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commedia dante: Dante Amilcare A. Iannucci, Iannotius Manettus, 1997-01-01 The essays in this volume probe current critical assumptions about the celebrated Italian poet, literary theorist, moral philosopher, political theorist. |
commedia dante: Dante's Paradise Dante Alighieri, 1984 The Paradise, which Dante called the sublime canticle, is perhaps the most ambitious book of The Divine Comedy. In this climactic segment, Dante's pilgrim reaches Paradise and encounters the Divine Will. The poet's mystical interpretation of the religious life is a complex and exquisite conclusion to his magnificent trilogy. Mark Musa's powerful and sensitive translation preserves the intricacy of the work while rendering it in clear, rhythmic English. His extensive notes and introductions to each canto make accessible to all readers the diverse and often abstruse ingredients of Dante's unparalleled vision of the Absolute: elements of Ptolemaic astronomy, medieval astrology and science, theological dogma, and the poet's own personal experiences. |
commedia dante: Dante, Cinema, and Television Amilcare A. Iannucci, 2004-01-01 The Divine Comedy of Dante Alighieri (1265-1321) is one of the seminal works of western literature. Its impact on modern culture has been enormous, nourishing a plethora of twentieth century authors from Joyce and Borges to Kenzaburo Oe. Although Dante's influence in the literary sphere is well documented, very little has been written on his equally determining role in the evolution of the visual media unique to our times, namely, cinema and television. Dante, Cinema, and Television corrects this oversight. The essays, from a broad range of disciplines, cover the influence of the Divine Comedy from cinema's silent era on through to the era of sound and the advent of television, as well as its impact on specific directors, actors, and episodes, on national/regional cinema and television, and on genres. They also consider the different modes of appropriation by cinema and television. Dante, Cinema, and Television demonstrates the many subtle ways in which Dante's Divine Comedy has been given 'new life' by cinema and television, and underscores the tremendous extent of Dante's staying power in the modern world. |
commedia dante: Dante's Commedia Vittorio Montemaggi, Matthew Treherne, 2010-03-15 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 of the smile for his poetic project, the essayists offer convincing evidence that his theology is not what underlies his narrative poem, nor what is contained within it: it is instead fully integrated with its poetic and narrative texture. As the essays demonstrate, the Commedia is firmly rooted in the medieval tradition of reflection on the nature of theological language, while simultaneously presenting its readers with unprecedented, sustained poetic experimentation. Understood in this way, Dante emerges as one of the most original theological voices of the Middle Ages. Contributors: Piero Boitani, Oliver Davies, Theresa Federici, David F. Ford, Peter S. Hawkins, Douglas Hedley, Robin Kirkpatrick, Christian Moevs, Vittorio Montemaggi, Paola Nasti, John Took, Matthew Treherne, and Denys Turner. |
commedia dante: Dante's Divine Comedy: The Inferno Dante Alighieri, 1858 |
commedia dante: The Treatment of Nature in Dante's 'Divina Commedia,' L. Oscar Kuhns, 1897 |
commedia dante: The Cambridge Companion to Dante's ‘Commedia' Zygmunt G. Barański, Simon Gilson, 2019 Accessible and informative account of Dante's great Commedia: its purpose, themes and styles, and its reception over the centuries. |
commedia dante: Il Purgatorio Dante Alighieri, 1791 |
commedia dante: Petrarch and Boccaccio in the First Commentaries on Dante’s Commedia Luca Fiorentini, 2020-04-30 This text proposes a reinterpretation of the history behind the canon of the Tre Corone (Three Crowns), which consists of the three great Italian authors of the 14th century – Dante, Petrarch, and Boccaccio. Examining the first commentaries on Dante’s Commedia, the book argues that the elaboration of the canon of the Tre Corone does not date back to the 15th century but instead to the last quarter of the 14th century. The investigation moves from Guglielmo Maramauro’s commentary – circa 1373, and the first exegetical text in which we can find explicit quotations from Petrarch and Boccaccio – to the major commentators of the second half of the 14th century: Benvenuto da Imola, Francesco da Buti and the Anonimo Fiorentino. The work focuses on the conceptual and poetic continuity between Dante, Petrarch, and Boccaccio as identified by the first interpreters of the Commedia, demonstrating that contemporary readers and intellectuals immediately recognized a strong affinity between these three authors based on criteria not merely linguistic or rhetorical. The findings and conclusions of this work are of great interest to scholars of Dante, as well as those studying medieval poetry and Italian literature. |
