Andreas Osiander
- Published in print:
- 2007
- Published Online:
- May 2008
- ISBN:
- 9780198294511
- eISBN:
- 9780191717048
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198294511.003.0003
- Subject:
- Political Science, International Relations and Politics
This chapter analyses why the Roman empire — from the 3rd century onwards, decayed and contracted — as well as why the east Roman empire of Constantinople survived until the 15th century. It ...
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This chapter analyses why the Roman empire — from the 3rd century onwards, decayed and contracted — as well as why the east Roman empire of Constantinople survived until the 15th century. It discusses the foundations of the ideology of the Roman empire, valid until the end of the pre-Reformation period (as reflected in authors like Eusébios (Eusebius) of Kaisáreia, Augustine, or Paulus Orosius), and examines the circumstances and meaning of the repeated revival of a western Roman empire (800, 962, 1312). The final section is dedicated to the theory of empire of three important political thinkers of the ‘age of the scholastics’: Engelbert of Admont, Dante Alighieri, and Pierre Dubois. The chapter emphasizes that supralocal political structures in pre-Reformation Latin always remained weak and were based on voluntary adhesion, the perception of a common identity, rather than on forcible submission.Less
This chapter analyses why the Roman empire — from the 3rd century onwards, decayed and contracted — as well as why the east Roman empire of Constantinople survived until the 15th century. It discusses the foundations of the ideology of the Roman empire, valid until the end of the pre-Reformation period (as reflected in authors like Eusébios (Eusebius) of Kaisáreia, Augustine, or Paulus Orosius), and examines the circumstances and meaning of the repeated revival of a western Roman empire (800, 962, 1312). The final section is dedicated to the theory of empire of three important political thinkers of the ‘age of the scholastics’: Engelbert of Admont, Dante Alighieri, and Pierre Dubois. The chapter emphasizes that supralocal political structures in pre-Reformation Latin always remained weak and were based on voluntary adhesion, the perception of a common identity, rather than on forcible submission.
John Marenbon
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691142555
- eISBN:
- 9781400866359
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691142555.003.0011
- Subject:
- Religion, Philosophy of Religion
This chapter considers the highly paradoxical position occupied by ancient pagans, who are considered genuinely and outstandingly virtuous and yet at the same are condemned to Hell. This paradox is ...
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This chapter considers the highly paradoxical position occupied by ancient pagans, who are considered genuinely and outstandingly virtuous and yet at the same are condemned to Hell. This paradox is discussed in detail before the chapter goes on to explain Dante's position in this paradox, by looking at Dante's attitude to pagan wisdom and its relation to Christianity, especially his adoption, but transformation, of the position of limited relativism which strictly separates the spheres of philosophical enquiry and Christian doctrine. The damnation of virtuous pagans turns out to be the price required by this approach, which remains deliberately paradoxical, despite Dante's innovation of placing them in a special part of Hell, where there are no physical torments. Furthermore, the chapter looks at another aspect of Dante's discussion of paganism — his treatment of Epicurus and his followers — and links it to a comparison with his great admirer and commentator, Boccaccio.Less
This chapter considers the highly paradoxical position occupied by ancient pagans, who are considered genuinely and outstandingly virtuous and yet at the same are condemned to Hell. This paradox is discussed in detail before the chapter goes on to explain Dante's position in this paradox, by looking at Dante's attitude to pagan wisdom and its relation to Christianity, especially his adoption, but transformation, of the position of limited relativism which strictly separates the spheres of philosophical enquiry and Christian doctrine. The damnation of virtuous pagans turns out to be the price required by this approach, which remains deliberately paradoxical, despite Dante's innovation of placing them in a special part of Hell, where there are no physical torments. Furthermore, the chapter looks at another aspect of Dante's discussion of paganism — his treatment of Epicurus and his followers — and links it to a comparison with his great admirer and commentator, Boccaccio.
Alan Deyermond
- Published in print:
- 2007
- Published Online:
- January 2012
- ISBN:
- 9780197263952
- eISBN:
- 9780191734083
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263952.003.0021
- Subject:
- History, British and Irish Medieval History
This chapter examines British studies and research with regard to medieval Italian poet Dante Alighieri. It explains that Dante and his Divina commedia have been a central preoccupation of British ...
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This chapter examines British studies and research with regard to medieval Italian poet Dante Alighieri. It explains that Dante and his Divina commedia have been a central preoccupation of British Italianists throughout the twentieth century and that it was the focus of the first two volumes of the influential Cambridge Studies on Medieval Literature series. Notable general studies of the Commedia include Sir Cyril Hinshelwood's article on its imagery, Sheila Ralphs' short book on allegorical patterns, and two longer books by Jeremy Tambling and Patrick Boyde.Less
This chapter examines British studies and research with regard to medieval Italian poet Dante Alighieri. It explains that Dante and his Divina commedia have been a central preoccupation of British Italianists throughout the twentieth century and that it was the focus of the first two volumes of the influential Cambridge Studies on Medieval Literature series. Notable general studies of the Commedia include Sir Cyril Hinshelwood's article on its imagery, Sheila Ralphs' short book on allegorical patterns, and two longer books by Jeremy Tambling and Patrick Boyde.
