Divine Comedy
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2018 Iowa Association of Track Officials Manual
IOWA ASSOCIATION of TRACK OFFICIALS MEMO FROM: Cornie Wassink, Alton TO: IHSAA & IGHSAU Member High Schools DATE: February, 2019 RE: IATO Recommended Procedure Manual The updated materials for your 2019 Iowa Association of Track Officials Recommended Procedures Manual follow in this PDF file. Each year we update the contents of the manual as needed. These updates are based primarily on rule changes and also suggestions from our membership, the Iowa Association of Track Coaches, the Iowa High School Athletic Association (IHSAA) and the Iowa Girls’ High School Athletic Union (IGHSAU). Please feel free to suggest improvements for either the content or the format of this manual. The manual contains important suggestions pertaining to the use of red and white flags by field event officials and the Iowa uniform undergarment exception to the National Federation rules. Also note the change in the height of the boy’s shuttle hurdle relay to 36”, the need for manual timing backup for meets with just a single FAT timing system, and the addition of the 800m race in wheelchair competition. The officials’ edition of this manual contains five (5) additional sections of information pertaining specifically to starters and IATO members. This edition is only available to current IATO members from the IATO. Do not discard any materials from your current manual unless you have replacement material for it in this packet. Visit the official websites of the IHSAA and the IGHSAU for the current order of events for all 2019 girl’s, boy’s, and coed track and field meets. The primary objective of our organization is to improve the officiating and administration of the track and field meets in the state of Iowa. -
Alexander the Great and Hephaestion
2019-3337-AJHIS-HIS 1 Alexander the Great and Hephaestion: 2 Censorship and Bisexual Erasure in Post-Macedonian 3 Society 4 5 6 Same-sex relations were common in ancient Greece and having both male and female 7 physical relationships was a cultural norm. However, Alexander the Great is almost 8 always portrayed in modern depictions as heterosexual, and the disappearance of his 9 life-partner Hephaestion is all but complete in ancient literature. Five full primary 10 source biographies of Alexander have survived from antiquity, making it possible to 11 observe the way scholars, popular writers and filmmakers from the Victorian era 12 forward have interpreted this evidence. This research borrows an approach from 13 gender studies, using the phenomenon of bisexual erasure to contribute a new 14 understanding for missing information regarding the relationship between Alexander 15 and his life-partner Hephaestion. In Greek and Macedonian society, pederasty was the 16 norm, and boys and men did not have relations with others of the same age because 17 there was almost always a financial and power difference. Hephaestion was taller and 18 more handsome than Alexander, so it might have appeared that he held the power in 19 their relationship. The hypothesis put forward here suggests that writers have erased 20 the sexual partnership between Alexander and Hephaestion because their relationship 21 did not fit the norm of acceptable pederasty as practiced in Greek and Macedonian 22 culture or was no longer socially acceptable in the Roman contexts of the ancient 23 historians. Ancient biographers may have conducted censorship to conceal any 24 implication of femininity or submissiveness in this relationship. -
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. -
Life with Augustine
