Moral Structure
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La Pia, Leggenda Romantica Di Bartolomeo Sestini
Edizioni dell’Assemblea 118 Ricerche La Pia, leggenda romantica di Bartolomeo Sestini a cura di Serena Pagani La Pia, leggenda romantica di Bartolomeo Sestini / a cura di Serena Pagani. - Firenze : Consiglio regionale della Toscana, 2015 1. Sestini, Bartolommeo < 1792-1822> 2. Pagani, Serena 3. Toscana <Regione>. Consiglio regionale 851.7 Sestini, Bartolommeo <1792-1822> - Poemi CIP (Cataloguing in publishing) a cura della Biblioteca del Consiglio regionale Volume in distribuzione gratuita Consiglio regionale della Toscana Settore Comunicazione, editoria, URP e sito web. Assistenza al Corecom Progetto grafico e impaginazione: Patrizio Suppa Pubblicazione realizzata dalla tipografia del Consiglio regionale, ai sensi della l.r. 4/2009 Dicembre 2015 ISBN 978-88-89365-59-5 Alle donne della mia famiglia e al mio Alessandro Sommario Premessa 9 Nota introduttiva 11 Nota al testo 29 Ringraziamenti 33 La Pia, leggenda romantica di Bartolomeo Sestini 35 Canto primo 39 Canto secondo 81 Canto terzo 121 Bibliografia di riferimento 151 Premessa Il desiderio di pubblicare una nuova edizione critica e commen- tata del componimento in ottave del pistoiese Bartolomeo Sestini sulla Pia senese è nato dall’intento di rendere omaggio all’autore che diede vita alla fortuna romantica del personaggio dantesco, la quale fiorì nei più svariati ambiti dell’arte, dalla letteratura alla pittura, dalla musica al teatro. Tramandiamo il testo nella sua forma originaria, come voluta dall’autore nella prima edizione romana del 1822, ma aggiungendo un commento critico, al fine di valorizzare appieno la personalità poetica di questo scrittore e patriota toscano, altra voce dell’Otto- cento, offuscata da quelle dei grandi contemporanei. Una nota introduttiva con la biografia di Bartolomeo Sestini e una breve sintesi sulla sua produzione letteraria precedono il testo; segue la storia delle edizioni maggiori della leggenda in ver- si romantica, tutte postume alla di lui morte. -
Quaderni D'italianistica : Revue Officielle De La Société Canadienne
Elio Costa From locus amoris to Infernal Pentecost: the Sin of Brunetto Latini The fame of Brunetto Latini was until recently tied to his role in Inferno 15 rather than to the intrinsic literary or philosophical merit of his own works.' Leaving aside, for the moment, the complex question of Latini's influence on the author of the Commedia, the encounter, and particularly the words "che 'n la mente m' è fìtta, e or m'accora, / la cara e buona imagine paterna / di voi quando nel mondo ad ora ad ora / m'insegnavate come l'uom s'ettema" (82-85) do seem to acknowledge a profound debt by the pilgrim towards the old notary. Only one other figure in the Inferno is addressed with a similar expression of gratitude, and that is, of course, Virgil: Tu se' lo mio maestro e'I mio autore; tu se' solo colui da cu' io tolsi lo bello stilo che m'ha fatto onore. {Inf. 1.85-87) If Virgil is antonomastically the teacher, what facet of Dante's cre- ative personality was affected by Latini? The encounter between the notary and the pilgrim in Inferno 15 is made all the more intriguing by the use of the same phrase "lo mio maestro" (97) to refer to Virgil, silent throughout the episode except for his single utterance "Bene ascolta chi la nota" (99). That it is the poet and not the pilgrim who thus refers to Virgil at this point, when the two magisterial figures, one leading forward to Beatrice and the other backward to the city of strife, conflict and exile, provides a clear hint of tension between "present" and "past" teachers. -
Vettori, Italian
Rutgers, The State University of New Jersey Department of Italian 16:560:605 Dante Seminar Fall 2013 Alessandro Vettori Office Hours by appointment Department of Italian Tel 732-932-7536 84 College Avenue - Rm 101 Fax 732-932-1686 email: [email protected] The purpose of this course is the investigation of Dante’s opus in relation to other poets, philosophers, and theologians that had deep influences on his writing. Although only two of his major works will be read in their entirety, the Divine Comedy and the Vita nova, constant references will be made to other writings. Besides a stylistic and formal analysis, numerous thematic strains will be researched and followed throughout Dante’s production. Particular attention will be paid to such concepts as allegory, poetic auto-interpretation, autobiography, and the ever-changing concept of love. Learning goals: Students will be trained to do a close analysis of literary texts, to put poetic and prose texts in conversation with philosophical ideas, to discern the boundaries of literature, philosophy, and theology. They will be assessed by means of oral presentations (one long, one short), one short paper, one long (publishable) paper, and class participation. Syllabus Texts: Vita Nova (any annotated edition); Divina Commedia (any annotated edition); secondary materials will be made available on sakai. 