Martin L. McLaughlin
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198158998
- eISBN:
- 9780191673443
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198158998.003.0001
- Subject:
- Literature, European Literature, 16th-century and Renaissance Literature
Dante Alighieri (1265–1321) is familiar with imitative strategies. Although he makes only two explicit statements about literary imitation, both of them in the problematic and unfinished De Vulgari ...
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Dante Alighieri (1265–1321) is familiar with imitative strategies. Although he makes only two explicit statements about literary imitation, both of them in the problematic and unfinished De Vulgari Eloquentia), this chapter complements and contextualizes by examining his other implicit ideas on the topic. Although Dante theorized about imitation in his earlier works, it is only in the Commedia that there is a more specific exemplification of the imitation of classical authors. This imitation in the vernacular, however, although hinting at an embryonic humanism, was not destined to mark the beginning of a trend. Dante's poem was a unique work, a summa, almost inhibiting future writers from following his path. The generation after Dante was also influenced much more by Petrarch than by Dante.Less
Dante Alighieri (1265–1321) is familiar with imitative strategies. Although he makes only two explicit statements about literary imitation, both of them in the problematic and unfinished De Vulgari Eloquentia), this chapter complements and contextualizes by examining his other implicit ideas on the topic. Although Dante theorized about imitation in his earlier works, it is only in the Commedia that there is a more specific exemplification of the imitation of classical authors. This imitation in the vernacular, however, although hinting at an embryonic humanism, was not destined to mark the beginning of a trend. Dante's poem was a unique work, a summa, almost inhibiting future writers from following his path. The generation after Dante was also influenced much more by Petrarch than by Dante.
Tomaž Mastnak
- Published in print:
- 2002
- Published Online:
- May 2012
- ISBN:
- 9780520226357
- eISBN:
- 9780520925991
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520226357.003.0006
- Subject:
- Religion, World Religions
This chapter describes the decline of Christendom, which involved the weakening of two competing forms of medieval universal power: the Papal monarchy and the empire. It also discusses the work of ...
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This chapter describes the decline of Christendom, which involved the weakening of two competing forms of medieval universal power: the Papal monarchy and the empire. It also discusses the work of three late medieval writers who defended the empire as the legitimate world monarchy, necessary for the establishment and maintenance of universal peace and the spread of Christianity. The chapter furthermore presents the idea of three of the contemporary writers who advocated territorial powers. The crusade idea survived the decline of Christendom, which the crusade had helped to create. The works of two authors presented in the concluding section say that the idea of crusade was rejuvenated in the second half of the fourteenth century. Dante Alighieri penned the most famous argument for universal rule. He developed his conceptions of secular government, and especially of the empire, independently of the church–state pamphlet war of the late thirteenth and early fourteenth centuries.Less
This chapter describes the decline of Christendom, which involved the weakening of two competing forms of medieval universal power: the Papal monarchy and the empire. It also discusses the work of three late medieval writers who defended the empire as the legitimate world monarchy, necessary for the establishment and maintenance of universal peace and the spread of Christianity. The chapter furthermore presents the idea of three of the contemporary writers who advocated territorial powers. The crusade idea survived the decline of Christendom, which the crusade had helped to create. The works of two authors presented in the concluding section say that the idea of crusade was rejuvenated in the second half of the fourteenth century. Dante Alighieri penned the most famous argument for universal rule. He developed his conceptions of secular government, and especially of the empire, independently of the church–state pamphlet war of the late thirteenth and early fourteenth centuries.
Jan M. Ziolkowski
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823263868
- eISBN:
- 9780823266302
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823263868.003.0001
- Subject:
- History, European Medieval History
Offers a twenty-first century perspective on the history of studies on Dante and Islam, how the topic resonates today, and how the volume takes an innovative approach to a long-standing field of ...
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Offers a twenty-first century perspective on the history of studies on Dante and Islam, how the topic resonates today, and how the volume takes an innovative approach to a long-standing field of study. Examines difficulties that such a consideration entails, with the Commedia taken as a summa of medieval Christian culture and therefore still subject to sometimes violent rejection for its apparent condemnation of Muhammad in Inferno. Lays out the history of the scholarly controversy, from the heated reaction to the first publication of Miguel Asín Palacios on the topic. Shows how the essays in this volume offer alternative readings that balance historical context with analysis of possible points of contact, ranging from linguistic ties to Islamic visionary and philosophical traditions. Conscious that religious and cultural differences are presently at the forefront of public consciousness, it emphasizes measured scholarship that embraces multiple perspectives and grounds itself in history.Less
Offers a twenty-first century perspective on the history of studies on Dante and Islam, how the topic resonates today, and how the volume takes an innovative approach to a long-standing field of study. Examines difficulties that such a consideration entails, with the Commedia taken as a summa of medieval Christian culture and therefore still subject to sometimes violent rejection for its apparent condemnation of Muhammad in Inferno. Lays out the history of the scholarly controversy, from the heated reaction to the first publication of Miguel Asín Palacios on the topic. Shows how the essays in this volume offer alternative readings that balance historical context with analysis of possible points of contact, ranging from linguistic ties to Islamic visionary and philosophical traditions. Conscious that religious and cultural differences are presently at the forefront of public consciousness, it emphasizes measured scholarship that embraces multiple perspectives and grounds itself in history.
