Dante Alighieri
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The Political Persecution of a Poet: a Detail of Dante's Exile
Parkland College A with Honors Projects Honors Program 2012 The olitP ical Persecution of a Poet: A Detail of Dante's Exile Jason Ader Parkland College Recommended Citation Ader, Jason, "The oP litical Persecution of a Poet: A Detail of Dante's Exile" (2012). A with Honors Projects. 44. http://spark.parkland.edu/ah/44 Open access to this Article is brought to you by Parkland College's institutional repository, SPARK: Scholarship at Parkland. For more information, please contact [email protected]. THE POLITICAL PERSECUTION OF A POET A Detail of Dante's Exile By Jason Ader John Poling History 101 April 2012 Durante degli Alighieri, known throughout the world as simply Dante, was a fourteenth century Italian poet, philosopher, literary theorist, and politician. He is best known for his epic Commedia, which was later dubbed The Divine Comedy. Commedia is generally considered the greatest Italian literary work and a masterpiece of world literature.1 Due to the turbulent political atmosphere of his time and place, Dante spent over a third of his life living in exile. This paper will explore the details of Dante's exile and the influence that it had upon his work. Dante was born in Florence around 1265 to an aristocratic family of moderate wealth and status. Dante's father was a notary, and Dante was the only child of his father's first marriage. Dante's mother died when he was about thirteen years old. His father then remarried and his second wife bore another son and two daughters before he too died when Dante was about eighteen.2 It is thought that at around six years of age Dante entered school. -
Middle Ages of the City
Chapter 5 Merchants and Bowmen: Middle Ages of the City Once past, dreams and memories are the same thing. U. piersanti, L’uomo delle Cesane (1994) It’s a beautiful day in May. We find ourselves in Assisi, the city of saints Francis and Clare. The “Nobilissima parte de sopra” and the “Magnifica parte de sotto” (the Most Noble Upper Part and the Magnificent Lower Part), which represent the districts of the city’s theoretical medieval subdivision, challenge each oth- er to a series of competitions: solemn processions, feats of dexterity, songs, challenges launched in rhyme, stage shows. In this way, it renews the medieval tradition of canti del maggio (May songs), performed in the piazzas and under girls’ balconies by bands of youths wandering the city. A young woman is elect- ed Madonna Primavera (Lady Spring). We celebrate the end of winter, the return of the sun, flowers, and love. This medieval festival, resplendent with parades, flag bearers, ladies, knights, bowmen, and citizen magistrates, re- sounding with songs, tambourines, and trumpets, lasts three days and involves the entire population of Assisi, which finds itself, together with tourists and visitors, immersed in the atmosphere of a time that was. At night, when the fires and darkness move the shadows and the natural odors are strongest, the magic of the illusion of the past reaches its highest pitch: Three nights of May leave their mark on our hearts Fantasy blends with truth among sweet songs And ancient history returns to life once again The mad, ecstatic magic of our feast.1 Attested in the Middle Ages, the Assisan Calendimaggio (First of May) reap- peared in 1927 and was interrupted by the Second World War, only to resume in 1947. -
Battle of Montaperti: 4 Sept. 1260 Firenze V
Battle of Montaperti: 4 Sept. 1260 Firenze v. Siena Guelf v. Ghibelline 5 yrs after they had signed an 'eternal peace' 35,000 v. 20,000 Biggest and bloodiest battle of the Italian Middle Ages Banner at Firenze-Siena soccer match, 5 Mar. 2006 Dante Alighieri, 1265-1321 His true love, the (married) Beatrice Portinari Duomo of Orvieto (by Henry Holiday, 1883) Divine Comedy, 1308-1321: 100 cantos Michelino's fresco of Dante and his Divine Comedy, nave of the Duomo of Firenze, 1465 Inferno: Canto 1 1 Nel mezzo del cammin di nostra vita 2 mi ritrovai per una selva oscura, 3 ché la diritta via era smarrita. 4 Ahi quanto a dir qual era è cosa dura 5 esta selva selvaggia e aspra e forte 6 che nel pensier rinova la paura! 10 Io non so ben ridir com' i' v'intrai, 11 tant' era pien di sonno a quel punto 12 che la verace via abbandonai. http://dantelab.dartmouth.edu/ 58 tal mi fece la bestia sanza pace, 59 che, venendomi 'ncontro, a poco a poco 60 mi ripigneva là dove 'l sol tace. Virgil, Roman poet, 70-19 BC, author of The Aeneid 91 “A te convien tenere altro vïaggio,” 92 rispuose, poi che lagrimar mi vide, 93 “se vuo' campar d'esto loco selvaggio; Ingres, "Gianciotto discovers Paolo Inferno: Canto 5 and Francesca" (1819) 106 "Amor condusse noi ad una morte. 127 Noi leggiavamo un giorno per diletto 128 di Lancialotto come amor lo strinse; 129 soli eravamo e sanza alcun sospetto. 130 Per più fïate li occhi ci sospinse 131 quella lettura, e scolorocci il viso; 132 ma solo un punto fu quel che ci vinse. -
