world of which he wrote, laurel-crowned Dante stands holding his Divine Comedy open to the first lines: "Midway this way of life we're bound upon, / I woke to find myself in a dark wood, / Where the right road was wholly lost and gone." Of course, his copy reads in Italian. Dante was the first major writer in Christendom to pen lofty literature in everyday language rather than in formal Latin. Coming 'Round the Mountain Behind Dante sits multi-tiered Mount Purgatory. An angel guards the gate, which stands atop three steps: white marble for confession, cracked black stone for contrition, and red porphyry for Christ's blood sacrifice. With his sword, the angel marks each penitent's forehead with seven p's (from Latin peccatum, "sin") for the Seven Deadly Sins. When these wounds are washed away by penance, the soul may enter earthly paradise at the mountain's summit. Starry Heights In Paradiso, the third section of the Comedy, Dante visits the planets and constellations where blessed souls dwell. The celestial spheres look vague in this painting, but Dante had great interest in astronomy. One of his astronomical references still puzzles scholars. He notes "four stars, the same / The first men saw, and since, no living eye" (Purgatorio, I.23-24), apparently in reference to the Southern Cross. But that constellation was last visible at Dante's latitude (thanks to the earth's wobbly axis) in 3000 B.C., and no one else wrote about it in Europe until after Amerigo Vespucci's voyage in 1501. -
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 -
“And Lo, As Luke Sets Down for Us”: Dante's Re-Imagining of The
religions Article “And Lo, As Luke Sets Down for Us”: Dante’s Re-Imagining of the Emmaus Story in Purgatorio XXIX–XXXIII Jane Kelley Rodeheffer Humanities/Teacher Education Division, Seaver College, Pepperdine University, Malibu, CA 90263, USA; janekelley.rodeheff[email protected] Received: 6 March 2019; Accepted: 28 April 2019; Published: 14 May 2019 Abstract: This essay will suggest that Dante’s journey through the earthly paradise in the Purgatorio is a figural representation of the journey of Cleopas and the unnamed disciple on the road to Emmaus in Luke 24. By making several references to the Gospel of Luke, Dante seems to be setting the stage for the reader to understand his own pilgrimage through the Garden of Eden as a retelling of the Emmaus story in the context of the Church Triumphant. Indeed, reading Luke 24 alongside Cantos XXIX–XXXI of the Purgatorio helps students to unpack the complex images of Dante’s experience in light of the themes present in the Emmaus story. For example, the concealment of Beatrice’s face and the gradual unveiling of her beauty mirrors Christ’s gradual revelation of his nature to Cleopas and the unnamed disciple. Cleopas and his companion also walk away from the promise of God revealed in Christ by leaving Jerusalem, just as Dante “took himself” from Beatrice and “set his steps upon an untrue way” (XXX 125, 130). In developing these and other parallels as well as elaborating on their significance for the latter cantos of the Purgatorio, this essay will attempt to establish a pedagogical approach to Books XXIX–XXX that draws on students’ recollections of the familiar Gospel text of Emmaus, which Dante clearly intends (among others) as a resource for appreciating his vision of an essential passage in Christian life. -
Introduction."
O’Brien, Catherine. "Introduction." : . London: Bloomsbury Academic, 2018. 1–12. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781350003309.0005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 12:51 UTC. Copyright © O’Brien 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Introduction A statue of a Madonna and Child in a New York kitchen appears in the opening shot of Martin Scorsese’s Who’s That Knocking at My Door (1967–9); and the final image ofSilence (2016) is of a handmade crucifix glowing in the flames of a crematory fire in seventeenth-century Japan. It is inarguable that there is a Catholic dimension to Scorsese’s filmography that can be traced from the Marian icon in his first full-length feature right through to his movie about Jesuit priests that was released around fifty years later. With due respect paid to the scale of the task, the following chapters engage with that particular cinematic trajectory and take seriously the oft-quoted words of the director himself: ‘My whole life has been movies and religion. That’s it. Nothing else.’ Scorsese was born in 1942, educated by the Sisters of Charity and received his religious instruction before the mood of aggiornamento that was heralded by Pope John XXIII’s instigation of Vatican II (the Second Vatican Council of 1962– 5), which was an effort to modernize the Catholic Church. Indeed, religion(s) played a role in the young boy’s life, even down to the fact that his father Charles earned pragmatic money by lighting the stoves for his Jewish neighbours on the Sabbath.