Sebbene moltissimi siano oramai gli studi di vari autori dedicati all’analisi della presenza della matematica nell’opera di Dante e in particolare nella Divina Commedia, con grande stupore ci si ...accorge che esiste sempre qualche angolo inesplorato o qualche verso che può ancora fornire argomento di riflessione e di studio; lo stupore cessa ogni volta, quando si riflette sulla grandezza dell’opera. Volendo anche solo fare brevi cenni alle diverse discipline che costituiscono la matematica, sarebbe impossibile contenerli in poche pagine; rinvio dunque ad altre mie analisi su geometria, logica e probabilità (D’AMORE, 1991, 1993, 1995, 2020), e mi limito a due-tre spunti sull’aritmetica e sulla geometria.
Dante's metaphysics — his understanding of reality — is very different from our own. To present Dante's ideas about the cosmos, or God, or salvation, or history, or poetry within the context of ...post-Enlightenment presuppositions, as is usually done, is thus to capture only imperfectly the essence of those ideas. This book argues that the recovery of Dante's metaphysics is essential if we are to resolve what has been called “the central problem in the interpretation of the Comedy. ”That problem is what to make of the Comedy's claim to the “status of revelation, vision, or experiential record — as something more than imaginative literature.” This book offers a sustained treatment of the metaphysical picture that grounds and motivates the Comedy, and of the relation between those metaphysics and Dante's poetics. The book carries this out through an examination of three notoriously complex cantos of the Paradiso, read against the background of the Neoplatonic and Aristotelian tradition from which they arise.
Dante, cinema, and television Iannucci, Amilcare A
Dante, cinema, and television,
c2004, 20041006, 2004, 2014, 2004-01-01
eBook
TheDivine Comedyof 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 Televisioncorrects this oversight.
The essays, from a broad range of disciplines, cover the influence of theDivine Comedyfrom 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 Televisiondemonstrates the many subtle ways in which Dante'sDivine Comedyhas been given 'new life' by cinema and television, and underscores the tremendous extent of Dante's staying power in the modern world.
Se l’esistenza letteraria dell’Argentina iniziava con l’Indipendenza, ciò significava non avere radici e fondamenta nel passato. La Divina Commedia finiva per costituire una solida base di civiltà: ...Dante, quindi, con il suo poema, legittimato da Mitre attraverso la sua traduzione, è introdotto a pieno titolo nella storia culturale del paese.Dante Legitimized in Mitre’s Argentina Since Argentinian literature started with Independence, it does not have roots in the past. Dante’s Divine Comedy was thus often used as a solid basis for civilization. Through Mitre’s translation, Dante’s poem became part of the cultural history of Argentina.
In a masterly synthesis of historical and literary analysis, Giuseppe Mazzotta shows how medieval knowledge systems--the cycle of the liberal arts, ethics, politics, and theology--interacted with ...poetry and elevated the Divine Comedy to a central position in shaping all other forms of discursive knowledge. To trace the circle of Dante's intellectual concerns, Mazzotta examines the structure and aims of medieval encyclopedias, especially in the twelfth and thirteenth centuries; the medieval classification of knowledge; the battle of the arts; the role of the imagination; the tension between knowledge and vision; and Dante's theological speculations in his constitution of what Mazzotta calls aesthetic, ludic theology. As a poet, Dante puts himself at the center of intellectual debates of his time and radically redefines their configuration. In this book, Mazzotta offers powerful new readings of a poet who stands amid his culture's crisis and fragmentation, one who responds to and counters them in his work. In a critical gesture that enacts Dante's own insight, Mazzotta's practice is also a fresh contribution to the theoretical literary debates of the present.
Originally published in 1992.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The California Lectura Dantis is the long-awaited companion to the three-volume verse translation by Allen Mandelbaum of Dante's Divine Comedy. Mandelbaum's translation, with facing original text and ...with illustrations by Barry Moser, has been praised by Robert Fagles as "exactly what we have waited for these years, a Dante with clarity, eloquence, terror, and profoundly moving depths," and by the late James Merrill as "lucid and strong . . . with rich orchestration . . . overall sweep and felicity . . . and countless free, brilliant, utterly Dantesque strokes." Charles Simic called the work "a miracle. A lesson in the art of translation and a model (an encyclopedia) for poets. The full range and richness of American English is displayed as perhaps never before." This collection of commentaries on the first part of the Comedy consists of commissioned essays, one for each canto, by a distinguished group of international scholar-critics. Readers of Dante will find this Inferno volume an enlightening and indispensable guide, the kind of lucid commentary that is truly adapted to the general reader as well as the student and scholar.