commedia dante: Reading Dante Jesper Hede, 2007-09-16 Reading Dante: The Pursuit of Meaning examines the problem of determining the thematic unity of Dante's Divina Commedia in the history of Dante studies. The question of unity has puzzled Dante readers for centuries, due to an apparent discrepancy between Dante's construction of the afterworld and medieval Christian teachings on the conditions of the afterlife. If all sins condemned in Hell can be forgiven, we would expect to see them purged in Purgatory and their virtuous opposite celebrated in Paradise. In Dante's account, however, the three realms of the afterlife appear as self-contained entities with only partially related structures that undermine the establishment of thematic correspondences and the determination of the poem's thematic unity. Was Dante inconsistent in his exposition of the divine order, or have Dante scholars been inconsistent in their treatment of the poem's thematic content? Jesper Hede examines the prevalent strategies of reading applied by Dante scholars in their attempt to solve the problem of unity. Detailing the major contributions to the resolution of the problem and focusing on medieval philosophy and modern hermeneutics, Hede argues that a systematic parallel reading of the poem's three parts reveals that it is the vision of divine order that gives the poem its thematic unity. |
commedia dante: Dante's Plurilingualism Sara Fortuna, 2017-07-05 Dante's conception of language is encompassed in all his works and can be understood in terms of a strenuous defence of the volgare in tension with the prestige of Latin. By bringing together different approaches, from literary studies to philosophy and history, from aesthetics to queer studies, from psychoanalysis to linguistics, this volume offers new critical insights on the question of Dantes language, engaging with both the philosophical works characterized by an original project of vulgarization, and the poetic works, which perform a new language in an innovative and self-reflexive way. In particular, Dantes Plurilingualism explores the rich and complex way in which Dantes linguistic theory and praxis both informs and reflects an original configuration of the relationship between authority, knowledge and identity that continues to be fascinated by an ideal of unity but is also imbued with a strong element of subjectivity and opens up towards multiplicity and modernity. |
commedia dante: Disney Great Parodies #1 Disney, Guido Martina, 2016-12-13 Imagine if you will, a satirical retelling of Dante Aligheri’s Inferno starring Mickey Mouse. This is the very first of the world-famouse, er, famous Great Parodies featuring classic Disney stars in outrageous spoofs of the world’s greatest stories. |
commedia dante: Catalogue of the Dante Collection Presented by Willard Fiske: Dante's works ; part. II. Works on Dante (A-G) Willard Fiske, 1898 |
commedia dante: The Dante Encyclopedia , |
commedia dante: The Divine Comedy of Dante Alighieri Dante Alighieri, 1996-02-29 This first volume of Robert Durling's new translation of The Divine Comedy brings a new power and accuracy to the rendering of Dante's extraordinary vision of Hell, with all its terror, pathos, and humor. Remarkably true to both the letter and spirit of this central work of Western literature, Durling's is a prose translation (the first to appear in twenty-five years), and is thus free of the exigencies of meter and rhyme that hamper recent verse translations. As Durling notes, the closely literal style is a conscious effort to convey in part the nature of Dante's Italian, notoriously craggy and difficult even for Italians. Rigorously accurate as to meaning, it is both clear and supple, while preserving to an unparalleled degree the order and emphases of Dante's complex syntax. The Durling-Martinez Inferno is also user-friendly. The Italian text, newly edited, is printed on each verso page; the English mirrors it in such a way that readers can easily find themselves in relation to the original terza rima. Designed with the first-time reader of Dante in mind, the volume includes comprehensive notes and textual commentary by Martinez and Durling: both are life-long students of Dante and other medieval writers (their Purgatorio and Paradiso will appear next year). Their introduction is a small masterpiece of its kind in presenting lucidly and concisely the historical and conceptual background of the poem. Sixteen short essays are provided that offer new inquiry into such topics as the autobiographical nature of the poem, Dante's views on homosexuality, and the recurrent, problematic body analogy (Hell has a structure parallel to that of the human body). The extensive notes, containing much new material, explain the historical, literary, and doctrinal references, present what is known about the damned souls Dante meets --from the lovers who spend eternity in the whirlwind of their passion, to Count Ugolino, who perpetually gnaws at his enemy's skull--disentangle the vexed party politics of Guelfs and Ghibellines, illuminate difficult and disputed passages, and shed light on some of Dante's unresolved conflicts. Robert Turner's illustrations include detailed maps of Italy and several of its regions, clearly labeled diagrams of the cosmos and the structure of Hell, and eight line drawings illustrating objects and places mentioned in the poem. With its exceptionally high standard of typography and design, the Durling-Martinez Inferno offers readers a solid cornerstone for any home library. It will set the standard for years to come. |