Daniela Boccassini
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823263868
- eISBN:
- 9780823266302
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823263868.003.0008
- Subject:
- History, European Medieval History
This paper argues the hypothesis that the condition of the souls in Dante’s Purgatorio and Dante’s own journey of ascent of that transformative mountain lend themselves to be understood in terms of ...
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This paper argues the hypothesis that the condition of the souls in Dante’s Purgatorio and Dante’s own journey of ascent of that transformative mountain lend themselves to be understood in terms of falconry — the art of training a wild raptor to relate to the presence of the falconer and respond to his call. By analyzing the falconry techniques Dante mentions in the Commedia and tracing their origin in the practices that Emperor Frederick II had imported from the Islamic world, we can also better gauge the symbolic value Dante attributes to falconry as an initiatory art of inner transmutation. Seen in the larger perspective of a Mediterranean shared culture, Dante’s understanding of falconry clearly mirrors, on European grounds, the views of some of the towering figures of Islamic medieval poetry and speculative thinking, such as Attar, Ibn Arabi and Rumi. The article finally explores the way in which the concept of inner transmutation, foundational to the art of falconry, contributes to a renewed understanding of Dante’s Purgatory as the locus where Law transmutes into Love — where “amor d’animo” paradoxically learns to respond to the call of “amor naturale”.Less
This paper argues the hypothesis that the condition of the souls in Dante’s Purgatorio and Dante’s own journey of ascent of that transformative mountain lend themselves to be understood in terms of falconry — the art of training a wild raptor to relate to the presence of the falconer and respond to his call. By analyzing the falconry techniques Dante mentions in the Commedia and tracing their origin in the practices that Emperor Frederick II had imported from the Islamic world, we can also better gauge the symbolic value Dante attributes to falconry as an initiatory art of inner transmutation. Seen in the larger perspective of a Mediterranean shared culture, Dante’s understanding of falconry clearly mirrors, on European grounds, the views of some of the towering figures of Islamic medieval poetry and speculative thinking, such as Attar, Ibn Arabi and Rumi. The article finally explores the way in which the concept of inner transmutation, foundational to the art of falconry, contributes to a renewed understanding of Dante’s Purgatory as the locus where Law transmutes into Love — where “amor d’animo” paradoxically learns to respond to the call of “amor naturale”.
Giorgio Battistoni
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823263868
- eISBN:
- 9780823266302
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823263868.003.0012
- Subject:
- History, European Medieval History
This essay examines questions of Dante and Islam, as well as Judaism and Christianity, through the historically specific lens of Verona and the court of Cangrande della Scala as well as a personal ...
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This essay examines questions of Dante and Islam, as well as Judaism and Christianity, through the historically specific lens of Verona and the court of Cangrande della Scala as well as a personal scholarly journey. By drawing attention to the transmission of the Liber scale machometi that is attested to not in Tuscany but in Verona and Lombardy in the later part of the 14th century, it shows how the northern Italian setting is particularly relevant in tracing the possible influence of non-Christian sources on Dante during his time at the court of Cangrande. The figures of Hillel of Verona and Manoello giudeo, mentioned but briefly by Asín Palacios, are further examined as they attest to a vibrant intercultural exchange from the early 13th century to Dante’s time in Verona and to the particular Jewish role in bringing the three monotheistic traditions into literary contact with one another. In finding links between the work of Dante and Manoello in particular, we might see a culture of tolerance as well as a shared risk that leads both to be lambasted and damned in a later sonnet by Cino da Pistoia.Less
This essay examines questions of Dante and Islam, as well as Judaism and Christianity, through the historically specific lens of Verona and the court of Cangrande della Scala as well as a personal scholarly journey. By drawing attention to the transmission of the Liber scale machometi that is attested to not in Tuscany but in Verona and Lombardy in the later part of the 14th century, it shows how the northern Italian setting is particularly relevant in tracing the possible influence of non-Christian sources on Dante during his time at the court of Cangrande. The figures of Hillel of Verona and Manoello giudeo, mentioned but briefly by Asín Palacios, are further examined as they attest to a vibrant intercultural exchange from the early 13th century to Dante’s time in Verona and to the particular Jewish role in bringing the three monotheistic traditions into literary contact with one another. In finding links between the work of Dante and Manoello in particular, we might see a culture of tolerance as well as a shared risk that leads both to be lambasted and damned in a later sonnet by Cino da Pistoia.
Paolo Bartoloni
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781474423632
- eISBN:
- 9781474438520
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474423632.003.0012
- Subject:
- Philosophy, Political Philosophy
The Italian poet Dante Alighieri (1265–1321) is invoked several times in the work of Giorgio Agamben, often in passing to stress a point, as when discussing the political relevance of désoeuvrement ...