09/09 Introduction. Exile, Poetry, Prayer. 09/16 Vita Nuova. Ronald Martinez, “Mourning Beatrice: The Rhetoric of Threnody in the Vita nuova,” Modern Language Notes 113 (1998): 1-29. 09/23 Vita Nuova. Teodolinda Barolini, “‘Cominciandomi dal principio infino a la fine’ (V.N. XXIII 15): Forging Anti-Narrative in the Vita Nuova,” La gloriosa donna de la mente. -
In Canto XXV of the Purgatorio, Statius' Exposition on The
1-Ureni:0Syrimis 1/19/11 3:20 PM Page 9 HUMAN GENERATION , M EMORY AND POETIC CREATION : FROM THE PURGATORIO TO THE PARADISO PAOLA URENI Summary : Statius’ scientific digression on the generation of the fetus and the formation of the fictive body in the afterlife occupies a large part of canto XXV of Dante’s Purgatorio . This article will examine the metaphorical relevance of that technical exposition to Dante’s poetics. The analogy between procreation and poetic creation appears to be con - sistent once the scientific lesson on embryology of canto XXV is under - stood as mirroring the definition of the Dolce Stil Novo offered by Dante in the previous canto ( Purg. XXIV). The second part of this article stress - es the importance of cantos XXIV and XXV as an authorization to inves - tigate the presence, in Dante’s Comedy , of a particular notion of purely rational memory derived from Augustine’s speculation. The allusion to an Augustinian conception of memory in Purgatorio XXV opens the pos - sibility of considering its presence in the precisely intellectual dimension of Paradiso . In canto XXV of the Purgatorio , Statius’ exposition on the generation of the fetus and the formation of the fictive body in the afterlife is evidence not only of Dante’s awareness of the medical debates of his time, but also of his willingness to enter into such discussion. Less obvious, but perhaps more important is this technical exposition’s metaphorical relevance to Dante’s poetics. The analysis of the relation between human generation and poetic inspiration is the focus of the first part of this article. -
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. -
Matelda: Il Nuovo Inizio E Il Tantra Di Dante1
Matelda: Il Nuovo Inizio e il Tantra di Dante1 L’in-possibile felicità terrena NICOLA LICCIARDELLO2 ABSTRACT: Il testo rivisita la funzione del personaggio di Matelda nel Paraíso terrestre della Divina Commedia, avendo come base le teorie del buddismo tantrico. In virtù di questa analisi Matelda diventa la personifi- cazione della bella natura vergine che inizia Dante alla purezza dell’amore divino e all’oblio del male. PAROLE CHIAVE: Divina Commedia; Dante Alighieri; Matelda; imma- ! gine; figura. 1. Una versione ridotta di questo saggio fu destinata a La bella Schola (Rovigo: Il Ponte del sale), antologia di canti danteschi commentati da poeti italiani a cura di Marco Munaro – il cui volume conclusivo sul Purgatorio uscirà nel 2013. 2. Giornalista e saggista [email protected] RESUMO: O texto revisita a função da personagem Matelda no Paraíso terrestre, da Divina Commedia, de Dante Alighieri, tendo como base as te- orias do budismo tântrico. Matelda torna-se, a partir dessa, análise, a per- sonificação da bela natureza virgem que inicia Dante na pureza do amor divino e no esquecimento de todo mal. PALAVRAS-CHAVE: Divina Comédia; Dante Alighieri; Matelda; ima- gem; figura. ABSTRACT: This paper revisits Matelda in the earth paradise’s character function in Dante Alighieri’s Divine Comedy in which the theoretical basis comes from tantric buddhism. From this analyzis, Matelda becomes the personification of beautiful virgin nature that initiates Dante in pure divine love and in every evil forgetfulness. KEYWORDS: Comedy; Dante Alighieri; Matelda; image; picture. 4 Revista de Italianística XXIII | 2012 Purgatorio XXVIII ppena superato il muro di fuoco e proclamato da Virgilio Alibero di seguire il suo piacere come guida, Dante si ritrova nella “foresta divi- na, spessa e viva”, antinomica alla “selva selvaggia, aspra e forte” in cui si era smarrito all’inizio. -
