Describing the end of human life on earth in stunningly visual symbolism culminating in the second coming of Christ and the final judgment into heaven and hell, the Apocalypse was one of the most ...widely and lavishly illustrated books of the Bible throughout history, particularly during the time of Hildegard of Bingen (10981179).2 As a Benedictine abbess who received visions that became the substance of her books, some of her writings are simultaneously apocalyptic and Apocalyptic. The study of Hildegard's use of the Book of the Apocalypse specifically, in contrast to the array of other apocalyptic influences, provides a construct with which to consider her visionary and artistically rendered a/Apocalyptic works with illustrated Apocalypses of her time.4 It seems likely that she would have personally viewed numerous illustrated Apocalypses at her home monasteries and/ or during her travels. In her a/Apocalyptic vision in LDO, she re-presents themes, characters, narratives, and symbols introduced earlier in Scivias. ...the a/Apocalyptic narrative in Scivias 3.11 through 3.12/13 is "echoed" in LDO 2.1 and 3.5.7 Together, these sections comprise Hildegard's apocalyptic narrative. About five years after its completion, she died in 1179.8 If we assume that she wrote the apocalyptic sections in the later years that she was working on either work, there may be approximately eighteen to twenty years between the apocalyptic vision of Scivias and that of LDO. ...intertextuality is inevitable in exploring Hildegard's a/Apocalyptic vision.9 Here is a very brief overview of several references to Revelation in Hildegard's apocalyptic vision of LDO 2.1, 3.5, and Scivias 3.11, and 3.12. Here her a/Apocalyptic narrative culminates in a vision of heaven wherein she directly cites Revelation, "And there shall be no more night, and they will not need the light of the lamp or the light of the sun; for the Lord God will illuminate them" (22:5).12 Hildegard's incorporation of the Book of Revelation is in some parts very loosely connected to the biblical text.
The Inferno's central conflict is between us readers and God. When fictional characters captivate us, we are normally free to enjoy their charms. Not so Dante's sinners. If we feel bad for these ...characters, it cannot be because they are sympathetic—after all, God put them in Hell—but because we are naive. But is this sympathy really naive? This article reconsiders the Ugolino episode as a paradigm for the Inferno's ethical contradictions. In a poem that reminds us that crimes often create the circumstances for victimization, perhaps sympathizing with the damned is the most ethical reading of all.
A maxim in Boniface VIII's Liber Sextus states that "no one incurs legal liability by giving counsel, unless that counsel is fraudulent." This article unpacks the "legal temporality" of fraudulent ...counsel, a category defined as either the counseling of criminal activity or the use of superior knowledge to advise others to their detriment in contractual affairs. In medieval canon law, by scriptural precedent, the fraudulent counselor is deemed guilty of a crime from the moment when the counsel is given; thus, the fraudulent counselor could become guilty of homicide or theft even before (or, by extension, regardless of whether) the crime happened in physical reality. The most famous medieval application of fraudulent counsel is within the circle of fraud in Dante's Inferno. Although readers of Dante have largely assumed that he invented the term "fraudulent counsel" himself, I show that Dante's treatment of fraudulent counselors expands on precedents in canon law. Dante particularly capitalizes on the distinction between "criminal fraudulent counsel," personified in the war strategist Guido da Montefeltro, and the more socially insidious "contractual fraudulent counsel," dramatized in the Greek hero Ulysses. In elevating fraudulent counsel to an eternally-damnable offense, Dante built on a legal tradition from Justinian's Digest to Gratian's De penitentia, which understood human speech to be capable of causing real harm in the physical world- and which treated that verbal violence just as gravely as the literal swordstroke.
Recorre así parte del arco interno del tercer círculo (VI, 112-114); una porción del lado exterior de la Estigia (VII, 127-128) y del interior del mismo río, entre las fosas de Ditis (VIII, 79); ...parte del arco interno del sexto círculo (XI, 115) y del arco externo del séptimo (XII, 100-101); porción del arco intemo de la selva de los suicidas (XIV, 73-76) y del arco externo del octavo círculo (XVIII, 20-21); parte del quinto terraplén (XXI, 136) y de la sexta bolgia (XXIII, 68); parte del arco interno de la décima bolgia (XXIX, 52-53) y del borde del pozo (XXXI, 82-83). A final de cuentas, los poetas dan vueltas diez veces y -como la circunferencia se divide en 360 grados- se puede decir que, en cada vuelta a la izquierda, recorrieron 36 grados sobre cada arco" (Agnelli, 70). Para concluir, quiero citar la presunta anécdota recopilada por Boccaccio en su Trattatello in laude di Dante: Por la cual cosa ocurrió un día en Verona, estando ya divulgada por todas partes la fama de sus obras, y máximamente esa parte de su Comedia, la cual titula Infierno, y éste era conocido por muchos hombres y mujeres, que, pasando él delante de una puerta donde estaban sentadas varias mujeres, una de ellas en voz baja, pero no tanto que bien por él y por quien con él estaba no fuese oída, dijo a las otras: -Damas, imirad a aquél que va al infiemo, y vuelve cuando le place, y acá arriba trae noticias de aquéllos que están allá abajo! -. Moore, Edward, Gli accenni al tempo nella Divina Commedia e loro relazione con la presunta data e durata della visione (Trad, italiana de Ciño Chiarini), Roma: Salemo, 2007.