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The Italian poet Dante Alighieri (1265–1321) is invoked several times in the work of Giorgio Agamben, often in passing to stress a point, as when discussing the political relevance of désoeuvrement (KG 246); to develop a thought, as in the articulation of the medieval idea of imagination as the medium between body and soul (S, especially 127–9); or to explain an idea, as in the case of the artistic process understood as the meeting of contradictory forces such as inspiration and critical control (FR, especially 48–50). So while Agamben does not engage with Dante systematically, he refers to him constantly, treating the Florentine poet as an auctoritas whose presence adds critical rigour and credibility. Identifying and relating the instances of these encounters is useful since they highlight central aspects of Agamben’s thought and its development over the years, from the first writings, such as Stanzas, to more recent texts, such as Il fuoco e il racconto and The Use of Bodies.
The significance of Agamben’s reliance on Dante can be divided into two categories: the aesthetic and the political. The following discussion will address each of these categories separately, but will also emphasise the philosophical continuity that links the discussion of the aesthetic with that of the political. While in the first instance Dante is offered as an example of poetic innovation, especially in relation to the use of language and imagination, in the second he is invoked as a forerunner of new forms of life. Mediality and potentiality are the two pivots connecting the aesthetic and the political.Less
The Italian poet Dante Alighieri (1265–1321) is invoked several times in the work of Giorgio Agamben, often in passing to stress a point, as when discussing the political relevance of désoeuvrement (KG 246); to develop a thought, as in the articulation of the medieval idea of imagination as the medium between body and soul (S, especially 127–9); or to explain an idea, as in the case of the artistic process understood as the meeting of contradictory forces such as inspiration and critical control (FR, especially 48–50). So while Agamben does not engage with Dante systematically, he refers to him constantly, treating the Florentine poet as an auctoritas whose presence adds critical rigour and credibility. Identifying and relating the instances of these encounters is useful since they highlight central aspects of Agamben’s thought and its development over the years, from the first writings, such as Stanzas, to more recent texts, such as Il fuoco e il racconto and The Use of Bodies.
The significance of Agamben’s reliance on Dante can be divided into two categories: the aesthetic and the political. The following discussion will address each of these categories separately, but will also emphasise the philosophical continuity that links the discussion of the aesthetic with that of the political. While in the first instance Dante is offered as an example of poetic innovation, especially in relation to the use of language and imagination, in the second he is invoked as a forerunner of new forms of life. Mediality and potentiality are the two pivots connecting the aesthetic and the political.
Maria Corti
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823263868
- eISBN:
- 9780823266302
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823263868.003.0003
- Subject:
- History, European Medieval History
Sets forth methodological principles for continued work on the relationship between Dante and Islam; namely, interdiscursivity, intertextuality, and the claim of direct source material. Examples of ...
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Sets forth methodological principles for continued work on the relationship between Dante and Islam; namely, interdiscursivity, intertextuality, and the claim of direct source material. Examples of each possibility are provided by examining first a generally understood Muhammadan prohibition to go beyond the Straits of Gibraltar as cultural context for Dante’s Ulysses, then the particular use of the Summa alexandrinorum (based on Arabic translations of Aristotle) as a source for Aristotle’s Nicomachean Ethics, and finally correlations between the Comedy and the Liber scale machometi that suggest a direct line of transmission. In each case, attention is given to the material transmission of ideas and texts. This effort reaffirms (and reinterprets) the belief of Ernst Robert Curtius that the paramount task remaining for Dante scholars is to study methodically his relationship to the Latin Middle Ages.Less
Sets forth methodological principles for continued work on the relationship between Dante and Islam; namely, interdiscursivity, intertextuality, and the claim of direct source material. Examples of each possibility are provided by examining first a generally understood Muhammadan prohibition to go beyond the Straits of Gibraltar as cultural context for Dante’s Ulysses, then the particular use of the Summa alexandrinorum (based on Arabic translations of Aristotle) as a source for Aristotle’s Nicomachean Ethics, and finally correlations between the Comedy and the Liber scale machometi that suggest a direct line of transmission. In each case, attention is given to the material transmission of ideas and texts. This effort reaffirms (and reinterprets) the belief of Ernst Robert Curtius that the paramount task remaining for Dante scholars is to study methodically his relationship to the Latin Middle Ages.
Karen Sullivan
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780226540122
- eISBN:
- 9780226540436
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226540436.003.0005
- Subject:
- Literature, Early and Medieval Literature
In Dante Alighieri’s Inferno, Francesca explains that she and her lover Paolo first became aware of their passion when they read of the famous first kiss between Lancelot and Guinevere and were ...