Divine Comedy” 10/18/20, 2:29 PM
Dante’s Global Vision: Seeing & Being Seen in the “Divine Comedy” 10/18/20, 2:29 PM Dante’s Global Vision: Seeing & Being Seen in the “Divine Comedy” theimaginativeconservative.org/2015/07/dantes-global-vision-seeing-and-being-seen-in-the-divine- comedy.html Peter Kalkavage July 29, 2015 “The things of friends are common.” —Greek proverb (quoted by Socrates in the Phaedrus) It is a pleasure to be with you today, to visit Belmont University and see Nashville for the very first time. My talk takes its cue from your theme for the year —“Living in a Global Community.” I have chosen to speak about Dante because his global outlook is well suited to this theme. Dante dared to think the whole of all things and to capture his vision in a single poem—the Divine Comedy. Dante’s globalism, his vision of the whole, is not confined to the earth but extends to the entire universe. This includes the invisible, spiritual world as well as the visible, corporeal one. It embraces the human and the divine, the natural and the supernatural. As we know from his writings and the events of his life, Dante cared passionately—one might say, desperately—about community and about “how it goes” with the world. The cosmos for him is the Community of communities. This Community affirms, rather than negates, the human individual and all the smaller, local groups to which we belong: our cities, towns, and neighbourhoods. On a more intimate level, these “little platoons,” as Burke called them, include our families, friendships, romantic attachments, relations with colleagues, and the communal bonds forged by students and their teachers and mentors. -
Emotional Minds and Bodies in the Suicide Narratives of Dante's Inferno
Emotional Minds and Bodies in the Suicide Narratives of Dante’s Inferno Emma Louise Barlow University of Technology Sydney Abstract: Suicide plays a dynamic role in both the narrative and structure of Dante’s Inferno, and yet, in accordance with there being no term for the act in European languages until the 1600s, the poet mentions it only euphemistically: Dido ‘slew herself for love’ (Inf. 5.61), Pier della Vigna describes suicide as a process in which ‘the ferocious soul deserts the body / after it has wrenched up its own roots’ (Inf. 13.94–95), and the anonymous Florentine suicide simply ‘made [his] house into [his] gallows’ (Inf. 13.151). It is thus unsurprising that the notion of mental health in connection with suicide is eQually absent in explicit terms. Reading between the lines of Dante’s poetry, however, it becomes clear that the emotive language and embodied hybridity associated with the suicides within Dante’s oltremondo, and of Dante the pilgrim as he responds to their narratives, highlights a heterogeneous yet shared experience of loss and despair, mirroring contemporary understandings of mental health issues. Through an analysis of the emotive language associated with the narratives of a number of Dante’s suicides, and the hybrid embodiment of numerous suicides inscribed in Dante’s text, this paper hopes to explore the ways in which, even inadvertently, Dante reflects on the distancing of the suicides from the civic bodies of their communities, from their own physical bodies, and from the vital rationality of their human minds, and thus to investigate the ways in which the lack of emotional wellbeing experienced by the suicides forces them to the edges of society’s, and their own, consciousness. -
Dante, Spenser, Milton
religions Article Learning to Read Big Books: Dante, Spenser, Milton Christopher A. Hill Department of English and Modern Foreign Languages, University of Tennessee Martin, Martin, TN 38238, USA; [email protected] Received: 6 March 2019; Accepted: 18 April 2019; Published: 25 April 2019 Abstract: The interpretive challenges posed by dense and lengthy poems such as Dante’s Inferno, Spenser’s Faerie Queene, and Milton’s Paradise Lost can prove daunting for the average undergraduate reader whose experience of texts has been circumscribed by pedagogical mandates focused on reading for information. While information-retrieval based reading certainly has its place, the experience of reading these longer, more allegorical