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a b Emmerson, Richard K., and Ronald B. Herzman. "Revelation." In: Lansing (ed.), The Dante Encyclopedia, 742-44. During the period of his exile, Dante corresponded with Dominican theologian Fr. Nicholas Brunacci OP [1240–1322], who had been a student of Thomas Aquinas at the Santa Sabina studium in Rome, later at Paris, [46] and of Albert the Great at the Cologne studium. [47] Brunacci became lector at the Santa Sabina studium, forerunner of the Pontifical University of Saint Thomas Aquinas, and later served in the papal curia. [48] There was some debate about the historical Beatrice – is she a symbolic figure, symbolising theology, or was she a real person?” Unrhymed terzines. The first U.S. translation, raising American interest in the poem. It is still widely available, including online. Rather than a nod or homage to Dante, Naylor seems to appropriate wholesale Inferno’s structure and themes.
books about Dante and his religious world - Shepherd The best books about Dante and his religious world - Shepherd
Dante's interactions with Beatrice set an example of so-called courtly love, a phenomenon developed in French and Provençal poetry of prior centuries. Dante's experience of such love was typical, but his expression of it was unique. It was in the name of this love that Dante left his imprint on the dolce stil nuovo ("sweet new style", a term that Dante himself coined), and he would join other contemporary poets and writers in exploring never-before-emphasized aspects of love ( Amore). Love for Beatrice (as Petrarch would express for Laura somewhat differently) would be his reason for writing poetry and for living, together with political passions. In many of his poems, she is depicted as semi-divine, watching over him constantly and providing spiritual instruction, sometimes harshly. When Beatrice died in 1290, Dante sought refuge in Latin literature. [28] The Convivio chronicles his having read Boethius's De consolatione philosophiae and Cicero's De Amicitia. Your second choice is Peter Hawkins’s Dante: A Brief History(2006), which explores Dante’s impact on artists and scholars alike. Does this make for a good introduction?Farrell, Jane (8 September 2021). "The Divine Comedy in sculpture: Timothy Schmalz". The Florentine. But it’s just one line of the 14,233 that make up The Divine Comedy, the three-part epic poem published in 1320 by Florentine bureaucrat turned visionary storyteller Dante Alighieri. Literary ambition seems to have been with Dante, born in 1265, from early in life when he wished to become a pharmacist. In late 13th Century Florence, books were sold in apothecaries, a testament to the common notion that words on paper or parchment could affect minds with their ideas as much as any drug.
Dante: Biography, Medieval Italian Poet, The Divine Comedy Dante: Biography, Medieval Italian Poet, The Divine Comedy
Some 16th-century English Protestants, such as John Bale and John Foxe, argued that Dante was a proto-Protestant because of his opposition to the pope. [61] [62] Almond, Ian (2002). "The Honesty of the Perplexed: Derrida and Ibn 'Arabi on "Bewilderment" ". Journal of the American Academy of Religion. 70 (3): 515–537. doi: 10.1093/jaar/70.3.515. JSTOR 1466522. Watt, Montgomery W.; Cachia, Pierre (2017). A History of Islamic Spain. p.125-126. doi: 10.4324/9781315083490. ISBN 9781315083490. In your third book, Dante in English(2005), Griffiths and Reynolds present the influence of Dante through other artists’ work. What’s their focus? Dante's final days were spent in Ravenna, where he had been invited to stay in the city in 1318 by its prince, Guido II da Polenta. Dante died in Ravenna on 14 September 1321, aged about 56, of quartan malaria contracted while returning from a diplomatic mission to the Republic of Venice. He was attended by his three children, and possibly by Gemma Donati, and by friends and admirers he had in the city. [51] He was buried in Ravenna at the Church of San Pier Maggiore (later called Basilica di San Francesco). Bernardo Bembo, praetor of Venice, erected a tomb for him in 1483. [52] [53]Seamus Heaney, "Envies and Identifications: Dante and the Modern Poet." The Poet's Dante: Twentieth-Century Responses. Ed. Peter S. Hawkins and Rachel Jacoff. New York: Farrar, 2001. 239–258. In Dante's Commedia: Theology as Poetry, an international group of theologians and Dante scholars provide a uniquely rich set of perspectives focused on the relationship between theology and poetry in the Commedia. Examining Dante's treatment of questions of language, personhood, and the body; his engagement with the theological tradition he inherited; and the implications of his work for contemporary theology, the contributors argue for the close intersection of theology and poetry in the text as well as the importance of theology for Dante studies. Through discussion of issues ranging from Dante's use of imagery of the Church to the significance… This edition is the one that students frequently use before they go on to the Italian editions. The notes are thorough and very accessible. Which edition to recommend for the new reader also raises several other questions about how to render Dante’s verse into English, and how much explanation is needed – both in the translation itself and in the form of commentary. But it’s not just as a fountainhead of inspiration for writers and visual artists that The Divine Comedy reigns supreme – this is the work that enshrined what we think of as the Italian language and advanced the idea of the author as a singular creative voice with a vision powerful enough to stand alongside Holy Scripture, a notion that paved the way for the Renaissance, for the Reformation after that and finally for the secular humanism that dominates intellectual discourse today. You may have never read a single line of The Divine Comedy, and yet you’ve been influenced by it.