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In Dante Alighieri’s Inferno, Francesca explains that she and her lover Paolo first became aware of their passion when they read of the famous first kiss between Lancelot and Guinevere and were inspired to imitate these characters. In attributing Francesca’s sin to her reading of the Book of Galehaut (or the Prose Lancelot), Dante is said to criticize her for confusing literature and life and, by extension, the ideal and the real. In the Prose Lancelot, some knights and ladies, like “realist” critics of romance, doubt that Lancelot is as great a knight and lover as he is alleged to be, but their skepticism is shown to be grounded in their own resentment. As intolerable as it may be for Lancelot’s opponents to acknowledge his superiority to themselves or their lovers, it is no less difficult for his supporters to acknowledge that excellence, as they can neither be nor possess the man who stands above all others. In the end, the only way to approach Lancelot is with the aim not of surpassing him, as his rivals do, nor of possessing him, as his admirers do, but of contemplating his excellence, as the audience does in reading this work.Less
In Dante Alighieri’s Inferno, Francesca explains that she and her lover Paolo first became aware of their passion when they read of the famous first kiss between Lancelot and Guinevere and were inspired to imitate these characters. In attributing Francesca’s sin to her reading of the Book of Galehaut (or the Prose Lancelot), Dante is said to criticize her for confusing literature and life and, by extension, the ideal and the real. In the Prose Lancelot, some knights and ladies, like “realist” critics of romance, doubt that Lancelot is as great a knight and lover as he is alleged to be, but their skepticism is shown to be grounded in their own resentment. As intolerable as it may be for Lancelot’s opponents to acknowledge his superiority to themselves or their lovers, it is no less difficult for his supporters to acknowledge that excellence, as they can neither be nor possess the man who stands above all others. In the end, the only way to approach Lancelot is with the aim not of surpassing him, as his rivals do, nor of possessing him, as his admirers do, but of contemplating his excellence, as the audience does in reading this work.
John Tolan
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823263868
- eISBN:
- 9780823266302
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823263868.003.0011
- Subject:
- History, European Medieval History
In the eleventh canto of the Paradiso, Dante paints a vivid portrait of Francis of Assisi, a new rising sun in the Orient. A key episode in the spiritual itinerary of the saint, for Dante as for many ...
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In the eleventh canto of the Paradiso, Dante paints a vivid portrait of Francis of Assisi, a new rising sun in the Orient. A key episode in the spiritual itinerary of the saint, for Dante as for many other authors and artists, is his preaching Christ in the “proud presence” of the sultan, into whose presence he was driven by his “thirst for martyrdom”. To what extent is Dante’s vision of this central event in Francis’ life shaped by what he read, heard and saw in Florence, particularly in the Franciscan Convent of Santa Croce? How did this shape both his understanding of Francis and of Francis’ mission to the Egyptian sultan? In this as is many things, Dante borrows extensively from earlier models but shows considerable originality and innovation. In order to comprehend the key place given by Dante to Francis’ preaching to the sultan, I first briefly study the presence of the two mendicant orders in thirteenth-century Florence and of representations of Francis—and particularly of his encounter with the sultan—in the texts and pictorial representations with which Dante was familiar. Finally, I take a close look at Dante’s portrayal of Francis to see what he does with these sources.Less
In the eleventh canto of the Paradiso, Dante paints a vivid portrait of Francis of Assisi, a new rising sun in the Orient. A key episode in the spiritual itinerary of the saint, for Dante as for many other authors and artists, is his preaching Christ in the “proud presence” of the sultan, into whose presence he was driven by his “thirst for martyrdom”. To what extent is Dante’s vision of this central event in Francis’ life shaped by what he read, heard and saw in Florence, particularly in the Franciscan Convent of Santa Croce? How did this shape both his understanding of Francis and of Francis’ mission to the Egyptian sultan? In this as is many things, Dante borrows extensively from earlier models but shows considerable originality and innovation. In order to comprehend the key place given by Dante to Francis’ preaching to the sultan, I first briefly study the presence of the two mendicant orders in thirteenth-century Florence and of representations of Francis—and particularly of his encounter with the sultan—in the texts and pictorial representations with which Dante was familiar. Finally, I take a close look at Dante’s portrayal of Francis to see what he does with these sources.
Rachel Falconer
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780748617630
- eISBN:
- 9780748651733
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748617630.003.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter introduces the concept of Hell and the ‘katabatic imagination’, which is a worldview that conceives of selfhood as the narrative construct of an infernal journey and return. It ...
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This chapter introduces the concept of Hell and the ‘katabatic imagination’, which is a worldview that conceives of selfhood as the narrative construct of an infernal journey and return. It identifies Dante Alighieri as the most influential katabatic writer on contemporary Western literature, and looks at the development of the katabatic narrative from the classical period to modern times. Several descent narratives are presented in the final section of the chapter.Less
This chapter introduces the concept of Hell and the ‘katabatic imagination’, which is a worldview that conceives of selfhood as the narrative construct of an infernal journey and return. It identifies Dante Alighieri as the most influential katabatic writer on contemporary Western literature, and looks at the development of the katabatic narrative from the classical period to modern times. Several descent narratives are presented in the final section of the chapter.
Alison Milbank
- Published in print:
- 2018
- Published Online:
- November 2018
- ISBN:
- 9780198824466
- eISBN:
- 9780191863257
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198824466.003.0007
- Subject:
- Religion, Religion and Literature
Chapter 6 centres on discussions of Dante and Mary Shelley. Brought up as Godwin’s daughter in the tradition of rational dissent, Mary Shelley has recourse to Dante’s Commedia to think theologically. ...