El 14 de septiembre de 2021 se habrán cumplido 700 años desde la muerte de Dante Alighieri y, siete siglos después, la fascinación por su figura y su obra sigue creciendo. Debido a los diversos ...proyectos y actividades que han surgido en torno a la celebración del centenario, a lo largo de este año la presencia online del divino poeta y su obra se ha multiplicado. Así, a los ya abundantes recursos en línea dedicados al estudio de la obra dantesca de los que disponíamos se han sumado numerosos ciclos de conferencias, congresos, lecturae dantis, propuestas divulgativas y demás actividades de acceso online —de carácter internacional en muchos casos— realizadas en el marco del centenario. En el presente artículo haremos un repaso por algunos de los recursos sobre Dante disponibles en la red que destacan por su utilidad, amplio alcance y originalidad.
No cache-pot pintado com lírios Arte-Nova murchavam os lilases do quintal. A infância refugiada nos cadernos, a casa vendida, os lilases-da-Pérsia decepados fizeram prédios feiíssimos e caros no ...quintal e as meninas da casa que restaram estão agora nos retratos sempre lindas e os moinhos para sempre submersos O poema acima transcrito enraiza-se nas memórias de infância, sendo evocativo da magia da literatura tradicional, das histórias contadas ao serão. Instaura-se, então, na poesia, um espaço cultural híbrido marcado por um encontro com o "novo" que, na linha de pensamento de Homi Bhabha (27), não parte de uma continuidade entre passado e presente, mas sim de um acto de tradução, e, diríamos mais, de integração cultural.
Dante Alighieri's works throughout the 20th century and in recent decades have been at the center of a process of "remediation" and, through various communication channels, have also arrived in ...popular culture: the article reflects on the risks and opportunities of this "crossmediality" from an educational perspective, emphasizing in particular the potential for promoting Media Education pathways.
In 1302 he was banished from Florence for political reasons; thereafter he hved in exile, under sentence of death if he ever tried to return, in the frightening chaos of chronic civil war among the ...city-states and feudal lords of the Italian peninsula. Dante is initially lost in a dark wood ("even to think of it renews my terror"), and Beatrice puts in an early appearance in the story as she descends from heaven to ask Virgil to go to Dante s assistance. ...once one has this clue to a duality in Dante's value system, one discovers it repeatedly: classical thought and Christianity, Virgil and Beatrice, emperor and pope (whom Dante describes as the "two suns" that together guided Rome when it "made the good world" Purgatorio 16: 106-114, but which are now damagingly entangled because of the temporal power of the papacy), and most strikingly of all, perhaps, in the structure of the Mountain of Purgatory itself, where the Earthly Paradise is reached by way of the penitential terraces. In Purgatory, they all give rise to penitence, that is to say, conflict between the motive of the sin, on the one hand, and the recognition of divine love on the other, by which their deformity and obstructive power can be perceived.
This article documents the responses of incarcerated men and women to Dante's Divine Comedy, who reimagine the poem as a journey from Hell through Purgatory to Heaven that parallels their own ...journeys from the hells they have lived through to the future heavens they hope to reach. The incarcerated readers encounter the poem in theatre workshops facilitated by the author in prisons in Italy, Indonesia and the United States. The performances are staged for incarcerated audiences as a mash-up of modern vernacular narratives written by the workshop participants interwoven with fragments of Dante's text. The men and women in prison identify with Dante on multiple levels, knowing that, like them, the poet was convicted of crimes and sentenced to exile from his home and family. Inspired by Dante's determination to climb out of hell, the workshop participants endeavour to use the theatrical encounter with the medieval poet as part of their own ongoing transformation behind bars. Their attempts to redefine their identities by inhabiting Dante's story of transformation were expressed most succinctly in a scene entitled 'Inferno USA' written and performed by a man in a Connecticut prison: 'Take a picture. You are history being developed. You don't have to die as that mugshot.' The lines might be seen as an updated translation of a passage from Canto X of Purgatory in which he speaks directly to his readers about transformation: 'Do you not perceive that we are worms born to form the angelic butterfly that flies to justice without a shield' (Dante/Durling 1996: 165).
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