Dante - Penguin Books UK Dante - Penguin Books UK
The first lecture, given by Suzanne Conklin Akbari (Professor of Medieval Studies at the Institute for Advanced Study, Princeton) on the subject of ‘What Ground Do We Read On?’ will take place on Monday, 10 May. This will be followed by a second lecture, ‘Going Through Hell’, by Lorna Goodison (Poet Laureate of Jamaica and Professor Emerita at the University of Michigan) on Wednesday, 12 May, and a third by Gary Cestaro (Professor of Italian at De Paul University) on the subject of ‘Dante’s Queer Father’s on Monday, 7 June. All lectures will begin at 19.00 CET. But writing in the vernacular could be seen as a political gesture, too, at a time when the vast majority of poetry was written in Latin – decipherable to only elite, educated members of society.Maier, Harry O. (2007). "Review of Die Visio Pauli: Wege und Wandlungen einer orientalischen Apokryphe im lateinischen Mittelalter, unter Einschluß der alttschechischen und deutschsprachigen Textzeugen". Speculum. 82 (4): 1000–1002. doi: 10.1017/S0038713400011647. JSTOR 20466112. After an initial ascension, Beatrice guides Dante through the nine celestial spheres of Heaven. These are concentric and spherical, as in Aristotelian and Ptolemaic cosmology. While the structures of the Inferno and Purgatorio were based on different classifications of sin, the structure of the Paradiso is based on the four cardinal virtues and the three theological virtues. This newly commissioned volume presents a focused overview of Dante's masterpiece, the Commedia, offering readers of today wide-ranging insights into the poem and its core features. Leading scholars discuss matters of structure, narrative, language and style, characterization, doctrine, and politics, in chapters that make their own contributions to Dante criticism by raising problems and questions that call for renewed attention, while investigating contextual concerns as well as the current state of criticism about the poem. The Commedia is also placed in a variety of cultural and historical contexts through accounts of the poem's transmission and reception that explore both its… Love, a theme throughout the Divine Comedy, is particularly important for the framing of sin on the Mountain of Purgatory. While the love that flows from God is pure, it can become sinful as it flows through humanity. Humans can sin by using love towards improper or malicious ends ( Wrath, Envy, Pride), or using it to proper ends but with love that is either not strong enough ( Sloth) or love that is too strong ( Lust, Gluttony, Greed). Below the seven purges of the soul is the Ante-Purgatory, containing the Excommunicated from the church and the Late repentant who died, often violently, before receiving rites. Thus the total comes to nine, with the addition of the Garden of Eden at the summit, equaling ten. [34] The structure of the three realms follows a common numerical pattern of 9 plus 1, for a total of 10: 9 circles of the Inferno, followed by Lucifer contained at its bottom; 9 rings of Mount Purgatory, followed by the Garden of Eden crowning its summit; and the 9 celestial bodies of Paradiso, followed by the Empyrean containing the very essence of God. Within each group of 9, 7 elements correspond to a specific moral scheme, subdivided into three subcategories, while 2 others of greater particularity are added to total nine. For example, the seven deadly sins of the Catholic Church that are cleansed in Purgatory are joined by special realms for the late repentant and the excommunicated by the church. The core seven sins within Purgatory correspond to a moral scheme of love perverted, subdivided into three groups corresponding to excessive love ( Lust, Gluttony, Greed), deficient love ( Sloth), and malicious love ( Wrath, Envy, Pride). [22]
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