commedia dante: Vertical Readings in Dante's Comedy George Corbett, Heather Webb, 2016-12-12 This collection – to be issued in three volumes – offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the Cambridge Vertical Readings in Dante’s Comedy website. |
commedia dante: Dante in Deutschland Daniel DiMassa, 2022-08-12 Around the turn of the nineteenth century, no task seemed more urgent to German Romantics than the creation of a new mythology. It would unite modern poets and grant them common ground, and bring philosophers and the Volk closer together. But what would a new mythology look like? Only one model sufficed, according to Friedrich Schlegel: Dante’s Divine Comedy. Through reading and juxtaposing canonical and obscure texts, Dante in Deutschland shows how Dante’s work shaped the development of German Romanticism; it argues, all the while, that the weight of Dante’s influence induced a Romantic preoccupation with authority: Who was authorized to create a mythology? This question—traced across texts by Schelling, Novalis, and Goethe—begets a Neo-Romantic fixation with Dantean authority in the mythic ventures of Gerhart Hauptmann, Rudolf Borchardt, and Stefan George. Only in Thomas Mann’s novels, DiMassa asserts, is the Romantics’ Dantean project ultimately demythologized. |
commedia dante: A Translation of the Inferno of Dante Alighieri Dante Alighieri, 1785 |
commedia dante: Gladstone and Dante Anne Isba, 2006 Close examination of William Gladstone's engagement with Dante, and its effect upon his political and personal life. From the point at which he first read the Commedia, at the age of twenty-four, William Gladstone was to consider Dante Alighieri one of the major influences in his life, on a par with Homer and St Augustine, and to identifyhimself strongly with the poet. Both were statesmen as well as scholars, for whom civic duty was more important than personal convenience. Both were serious theologians as well as simple spiritual pilgrims. Both idealised women. This book shows how Gladstone found in Dante an endorsement of his own beliefs as he negotiated a path through life. Isba traces the development of his enthusiasm against the background of a resurgent Italy in a new Europe, and in the context of the Victorian fashion for all things medieval. She also examines the parallels between the two men's attitudes to sex and religion in particular, and closes by analysing the quality of Gladstone's own writingon Dante (he was to become an internationally recognised Dante scholar) . |
commedia dante: La Divina Commedia; the Divine Comedy of Dante Alighieri; Dante Alighieri, 2012-08-01 Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy. |
commedia dante: Dante's Two Beloveds Olivia Holmes, 2008-01-01 Re-examining key passages in Dante’s oeuvre in the light of the crucial issue of moral choice, this book provides a new thematic framework for interpreting the Divine Comedy. Olivia Holmes shows how Dante articulated the relationship between the human and the divine as an erotic choice between two attractive women—Beatrice and the “other woman.” Investigating the traditions and archetypes that contributed to the formation of Dante’s two beloveds, Holmes shows how Dante brilliantly overlaid and combined these paradigms in his poem. In doing so he re-imagined the two women as not merely oppositional condensations of apparently conflicting cultural traditions but also complementary versions of the same. This visionary insight sheds new light on Dante’s corpus and on the essential paradox at the poem’s heart: the unabashed eroticism of Dante’s turn away from the earthly in favor of the divine. |
commedia dante: Dante and the Practice of Humility Rachel K. Teubner, 2023-07-13 Examines humility as a key to the Comedy's poetry, demonstrating its theological vibrancy for today's readers. |
commedia dante: Depicting Dante in Anglo-Italian Literary and Visual Arts Christoph Lehner, 2017-05-11 In the course of 750 years, Dante Alighieri has been made into a universally important icon deeply engrained in the world’s cultural memory. This book examines key stages of Dante’s appropriation in Western cultural history by exploring the intermedial relationship between Dante’s Divina Commedia, the tradition of his iconography, and selected historical, literary and artistic responses from British artists in the 19th and 20th centuries. The images and iconographies created out of Dantean appropriations almost always centre around the triad of allegory, authority and authenticity. These three important aspects of revisiting Dante are found in the Dantean image fostered in Florence in the 14th and 15th centuries and feature prominently in the works of Dante Gabriel Rossetti, T. S. Eliot and Tom Phillips. Their appropriation of Dante represents landmarks in the productive reception of the Florentine, and is invariably linked to a tradition of Dante studies established in Britain during the middle of the 19th century. For Dante Gabriel Rossetti the