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Chapter 6 centres on discussions of Dante and Mary Shelley. Brought up as Godwin’s daughter in the tradition of rational dissent, Mary Shelley has recourse to Dante’s Commedia to think theologically. She uses it allusively in Frankenstein to import a perspective of divine judgement on her scientist through dramatic irony and parallels with Dante’s Ulysses. Dante’s Gothic aesthetics of the damned as grotesque signs makes sense of Frankenstein’s failure to acknowledge his Creature, or admit any relation between them, thus making the Creature his monstrous double. In Mathilda and Valperga, by contrast, heroines compared to Dante’s female guides interrogate political tyranny and offer a more positive feminine mode of mediation between earthly and heavenly realms. Dante informs also Shelley’s conception of the prophetic authority of her role as author, where the grotesque allows a mode of human creativity which avoids claiming godlike powers, and allows a model of empowerment paradoxically enabled through an acceptance of creaturehood.Less
Chapter 6 centres on discussions of Dante and Mary Shelley. Brought up as Godwin’s daughter in the tradition of rational dissent, Mary Shelley has recourse to Dante’s Commedia to think theologically. She uses it allusively in Frankenstein to import a perspective of divine judgement on her scientist through dramatic irony and parallels with Dante’s Ulysses. Dante’s Gothic aesthetics of the damned as grotesque signs makes sense of Frankenstein’s failure to acknowledge his Creature, or admit any relation between them, thus making the Creature his monstrous double. In Mathilda and Valperga, by contrast, heroines compared to Dante’s female guides interrogate political tyranny and offer a more positive feminine mode of mediation between earthly and heavenly realms. Dante informs also Shelley’s conception of the prophetic authority of her role as author, where the grotesque allows a mode of human creativity which avoids claiming godlike powers, and allows a model of empowerment paradoxically enabled through an acceptance of creaturehood.
Catherine E. Paul
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9781942954057
- eISBN:
- 9781781384053
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781942954057.003.0002
- Subject:
- Literature, American, 20th Century Literature
Chapter Two contextualizes and explores Pound’s first participation in the cultural nationalist project of Fascist Italy: his edition Guido Cavalcanti Rime, published in Italy in 1932. Like many ...
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Chapter Two contextualizes and explores Pound’s first participation in the cultural nationalist project of Fascist Italy: his edition Guido Cavalcanti Rime, published in Italy in 1932. Like many Italian artists and intellectuals at this time, Pound saw in the art of the Italian quattrocento (or early Renaissance) material for enriching modern Italian culture. At this same time, Pound was realizing that Mussolini, too, looked to the Italian cultural heritage as a means of building a strong nation. Pound’s elaborate edition showcased the work of a late medieval Italian poet, an immediate predecessor of Dante, who had already become a central figure of Italian nationalism. I argue that Pound wanted to make Cavalcanti a worthy nationalist compatriot of Dante, and to do so I treat writings of Bernard Berenson, F. T. Marinetti and Cipriano Efisio Oppo, Carlo Carrà, Margherita Sarfatti, as well as Mussolini himself, together with artwork generated by the Novecento and Valori Plastici groups, whose work emulated the formal characteristics of early Italian Renaissance painting. Through my reading of Cavalcanti, I show how the project of cultural nationalism claimed Pound, such that he wedded his work to Fascist Italy’s.Less
Chapter Two contextualizes and explores Pound’s first participation in the cultural nationalist project of Fascist Italy: his edition Guido Cavalcanti Rime, published in Italy in 1932. Like many Italian artists and intellectuals at this time, Pound saw in the art of the Italian quattrocento (or early Renaissance) material for enriching modern Italian culture. At this same time, Pound was realizing that Mussolini, too, looked to the Italian cultural heritage as a means of building a strong nation. Pound’s elaborate edition showcased the work of a late medieval Italian poet, an immediate predecessor of Dante, who had already become a central figure of Italian nationalism. I argue that Pound wanted to make Cavalcanti a worthy nationalist compatriot of Dante, and to do so I treat writings of Bernard Berenson, F. T. Marinetti and Cipriano Efisio Oppo, Carlo Carrà, Margherita Sarfatti, as well as Mussolini himself, together with artwork generated by the Novecento and Valori Plastici groups, whose work emulated the formal characteristics of early Italian Renaissance painting. Through my reading of Cavalcanti, I show how the project of cultural nationalism claimed Pound, such that he wedded his work to Fascist Italy’s.
Guy P. Raffa
- Published in print:
- 2007
- Published Online:
- February 2013
- ISBN:
- 9780226702674
- eISBN:
- 9780226702780
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226702780.003.0002
- Subject:
- Literature, European Literature
This chapter presents a brief plot summary for the periphery of hell, followed by explanations of “encounters” and “allusions”, significant verses (in Italian and English), and study questions to aid ...