and symbolic poems can create in the attentive reader a far more valuable kind of learning, understood by Dante and his heirs, all working from Homeric and Virgilian models, as understanding. Each of these long poems pay very close attention to acts of interpretation, foregrounding the experiences of their characters to illustrate the proper way to move from sense, past speculation, to true understanding. Those who heed these lessons, and embrace the experience offered by the poet, find that the daunting task has been outlined as the necessary step to true knowledge rather than mere information. Keywords: Dante; Milton; Spenser 1. “Read It Well” In the introductory poem of Ben Jonson’s grouping of epigrams in his 1616 Folio, he makes a request of his reader: Pray thee, take care, that tak’st my book in hand, To read it well: that is, to understand. (Jonson 1996, p. 35) Jonson is famously impatient with the wrong kinds of readers—those unable to comprehend his carefully constructed epideictic poems even as he pulls from all the considerable Horatian and Ciceronian resources at his disposal. -
The Function of Lethe
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Flinders Academic Commons This is an electronic version of an article published in M. Baker and D. Glenn (eds) 2000. ‘Dante Colloquia in Australia: 1982-1999’, Australian Humanties Press: Adelaide. Coassin, Flavia 2000. The Function of Lethe. In M. Baker and D. Glenn (eds). ‘Dante Colloquia in Australia: 1982-1999’, Australian Humanties Press: Adelaide, 95-102. THE FUNCTION OF LETHE FLAVIA COASSIN WHEN, in the last canto of the Purgatorio, Dante-character claims not to remember having ever estranged himself from Beatrice, she reminds him that he has just drunk of Lethe, and adds that his inability to remember is proof of his estrangement, just as from smoke fire is inferred: "E se tu ricordar non te ne puoi," sorridendo rispuose, "or ti rammenta come bevesti di Letè ancoi; e se dal fummo foco sargomenta, cotesta oblivion chiaro conchiude colpa ne la tua voglia altrove attenta". (Purg. XXXIII, 94-99) According to Reggio, l who also quotes Chimenz, the comparison is insubstantial, because there is no logical connection between oblivion and sin as there is between smoke and fire, and thus oblivion does not count as proof, his assumption being that there could be oblivion without sin. This assumption, however, is incorrect. In Dantes poem, as well as in the classical myths concerning the afterlife, we find that the connection between the two is, on the contrary, one of cause and effect. It is not by coincidence that the episode in question (lines 91-129) contains two instances of forgetfulness, namely, of having sinned and of Mateldas previous explanation of the function of the two rivers. -
Lending Library Catalog (Last Updated 3-26-09)
Saint Francis of Assisi Parish - Lending Library Catalog (Last Updated 3-26-09) Title Author ShelfCat 1 Corinthians Mruphy-O'Connor, Jerome bst 101 Most-Asked Questions about Liturgy, The Wagner, Nick ltu 12 Steps -- a Way Out, The Friends in Recovery rec/q 12 Steps for Adult Children*, The Friends in Recovery rec 201 Inspirational Stories of the Eucharist Proctor, Patricia pas 365 Children's Prayers Watson, Carol prb/c 3rd Serving of Chicken Soup for the Soul, A Canfield, Jack pas A Do-It-Yourself Retreat Hogan, Joseph pas Abandonment to Divine Providence de Caussade, Jean-Pierre pas Abbey of Gethsemane, The Aprile, Dianne voc/q Abide in Christ Murray, Andrew pas Abolition of Man, The Lewis, C. S. soc About Love Pieper, Josef phi Vaughn, Frances and Walsh, Roger Accept This Gift (Editors) poe Active Imagination Hannah, Barbara psy Acts of the Apostles, The Barclay, William bst Saint Francis of Assisi Parish - Lending Library Catalog (Last Updated 3-26-09) Title Author ShelfCat Acts of the Apostles, The Haenchen, Ernst bst Acts of the Apostles, The Johannes Munck (Translator) bst/r Addiction & Grace [Leader's guide & textbook] May, Gerald G. rec Addiction and Grace May, Gerald G. rec Addictive Personality, The Nakken, Craig rec Adult Children of Alcoholics Woititz, Janet Geringer rec Advent and Christmas with Thomas Merton Bauer, Judith and Cleary, John (Editors) adv Advent Thirst…Christmas Hope Constance, Anita M. adv Adventure Inward Kelsey, Morton T. psy After Nine Hundred Years Congar OP, Yves chs Against the Gods Bernstein, Peter L soc Aging Nouwen, Henri & Gaffney, Walter J.