Florentine provides a model for Victorian Dantean self-fashioning and becomes an allegory of authenticity and morality. For T. S. Eliot, Dante represents the voice of literary authority in Modernist poetry and serves as the allegory of a visionary European author. For Tom Phillips, the engagement with Dante and his text represents an intertextual and intermedial endeavour, which provides him with a rich cultural tapestry of art, thought and ideas on the Western world. The main focus of this study, therefore, is on how Dante’s image was fixed in the first 200 years of his appropriation in Florence, how fruitfully the Dantean images and his text have been taken up and used for creative and intellectual production in Britain over the course of the past centuries, and what moral, literary, or political messages they continue to convey. |
commedia dante: Dante's British Public Nick Havely, 2014-07-24 This is the first account of Dante's reception in English to address full chronological span of that process. Individual authors and periods have been studied before, but Dante's British Public takes a wider and longer view, using a selection of vivid and detailed case studies to record and place in context some of the wider conversations about and appropriations of Dante that developed in Britain across more than six centuries, as access to his work extended and diversified. Much of the evidence is based on previously unpublished material in (for example) letters, journals, annotations and inventories and is drawn from archives in the UK and across the world, from Milan to Mumbai and from Berlin to Cape Town. Throughout, the role of Anglo-Italian cultural contacts and intermediaries in shaping the public understanding of Dante in Britain is given prominence - from clerics and merchants around Chaucer's time, through itinerant scholars, collectors and tourists in the early modern period, to the exiles and expatriates of the nineteenth and twentieth centuries. The final chapter brings the story up to the present, showing how the poet's work has been seen (from the fourteenth century onwards) as accessible to 'the many', and demonstrating some of the means by which Dante has reached a yet wider British public over the past century, particularly through translation, illustration, and various forms of performance. |
commedia dante: Dante's Education Filippo Gianferrari, 2024-07-09 In fourteenth-century Italy, literacy became accessible to a significantly larger portion of the lay population (allegedly between 60 and 80 percent in Florence) and provided a crucial means for the vernacularization and secularization of learning, and for the democratization of citizenship. Dante Alighieri's education and oeuvre sit squarely at the heart of this historical and cultural transition and provide an ideal case study for investigating the impact of Latin education on the consolidation of autonomous vernacular literature in the Middle Ages, a fascinating and still largely unexamined phenomenon. On the basis of manuscript and archival evidence, Gianferrari reconstructs the contents, practice, and readings of Latin instruction in the urban schools of fourteenth-century Florence. It also shows Dante's continuous engagement with this culture of teaching in his poetics, thus revealing his contribution to the expansion of vernacular literacy and education. The book argues that to achieve his unprecedented position of authority as a vernacular intellectual, Dante conceived his poetic works as an alternative educational program for laypeople, who could read and write in the vernacular but had little or no proficiency in Latin. By reconstructing the culture of literacy shared by Dante and his lay readers, Dante's Education shifts critical attention from his legacy as Italy's national poet, and a great books author in the Western canon, to his experience as a marginal intellectual engaged in advancing a marginal culture. |
commedia dante: Trübner's American and Oriental Literary Record , 1865 |
commedia dante: Vertical Readings in Dante's Comedy George Corbett, Heather Webb, 2015-09-01 Vertical Readings in Dante’s Comedy is a reappraisal of the poem by an international team of thirty-four scholars. Each vertical reading analyses three same-numbered cantos from the three canticles: Inferno i, Purgatorio i and Paradiso i; Inferno ii, Purgatorio ii and Paradiso ii; etc. Although scholars have suggested before that there are correspondences between same-numbered cantos that beg to be explored, this is the first time that the approach has been pursued in a systematic fashion across the poem. This collection – to be issued in three volumes – offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the ‘Cambridge Vertical Readings in Dante’s Comedy’ website. |