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This chapter presents a brief plot summary for the periphery of hell, followed by explanations of “encounters” and “allusions”, significant verses (in Italian and English), and study questions to aid in comprehension and facilitate discussion of the poem. After passing through the gate of Hell, marked with the ominous words “Leave behind all hope, you who enter,” Dante and Virgil observe the many shades of those who lived such undistinguished lives they are refused entry to either Heaven or Hell. Racing after a banner that never comes to a stop, these cowardly souls are repeatedly stung by flies and wasps, their blood and tears becoming food for the worms at their feet. The travelers approach the shores of Acheron, where wretched souls of the damned gather to cross the river aboard a boat piloted by Charon. The quick-tempered ferryman denies passage to Dante, who, shaken by an earthquake, loses consciousness and collapses.Less
This chapter presents a brief plot summary for the periphery of hell, followed by explanations of “encounters” and “allusions”, significant verses (in Italian and English), and study questions to aid in comprehension and facilitate discussion of the poem. After passing through the gate of Hell, marked with the ominous words “Leave behind all hope, you who enter,” Dante and Virgil observe the many shades of those who lived such undistinguished lives they are refused entry to either Heaven or Hell. Racing after a banner that never comes to a stop, these cowardly souls are repeatedly stung by flies and wasps, their blood and tears becoming food for the worms at their feet. The travelers approach the shores of Acheron, where wretched souls of the damned gather to cross the river aboard a boat piloted by Charon. The quick-tempered ferryman denies passage to Dante, who, shaken by an earthquake, loses consciousness and collapses.
Jehangir Yezdi Malegam
- Published in print:
- 2013
- Published Online:
- August 2016
- ISBN:
- 9780801451324
- eISBN:
- 9780801467899
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801451324.003.0010
- Subject:
- History, European Medieval History
This concluding chapter looks further on to the conceptions of peace in the age of Dante Alighieri, particularly in the political theory of Dante’s contemporary, Marsilius of Padua. In Defender of ...
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This concluding chapter looks further on to the conceptions of peace in the age of Dante Alighieri, particularly in the political theory of Dante’s contemporary, Marsilius of Padua. In Defender of the Peace (1324) Marsilius refuted the legitimacy of papal government in terms all too familiar: assignation of a monopoly over peace. The most ardent of imperialists, Marsilius refused the papacy a part in government by denying its ability to maintain peace on earth. He argued that the end (and thus final cause) of government was peace, since only in peace could humanity achieve its greatest potential, and only in tranquility could the various components of the state function in the most coordinated and effective manner. To defend tranquility, temporal dominion must employ coercion. Meanwhile, the ordering of the eternal kingdom must rely on virtue and faith, albeit in a manner that obviated conflict and competition.Less
This concluding chapter looks further on to the conceptions of peace in the age of Dante Alighieri, particularly in the political theory of Dante’s contemporary, Marsilius of Padua. In Defender of the Peace (1324) Marsilius refuted the legitimacy of papal government in terms all too familiar: assignation of a monopoly over peace. The most ardent of imperialists, Marsilius refused the papacy a part in government by denying its ability to maintain peace on earth. He argued that the end (and thus final cause) of government was peace, since only in peace could humanity achieve its greatest potential, and only in tranquility could the various components of the state function in the most coordinated and effective manner. To defend tranquility, temporal dominion must employ coercion. Meanwhile, the ordering of the eternal kingdom must rely on virtue and faith, albeit in a manner that obviated conflict and competition.
Guy P. Raffa
- Published in print:
- 2007
- Published Online:
- February 2013
- ISBN:
- 9780226702674
- eISBN:
- 9780226702780
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226702780.001.0001
- Subject:
- Literature, European Literature
One of the greatest works of world literature, Dante Alighieri's The Divine Comedy has, despite its enormous popularity and importance, often stymied readers with its multitudinous characters, ...
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One of the greatest works of world literature, Dante Alighieri's The Divine Comedy has, despite its enormous popularity and importance, often stymied readers with its multitudinous characters, references, and themes. But until now, students of the Inferno have lacked a suitable resource to guide their reading. This book takes readers on a geographic journey through Dante's underworld circle by circle—from the Dark Wood down to the ninth circle of Hell—in much the same way Dante and Virgil proceed in their infernal descent. Each chapter—or “region”—of the book begins with a summary of the action, followed by detailed chapters, significant verses, and useful study questions. The chapters, based on a close examination of the poet's biblical, classical, and medieval sources, help locate the characters and creatures Dante encounters and assist in decoding the poem's vast array of references to religion, philosophy, history, politics, and other works of literature.Less
One of the greatest works of world literature, Dante Alighieri's The Divine Comedy has, despite its enormous popularity and importance, often stymied readers with its multitudinous characters, references, and themes. But until now, students of the Inferno have lacked a suitable resource to guide their reading. This book takes readers on a geographic journey through Dante's underworld circle by circle—from the Dark Wood down to the ninth circle of Hell—in much the same way Dante and Virgil proceed in their infernal descent. Each chapter—or “region”—of the book begins with a summary of the action, followed by detailed chapters, significant verses, and useful study questions. The chapters, based on a close examination of the poet's biblical, classical, and medieval sources, help locate the characters and creatures Dante encounters and assist in decoding the poem's vast array of references to religion, philosophy, history, politics, and other works of literature.