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. -
Inventario (1
INVENTARIO (1 - 200) 1 Scatola contenente tre fascicoli. V. segn. 1 ELETTRICE PALATINA ANNA MARIA LUISA DE’ MEDICI 1 Lettere di auguri natalizi all’elettrice palatina Anna Maria Luisa de’ Medici di: Filippo Acciaiuoli, cc.2-4; Faustina Acciaiuoli Bolognetti, cc.5-7; Isabella Acquaviva Strozzi, cc.8-10; cardinale Alessandro Albani, cc.11-13; Fi- lippo Aldrovandi Marescotti, cc.14-16; Maria Vittoria Altoviti Cor- sini, cc.17-19; Achille Angelelli, cc.20-23; Roberto Angelelli, cc.24- 26; Dorothea Angelelli Metternich, cc.27-29; Lucrezia Ansaldi Le- gnani, cc.30-32; Giovanni dell’Aquila, cc.33-35; duchessa Douariere d’Arenberg, con responsiva, cc.36-40; governatore di Grosseto Cosimo Bagnesi, cc.41-43; Andrea Barbazzi, cc.44-46; segretario della Sacra Consulta Girolamo de’ Bardi, cc.47-49; cardinale [Lodovico] Belluga, cc.50-52; Lucrezia Bentivoglio Dardinelli, cc.53-55; Maria Bergonzi Ra- nuzzi, cc.56-58; cardinale Vincenzo Bichi, cc.59-61; «re delle Due Si- Nell’inventario, il numero del pezzo è posto al centro in neretto. Alla riga successiva, in cor- cilie» Carlo VII, con responsiva, cc.62-66; vescovo di Borgo Sansepol- sivo, sono riportate la descrizione estrinseca del volume, registro o busta con il numero com- cro [Raimondo Pecchioli], cc.67-69; Camilla Borgogelli Feretti, cc.70- plessivo dei fascicoli interni e le vecchie segnature. Quando il nesso contenutistico fra i do- 72; Cosimo Bourbon del Monte, cc.73-75; baronessa de Bourscheidt, cumenti lo rendeva possibile si è dato un titolo generale - in maiuscoletto - a tutto il pezzo, con responsiva, cc.76-79; vescovo di Cagli [Gerolamo Maria Allegri], o si è trascritto, tra virgolette in maiuscoletto, il titolo originale. -
The Chronicle of Dino Compagni / Translated by Else C. M. Benecke
#m hbl.stx DG 737.2.C613 le i?mnP/!f? of Dino Compagni / 3 1153 0DSMS117 t, % n WRITTEN •T$' FIRST PRINTED • IN • 1726- PLEASE NOTE It has been necessary to replace some of the original pages in this book with photocopy reproductions because of damage or mistreatment by a previous user. Replacement of damaged materials is both expensive and time-consuming. Please handle this volume with care so that information will not be lost to future readers. Thank you for helping to preserve the University's research collections. THE TEMPLE CLASSICS THE CHRONICLE OF DINO COMPAGNI Digitized'by the Internet Archive in 2010 with funding from Boston Library Consortium Member Libraries http://www.archive.org/details/chronicleofdinocOOcomp mmyi CHRPNICE 92DINO COMPAGNI TRANSITED ^ELSE CM. BENECKE S§ FERRERS HOWELL MDCCCCVI PUBL15H6D- BY-^M D6NT- •AMP-CO : ALDlNe-HOUSe-LOMDON-W-O PRELIMINARY NOTE vii PRELIMINARY NOTE Though Dino Compagni calls his work a Chronicle, it is not (like Giovanni Villani's, for example) a Chronicle in the sense in which the term is now used to express a particular kind of narration dis- " tinguished from a history ; the terms " chronicle and "history" being in Dino's time interchange- able. Dino's book is in form the history of a particular fact, namely, the division of the Guelf party in Florence into the White and the Black Guelfs, with its attendant circumstances, its causes, and its results : but under this form is unfolded at the same time the history of the steps by which the wealthy traders of Florence (jfropolani, popolani grassi, and collectively popolo grasso) organised in the greater guilds (see Appendix II.) acquired and retained the control of the machinery of govern- ment in the city and its outlying territory (contado), excluding (practically) from all participation therein on the one hand the Magnates (i.e. -
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. -
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 -
The Pious and Political Networks of Catherine of Siena