commedia dante: The Oxford Handbook of Dante Manuele Gragnolati, Elena Lombardi, Francesca Southerden, 2021-03-25 The Oxford Handbook of Dante contains forty-four specially written chapters that provide a thorough and creative reading of Dante's oeuvre. It gathers an intergenerational and international team of scholars encompassing diverse approaches from the fields of Anglo-American, Italian, and continental scholarship and spanning several disciplines: philology, material culture, history, religion, art history, visual studies, theory from the classical to the contemporary, queer, post- and de-colonial, and feminist studies. The volume combines a rigorous reassessment of Dante's formation, themes, and sources, with a theoretically up-to-date focus on textuality, thereby offering a new critical Dante. The volume is divided into seven sections: 'Texts and Textuality'; 'Dialogues'; 'Transforming Knowledge'; Space(s) and Places'; 'A Passionate Selfhood'; 'A Non-linear Dante'; and 'Nachleben'. It seeks to challenge the Commedia-centric approach (the conviction that notwithstanding its many contradictions, Dante's works move towards the great reservoir of poetry and ideas that is the Commedia), in order to bring to light a non-teleological way in which these works relate amongst themselves. Plurality and the openness of interpretation appear as Dante's very mark, coexisting with the attempt to create an all-encompassing mastership. The Handbook suggests what is exciting about Dante now and indicate where Dante scholarship is going, or can go, in a global context. |
commedia dante: Dante, Artist of Gesture Heather Webb, 2022 A new approach to reading Dante's La Comedia Divinia through the lens of art history. Dante, Artist of Gesture brings Dante's canonical text into conversation with the visual art of his time to suggest the importance of visual cues to the reading and interpretation of the text itself. |
commedia dante: Dante and the Origins of Italian Literary Culture Teodolinda Barolini, 2009-08-25 In this book, Teodolinda Barolini explores the sources of Italian literary culture in the figures of its lyric poets and its “three crowns”: Dante, Petrarch, and Boccaccio. Barolini views the origins of Italian literary culture through four prisms: the ideological/philosophical, the intertextual/multicultural, the structural/formal, and the social. The essays in the first section treat the ideology of love and desire from the early lyric tradition to the Inferno and its antecedents in philosophy and theology. In the second, Barolini focuses on Dante as heir to both the Christian visionary and the classical pagan traditions (with emphasis on Vergil and Ovid). The essays in the third part analyze the narrative character of Dante’s Vita nuova, Petrarch’s lyric sequence, and Boccaccio’s Decameron. Barolini also looks at the cultural implications of the editorial history of Dante’s rime and at what sparso versus organico spells in the Italian imaginary. In the section on gender, she argues that the didactic texts intended for women’s use and instruction, as explored by Guittone, Dante, and Boccaccio—but not by Petrarch—were more progressive than the courtly style for which the Italian tradition is celebrated. Moving from the lyric origins of the Divine Comedy in “Dante and the Lyric Past” to Petrarch’s regressive stance on gender in “Notes toward a Gendered History of Italian Literature”—and encompassing, among others, Giacomo da Lentini, Guido Cavalcanti, and Guittone d’Arezzo—these sixteen essays by one of our leading critics frame the literary culture of thirteenth-and fourteenth-century Italy in fresh, illuminating ways that will prove useful and instructive to students and scholars alike. |
commedia dante: The Dante Collections in the Harvard College and Boston Public Libraries William Coolidge Lane, 1890 |
commedia dante: Dante on View Antonella Braida, Luisa Calè, 2017-05-15 Dante on View opens an important new dimension in Dante studies: for the first time a collection of essays analyses the presence of the Italian Medieval poet Dante Alighieri in the visual and performing arts from the Middle Ages to the present day. The essays in this volume explore the image of Dante emerging in medieval illuminated manuscripts and later ideological and nostalgic uses of the poet. The volume also demonstrates the rich diversity of projects inspired by the Commedia both as an overall polysemic structure and as a repository of scenes, which generate a repertoire for painters, actors and film-makers. In its original multimediality, Dante's Commedia stimulates the performance of readers and artists working in different media from manuscript to stage, from ballet to hyperinstruments, from film to television. Through such a variety of media, the reception of Dante in the visual and performing arts enriches our understanding of the poet and of the arts represented at key moments of formal and structural change in the European cultural world. |
commedia dante: Dante's Divine Comedy Joseph Luzzi, 2024-11-05 A new volume in the Lives of Great Religious Books series, this book explores the creation and cultural afterlives of Dante Alighieri's Divine Comedy-- |
commedia dante: Dante's Idea of Friendship Filippa Modesto, 2015-01-01 In Dante's Idea of Friendship, Filippa Modesto offers sharp readings of theCommedia, Vita Nuova, and Convivio that demonstrate Dante's interest in that theme. |