Harry Berger
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780823257478
- eISBN:
- 9780823261550
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823257478.003.0009
- Subject:
- Literature, Criticism/Theory
This chapter cites a few of Dante Alighieri's literary passages in which his terms hold an edge of metaphoric enhancement but are primarily metonymic; the naturalizing effect of transmission ...
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This chapter cites a few of Dante Alighieri's literary passages in which his terms hold an edge of metaphoric enhancement but are primarily metonymic; the naturalizing effect of transmission mechanisms being one of the factors that contribute to the referential and metonymic force of his terms. In addition, St. Thomas Aquinas supports the theory that reality transcends language. The literal level of language refers to the four preexisting and preverbal levels of reality: historical, figural, moral, and mystical. These levels are arranged to allow language to move metonymically between them. Dante and Aquinas appealed to three principles in addressing the literary passages—containment, attraction, and manifestation—all of which interrelate different parts of the universe in terms of parallelism, hierarchy, and causality.Less
This chapter cites a few of Dante Alighieri's literary passages in which his terms hold an edge of metaphoric enhancement but are primarily metonymic; the naturalizing effect of transmission mechanisms being one of the factors that contribute to the referential and metonymic force of his terms. In addition, St. Thomas Aquinas supports the theory that reality transcends language. The literal level of language refers to the four preexisting and preverbal levels of reality: historical, figural, moral, and mystical. These levels are arranged to allow language to move metonymically between them. Dante and Aquinas appealed to three principles in addressing the literary passages—containment, attraction, and manifestation—all of which interrelate different parts of the universe in terms of parallelism, hierarchy, and causality.
Guy P. Raffa
- Published in print:
- 2007
- Published Online:
- February 2013
- ISBN:
- 9780226702674
- eISBN:
- 9780226702780
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226702780.003.0011
- Subject:
- Literature, European Literature
This chapter presents a brief plot summary for pouches seven to ten of the eighth circle of Hell, followed by explanations of “encounters” and “allusions”, significant verses (in Italian and ...
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This chapter presents a brief plot summary for pouches seven to ten of the eighth circle of Hell, followed by explanations of “encounters” and “allusions”, significant verses (in Italian and English), and study questions to aid in comprehension and facilitate discussion of the poem. After climbing out of the pit of the hypocrites, Dante and Virgil observe the punishment of fraudulent souls in the remaining four ditches of circle eight. In the seventh ditch Dante sees Vanni Fucci, who is reduced to ashes by a snakebite and then just as quickly regains his human appearance, and other thieves, who undergo transformations between human and reptilian forms. In the next ditch, enveloped in tonguelike flames, are authors of devious stratagems, particularly those involving persuasive speech. Here the Greek hero Ulysses, paired with his sidekick Diomedes, recounts his fatal final voyage, and Guido da Montefeltro, an Italian warlord, tells how he was damned for providing Pope Boniface VIII with fraudulent counsel. In the ninth ditch Dante encounters sowers of discord whose shade-bodies are divided by a sword-wielding devil. The arresting figure of Betran de Born, a poet whose severed head continues to speak, exemplifies the law of contrapasso, the correspondence between sin and punishment. Falsifiers—alchemists, counterfeiters, impersonators, and liars—are afflicted with various diseases in the tenth and final ditch of circle eight. Virgil scolds Dante for observing a quarrel between Master Adam (a counterfeiter) and Sinon, the Greek whose lie led to the destruction of Troy.Less
This chapter presents a brief plot summary for pouches seven to ten of the eighth circle of Hell, followed by explanations of “encounters” and “allusions”, significant verses (in Italian and English), and study questions to aid in comprehension and facilitate discussion of the poem. After climbing out of the pit of the hypocrites, Dante and Virgil observe the punishment of fraudulent souls in the remaining four ditches of circle eight. In the seventh ditch Dante sees Vanni Fucci, who is reduced to ashes by a snakebite and then just as quickly regains his human appearance, and other thieves, who undergo transformations between human and reptilian forms. In the next ditch, enveloped in tonguelike flames, are authors of devious stratagems, particularly those involving persuasive speech. Here the Greek hero Ulysses, paired with his sidekick Diomedes, recounts his fatal final voyage, and Guido da Montefeltro, an Italian warlord, tells how he was damned for providing Pope Boniface VIII with fraudulent counsel. In the ninth ditch Dante encounters sowers of discord whose shade-bodies are divided by a sword-wielding devil. The arresting figure of Betran de Born, a poet whose severed head continues to speak, exemplifies the law of contrapasso, the correspondence between sin and punishment. Falsifiers—alchemists, counterfeiters, impersonators, and liars—are afflicted with various diseases in the tenth and final ditch of circle eight. Virgil scolds Dante for observing a quarrel between Master Adam (a counterfeiter) and Sinon, the Greek whose lie led to the destruction of Troy.