Life with Augustine ...a course in his spirit and guidance for daily living By Edmond A. Maher ii Life with Augustine © 2002 Augustinian Press Australia Sydney, Australia. Acknowledgements: The author wishes to acknowledge and thank the following people: ► the Augustinian Province of Our Mother of Good Counsel, Australia, for support- ing this project, with special mention of Pat Fahey osa, Kevin Burman osa, Pat Codd osa and Peter Jones osa ► Laurence Mooney osa for assistance in editing ► Michael Morahan osa for formatting this 2nd Edition ► John Coles, Peter Gagan, Dr. Frank McGrath fms (Brisbane CEO), Benet Fonck ofm, Peter Keogh sfo for sharing their vast experience in adult education ► John Rotelle osa, for granting us permission to use his English translation of Tarcisius van Bavel’s work Augustine (full bibliography within) and for his scholarly advice Megan Atkins for her formatting suggestions in the 1st Edition, that have carried over into this the 2nd ► those generous people who have completed the 1st Edition and suggested valuable improvements, especially Kath Neehouse and friends at Villanova College, Brisbane Foreword 1 Dear Participant Saint Augustine of Hippo is a figure in our history who has appealed to the curiosity and imagination of many generations. He is well known for being both sinner and saint, for being a bishop yet also a fellow pilgrim on the journey to God. One of the most popular and attractive persons across many centuries, his influence on the church has continued to our current day. He is also renowned for his influ- ence in philosophy and psychology and even (in an indirect way) art, music and architecture. -
THE DIVINE COMEDY Dante Alighieri
THE DIVINE COMEDY dante alighieri A new translation by J.G. Nichols With twenty-four illustrations by Gustave Doré ALMA CLASSICS alma classics ltd London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.almaclassics.com This translation of the entire Divine Comedy first published by Alma Classics Ltd in 2012 The translation of Inferno first published by Hesperus Press in 2005; published in a revised edition by Alma Classics Ltd (previously Oneworld Classics Ltd) in 2010 The translation of Purgatory first published by Alma Classics Ltd (previously Oneworld Classics Ltd) in 2011 Translation, notes and extra material © J.G. Nichols, 2012 Cover image: Gustave Doré Printed in Great Britain by CPI Group (UK) Ltd, Croydon, cr0 4yy Typesetting and eBook conversion by Tetragon isbn: 978-1-84749-246-3 All the pictures in this volume are reprinted with permission or pre sumed to be in the public domain. Every effort has been made to ascertain and acknowledge their copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechani- cal, photocopying, recording or otherwise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. CONTENTS The Divine Comedy 1 Inferno 3 Purgatory 165 Paradise 329 Extra Material 493 Dante Alighieri’s Life 495 Dante Alighieri’s Works 498 Inferno 501 Purgatory 504 Paradise 509 Select Bibliography 516 Note on the Text and Acknowledgements 517 Index 519 CANTO I This canto, the prologue to Dante’s journey through the Inferno, acts also as an introduction to The Divine Comedy as a whole. -
Conflict Between the Body and the Soul As a Metaphor of the Moral Struggle \U the Middle Ages, with Special Reference to Middle English Literature
THE CONFLICT BETWEEN THE BODY AND THE SOUL AS A METAPHOR OF THE MORAL STRUGGLE \U THE MIDDLE AGES, WITH SPECIAL REFERENCE TO MIDDLE ENGLISH LITERATURE by JOHN ALLEN CANUTESON A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1975 ACKNOWLEDGMENTS I am indebted to many good friends who have helped during the research and v/riting of this study. To Dr. Richard Green, Chairman of my Supervisory Committee, and to Dr. Robert H. Bowers go my warm thanks for criticism and guidance. To Dr. Dean Dunham and Dean Bruce R. Thompson of IVilliam Jewell College go my thanks for patience, small classes, and immunity from committee assignments, and to Asso- ciate Dean Gordon Kingsley my appreciation for a winter term in which to work exclusively on the dissertation. The staffs of the University of Florida Library and William Jewell College Library have been dili- gent in finding and borrowing material from other libraries, and the University of Texas Library at Austin has been a friendly haven during holidays and vacations. Thanks also go to Miss Susan Goodwin for typing countless notecards and to Mrs. Julia Merrill for typing the final draft. My greatest debts are owed to my greatest loves — my wi f e and two sons. TABLE OF CONTENTS ACKNOWLEDGEMENTS ABSTRACT IV Chapter „ '^ . Page I THE CONFLICT BETWEEN THE BODY AND THE SOUL \H MEDIEVAL L I TERATURE , NOTES 54 I I THE IMAGES OF THE LATIN TRADITION 52 NOTES ,38 III THE IMAGES OF THE MIDDLE ENGLISH TRADITION AND THE DE- BATE BETWEEN THE BODY AND THE SOUL 7777777. -