commedia dante: Dante's Journey to Polyphony Francesco Ciabattoni, 2015-01-15 In Dante's Journey to Polyphony, Francesco Ciabattoni's erudite analysis sheds light on Dante's use of music in the Divine Comedy. Following the work's musical evolution, Ciabattoni moves from the cacophony of Inferno through the monophony of Purgatory, to the polyphony of Paradise and argues that Dante's use of sacred songs constitutes a thoroughly planned system. Particular types of music accompany the pilgrim's itinerary and reflect medieval theories regarding sound and the sacred. Combining musicological and philological scholarship, this book analyzes Dante's use of music in conjunction with the form and content of his verse, resulting in a cross-discipline analysis also touching on Italian Studies, Medieval Studies, and Cultural History. After moving from infernal din to heavenly harmony, Ciabattoni's final section addresses the music of the spheres, a theory that enjoyed great diffusion among the early middle ages, inspiring poets and philosophers for centuries. |
commedia dante: Dante and the Orient Brenda Deen Schildgen, 2002 In Dante and the Orient, Schildgen argues that Dante's treatment of the East enabled him to use the rhetoric employed in crusade narratives and other travel literature to oppose the military and polemic goals of the Crusades and to plead for the reformation of both church and state.--BOOK JACKET. |
commedia dante: Dante’s Visions Cecilia Panti, Marco Piccolino, 2024-12-10 Dante’s Visions: Crossing Sights on Natural Philosophy, Theory of Vision, and Medicine in the Divine Comedy and Beyond offers a fascinating insight into Dante’s engagement with the science of his time, particularly with visual perception and neurological disorders. The relationship between the soul and the body and the bond between human beings and their natural environment were significant areas of interest in the medieval world. In Dante’s Divine Comedy, as well as in his Vita Nuova and Convivio, these connections are enhanced to the fullest, expressing feelings and sensations, pain and ecstasy, and physical and spiritual passions under exceptional psychological and environmental stimuli. Based on the research of a multidisciplinary group of scholars – including experts in Dante, the culture and history of medieval literature and philosophy, historians of science, neuroscientists, and specialists in vision and visual illusions – this book explores the poet’s psychophysical descriptions of sense perception, the theory of vision, optical illusions and deceptions of sight, neurological phenomena, and the anatomy and physiology of the human nervous system. It highlights the Aristotelian sources of his scientific culture and the influence of the Arabic sciences on their dissemination in the Western world. In addition to illustrating the cultural background of a poetic genius, with specific reference to the rich scientific reflections in Italy at Dante’s time, this book brings out the many opportunities for future research at the intersection of science and literature in the past. |
commedia dante: Dante's Aesthetics of Being Warren Ginsberg, 1999 Explores the domain of the aesthetic in Dante |
commedia dante: Approaches to Teaching Dante's Divine Comedy Christopher Kleinhenz, Kristina Olson, 2020-02-01 Dante's Divine Comedy can compel and shock readers: it combines intense emotion and psychological insight with medieval theology and philosophy. This volume will help instructors lead their students through the many dimensions--historical, literary, religious, and ethical--that make the work so rewarding and enduringly relevant yet so difficult. Part 1, Materials, gives instructors an overview of the important scholarship on the Divine Comedy. The essays of part 2, Approaches, describe ways to teach the work in the light of its contemporary culture and ours. Various teaching situations (a first-year seminar, a creative writing class, high school, a prison) are considered, and the many available translations are discussed. |
commedia dante: Second catalogue, including the additions made since 1882 Baltimore Peabody inst, libr, 1896 |
Commedia dell'arte - Wikipedia
Commedia dell'arte[a] was an early form of professional theatre, originating from Italian theatre, that was popular throughout Europe between the 16th and 18th centuries. [4][5] It was formerly …
Commedia dell’arte | History, Characters, & Facts | Britannica
Jun 4, 2025 · The commedia dell’arte was a form of popular theatre that emphasized ensemble acting; its improvisations were set in a firm framework of masks and stock situations, and its …
Commedia dell’arte - The Metropolitan Museum of Art
Jul 1, 2007 · Commedia dell’arte is a theatrical form characterized by improvised dialogue and a cast of colorful stock characters that emerged in northern Italy in the fifteenth century and …
What You Need to Know About Commedia Dell'Arte - ThoughtCo
Commedia dell'arte, also known as "Italian comedy," was a humorous theatrical presentation performed by professional actors who traveled in troupes throughout Italy in the 16th century. …
Home | Commedia W
Commedia ruled the world for over 3 centuries and has influenced practitioners from Chaplin to Picasso, companies like complicite to the National Theatre and continues to form a basis for all …
The Enduring Influence of Commedia dell’Arte Characters ...