Portland State University PDXScholar University Honors Theses University Honors College 5-23-2018 The Pious and Political Networks of Catherine of Siena Aubrie Kent Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Kent, Aubrie, "The Pious and Political Networks of Catherine of Siena" (2018). University Honors Theses. Paper 553. https://doi.org/10.15760/honors.559 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Abstract This project looks at the career of St. Catherine of Siena and argues that without the relationships she had with her closest followers, who provided social connections and knowledge of the operation of political power, she would not have been able to pursue as active or wide-ranging a career. The examination of Catherine’s relationships, the careers of her followers, and the ways she made use of this network of support, relies mainly on Catherine’s extant letters. Most prior research on St. Catherine focuses on her spirituality and work with the papacy, which leaves out the influence of her local, political environment and the activities of her associates. This work examines Catherine’s place on Siena’s political landscape and within the system of Italian politics more generally. THE PIOUS AND POLITICAL NETWORKS OF CATHERINE OF SIENA by AUBRIE KENT A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS in HISTORY Portland State University 2018 Table of Contents Chronology i Introduction 1 Religious Background 7 Political Background 22 Magnate Families 32 Spiritual Family 50 Conclusion 68 Catherine’s Associates 76 Bibliography 79 Chronology 1347 Catherine is born. -
Allestimenti Di Ritratti E Narrative Storico Genealogiche Nei Palazzi Fiorentini, Ca
COLLANA ALTI STUDI SULL’ETÀ E LA CULTURA DEL BAROCCO PASQUALE FOCARILE Allestimenti di ritratti e narrative storico genealogiche nei palazzi fiorentini, ca. 1650-1750 COLLANA ALTI STUDI SULL’ETÀ E LA CULTURA DEL BAROCCO V - IL RITRATTO Fondazione 1563 per l’Arte e la Cultura della Compagnia di San Paolo Sede legale: Corso Vittorio Emanuele II, 75 – 10128 Torino Sede operativa: Piazza Bernini, 5 – 10138 Torino Tel. 011 4401401 – Fax 011 4401450 – [email protected] Codice fiscale: 97520600012 Consiglio di Amministrazione 2018-2020: Piero Gastaldo (Presidente), Walter Barberis (Vicepresidente) Consiglieri: Allegra Alacevich, Laura Barile, Blythe Alice Raviola Direttore scientifico del Programma Barocco: Michela di Macco Direttore: Anna Cantaluppi Vicedirettore: Elisabetta Ballaira Consiglio di Amministrazione 2015-2017: Rosaria Cigliano (Presidente), Michela di Macco (Vicepresidente) Consiglieri: Allegra Alacevich, Walter Barberis, Stefano Pannier Suffait Direttore: Anna Cantaluppi Responsabile culturale: Elisabetta Ballaira Programma di Studi sull’Età e la Cultura del Barocco Borse di Alti Studi 2017 Tema del Bando 2017: Il Ritratto (1680-1750) Assegnatari: Chiara Carpentieri, Pasquale Focarile, Ludovic Jouvet, Fleur Marcais, Pietro Riga, Augusto Russo Tutor dei progetti di ricerca: Cristiano Giometti, Cinzia M. Sicca, Lucia Simonato, Alain Schnapp, Beatrice Alfonzetti, Francesco Caglioti Cura editoriale: Alice Agrillo È vietata la riproduzione, anche parziale e con qualsiasi mezzo effettuata, non autorizzata. L’Editore si scusa per -
Accademia Dei Rozzi
ACCADEMIA DEI ROZZI Anno XXVII/2 - 2020 - N. 53 1. Gaetano Brunacci (?), decorazione del soffitto della sala da tè, 1904. 2 Il volto nuovo dell’Accademia agli inizi del Novecento I - Le stanze dell’Accademia: splendidi esempi di decorazioni veramente artistiche di Felicia Rotundo Il recente restauro del soffitto della sala da tè schi, lungo le pareti, rappresentanti scene bibliche dei Rozzi offre lo spunto per ripercorrere la sto- racchiuse entro cornici e lesene a stucco; la sala fu ria della sede dell’Accademia, oggetto fin dalla sua infine arricchita da molte lumiere pendenti dal sof- nascita di numerose trasformazioni fino a configu- fitto e da bracciali appesi alle pareti. Di questa ori- rarsi come l’elegante palazzo che oggi ammiriamo ginaria decorazione non rimane traccia perché la e che connota l’intero isolato delimitato da via di sala è andata soggetta a successive trasformazioni: Città, piazza Indipendenza, via di Diacceto e via una prima volta nel 1789 quando fu deciso di in- di Beccheria. stallarvi 12 specchi “sopra i quali fu fatta una cor- nice nuova dorata ad uso di placca”; altri interventi La data “MDCCCCIV” che si legge in uno si susseguirono nella seconda metà dell’Ottocento dei cartigli del soffitto della sala oltre ad indicare il fino a quello del 1906, reso urgente dal crollo del termine temporale della sua esecuzione testimonia soffitto, che le ha conferito l’aspetto attuale. altresì una delle fasi più significative di una lunga Bettino Marchetti2 in una relazione presentata e ininterrotta impresa decorativa iniziata già nel 3 1727 con la costruzione del palazzo, sul luogo di al Consiglio direttivo in data 4 marzo 1906 ri- antiche case e botteghe poste di fronte all’antica feriva circa l’opportunità, data la crescita dei soci chiesa di San Pellegrino, e conclusasi negli anni ’30 e il prestigio raggiunto dall’accademia, di amplia- del Novecento.