Statius; with an English Translation by J.H. Mozley
THE LOEB CLASSICAL LIBRARY EDITED BY T. E. PAGE, LiTT.D. E. CAPPS, PH.D., LL.D. W. H. D. ROUSE, litt.d. STATIUS II ^cfi STATIUS f WITH AN ENGLISH TRANSLATION BY J. H. MOZLEY, M.A. SOMETIME SCHOLAR OF KING S COLLEGE, CAMBRIDGE USCTDEER IN CLASSICS AT EAST LONDON COLLEGE, UNIVERSITY OF LONDON IN TWO VOLUMES J.^ II THEBAID V-XII • ACHILLEID LONDON : WILLIAM HEINEMANN LTD NEW YORK: G. P. PUTNAM'S SONS MCMXXVIII ; Printed in Great Britain CONTENTS OF VOLUME II THEBAID BOOKS V-XII VOL. 11 THEBAIDOS LIBER V Pulsa sitis fluvio, populataque gurgitis altum^ agmina linquebant ripas amnemque minorem ; acrior et campum sonipes rapit et pedes arva implet ovans, rediere viris animique minaeque votaque, sanguineis mixtum ceu fontibus ignem 5 hausissent belli magnasque in proelia mentes. dispositi in turmas rursus legemque severi ordinis, ut cuique ante locus ductorque, monentur instaurare vias. tellus iam pulvere primo crescit, et armorum transmittunt fulgura silvae. 10 qualia trans pontum Phariis depvensa serenis rauca Paraetonio deeedunt agmina Nilo, quo^ fera cogit hiemps : illae clangore fugaei, umbra fretis arvisque, volant, sonat avius aether, iam Borean imbresque pati, iam nare solutis 15 amnibus et nudo iuvat aestivare sub Haemo. Hie rursus simili procerum vallante corona dux Talaionides, antiqua ut forte sub orno ^ altum P : alvum w (Z) mith alveum written over). ^ quo Vollmer : cum Pa,-. " i.e., cranes, cf. Virg. Aen. x. 264.. * The epithet is taken from a town named Paraetonium, on the Libyan coast west of the Delta. 2 THEBAID BOOK V Their thirst was quenched by the river, and the army haWng ravaged the water's depths was lea\"ing the banks and the diminished stream ; more briskly now the galloping steed scours the plain, and the infantrj' swarm exultant over the fields, inspired once more by courage and hope and warlike temper, as though from the blood-stained springs they had drunk the fire of battle and high resolution for the fray. -
Not the Same Old Story: Dante's Re-Telling of the Odyssey
religions Article Not the Same Old Story: Dante’s Re-Telling of The Odyssey David W. Chapman English Department, Samford University, Birmingham, AL 35209, USA; [email protected] Received: 10 January 2019; Accepted: 6 March 2019; Published: 8 March 2019 Abstract: Dante’s Divine Comedy is frequently taught in core curriculum programs, but the mixture of classical and Christian symbols can be confusing to contemporary students. In teaching Dante, it is helpful for students to understand the concept of noumenal truth that underlies the symbol. In re-telling the Ulysses’ myth in Canto XXVI of The Inferno, Dante reveals that the details of the narrative are secondary to the spiritual truth he wishes to convey. Dante changes Ulysses’ quest for home and reunification with family in the Homeric account to a failed quest for knowledge without divine guidance that results in Ulysses’ destruction. Keywords: Dante Alighieri; The Divine Comedy; Homer; The Odyssey; Ulysses; core curriculum; noumena; symbolism; higher education; pedagogy When I began teaching Dante’s Divine Comedy in the 1990s as part of our new Cornerstone Curriculum, I had little experience in teaching classical texts. My graduate preparation had been primarily in rhetoric and modern British literature, neither of which included a study of Dante. Over the years, my appreciation of Dante has grown as I have guided, Vergil-like, our students through a reading of the text. And they, Dante-like, have sometimes found themselves lost in a strange wood of symbols and allegories that are remote from their educational background. What seems particularly inexplicable to them is the intermingling of actual historical characters and mythological figures. -
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.