Feb 18, 2025 · What is commedia dell’arte? The Italian commedia dell’arte is a type of theater characterized by masked performers, character archetypes, improvisation, and an everyman …
A Brief Overview of Commedia dell’Arte - Alley Theatre
The term “commedia dell’arte” literally translates to “play of professional artists.” This distinguished the style from amateur dramatics, as well as the commedia erudita (“academic” …
COMMEDIA DELL'ARTE - The Italian Comedy - Italian Carnival
La Commedia dell'Arte literally means "Artistic Comedy", probably named as a contraposition to the standard way of making theater in that period. It has been renamed in English as "Italian …
What's Commedia? - Faction of Fools
The style of Commedia is characterized by its use of masks, improvisation, physical comedy, and recognizable character types—young lovers, wily servants, greedy old men, know-it-all …
A guide to Commedia dell'Arte from Crossref-it.info
Commedia dell’Arte can be translated as: ‘theatre of the professional artist’ or ‘the comedy of skills’. Its full name is commedia dell'arte all'improvviso ('comedy through the art of …
Commedia dell'arte - Wikipedia
Commedia dell'arte[a] was an early form of professional theatre, originating from Italian theatre, that was popular throughout Europe between the 16th and 18th centuries. [4][5] It was formerly …
Commedia dell’arte | History, Characters, & Facts | Britannica
Jun 4, 2025 · The commedia dell’arte was a form of popular theatre that emphasized ensemble acting; its improvisations were set in a firm framework of masks and stock situations, and its …
Commedia dell’arte - The Metropolitan Museum of Art
Jul 1, 2007 · Commedia dell’arte is a theatrical form characterized by improvised dialogue and a cast of colorful stock characters that emerged in northern Italy in the fifteenth century and …
What You Need to Know About Commedia Dell'Arte - ThoughtCo
Commedia dell'arte, also known as "Italian comedy," was a humorous theatrical presentation performed by professional actors who traveled in troupes throughout Italy in the 16th century. …
Home | Commedia W
Commedia ruled the world for over 3 centuries and has influenced practitioners from Chaplin to Picasso, companies like complicite to the National Theatre and continues to form a basis for …
The Enduring Influence of Commedia dell’Arte Characters ...
Feb 18, 2025 · What is commedia dell’arte? The Italian commedia dell’arte is a type of theater characterized by masked performers, character archetypes, improvisation, and an everyman …
A Brief Overview of Commedia dell’Arte - Alley Theatre
The term “commedia dell’arte” literally translates to “play of professional artists.” This distinguished the style from amateur dramatics, as well as the commedia erudita (“academic” …
COMMEDIA DELL'ARTE - The Italian Comedy - Italian Carnival
La Commedia dell'Arte literally means "Artistic Comedy", probably named as a contraposition to the standard way of making theater in that period. It has been renamed in English as "Italian …
What's Commedia? - Faction of Fools
The style of Commedia is characterized by its use of masks, improvisation, physical comedy, and recognizable character types—young lovers, wily servants, greedy old men, know-it-all …
A guide to Commedia dell'Arte from Crossref-it.info
Commedia dell’Arte can be translated as: ‘theatre of the professional artist’ or ‘the comedy of skills’. Its full name is commedia dell'arte all'improvviso ('comedy through the art of …