Il saggio, dopo aver indicato le circostanze e i motivi che indussero i medievisti fiorentini del Novecento, da Gaetano Salvemini a Giovanni Cherubini, a prestare scarsa attenzione alla figura ...storica di Dante, prende in esame i cinque saggi danteschi di Ernesto Sestan, tutti legati al cen- tenario del 1965. In essi si affronta il complicato rapporto dell’Alighieri con la Firenze del tempo, il formarsi e l’evoluzione del suo pensiero politico, la sua visione della storia e la conoscenza e l’utilizzo nella Commedia di personaggi storici.
Dante scholar Charles Singleton always wore a beard, which he kept full, clipped short and slightly pointed, giving him an elfin look. By contrast, Dante's countless portraits, have come to converge ...in a single individual, the Author as Afterworld traveler. Although some written sources, early modern vite all traceable to Giovanni Boccaccio's Trattatello in laude di Dante (begun in 1351), have asserted that he was known to wear a beard, why have painters from the Trecento into our own time preferred to depict him clean-shaven?
In a series of essays, Paul Ricœur and Jacques Derrida described the work of metaphor as a cognitive operation requiring readers to apprehend simultaneously the continuity and difference of tenor and ...vehicle: Juliet is and is not the sun; a book is and is not a chariot. In this paper, I show how the cognitive features required of a reader in thinking through metaphor are the same as those necessary to imagine literary metamorphosis, a trope that can be understood as the actualization of metaphor within the diegetic frame, that is, as a metaphor that is no longer figurative, but descriptive. Drawing on the work of W. T. Mitchell, this paper explores the relationship between these two literary figures as imaginative processes. In it, I propose that the phenomenological model of metaphor developed by Ricœur and Derrida be redeployed as a much-need critical apparatus with which to account for the cognitive work required in conceiving of metamorphosis in creative literature, focusing on key examples from Ovid, Dante, Shakespeare, and Rushdie.
In late medieval Florence, everyone borrowed and lent money, with debt having an ubiquitous presence that developed in tandem with the growth of the famous Florentine banking companies, with their ...international branches and innovative accounting techniques. This essay examines how the thirteenth-century poem Fiore – a translation and adaptation of the widely read Old French Le Roman de la rose into Tuscan vernacular, composed most likely by a Florentine author – absorbs, reconceptualizes, and complicates systems of obligation.
Beckett's M Lawless, Annemarie
Angelaki : journal of theoretical humanities,
11/2022, Letnik:
27, Številka:
6
Journal Article
Recenzirano
This essay explores the question of why M figures in the names of all of Beckett's major characters. I connect M to the word murmuring, which proliferates in his work, and I claim that Beckett was ...influenced by a passage in Dante's Purgatorio, in which each face in a group of penitents is inscribed with the letter M. With a rounded eye socket below each arch, the faces of the penitents spell omo or man. I argue that M stands for man - not the humanist form of man that existed for Dante, but rather a ruined figure that is adequate to this moment. Throughout, I engage with critical approaches to Beckett that attempt to connect the posthumanism suggested in his work with the new form of ethics - and of love - that it makes possible.
I filosofi dell’idealismo tedesco, fra cui in primo piano Schelling, hanno scoperto il significato universale di Dante per la civiltà europea. L’autore nel saggio esamina questo ruolo di Schelling. ...Le questioni principali che egli mette a fuoco sono le seguenti: la singolarità del genere della Comedia, il problema del rapporto della poeticità e del carattere concettuale nell’opera e il problema dell’allegorismo. Nel tratteggiare tali problemi l’autore raffronta le soluzioni di Schelling con quelle di Lajos Fülep, il seguace ungheree del filosofo tedesco, e con quelle di Gorgio Lukács. Parole chiave
Reflections on Arts and Science Kiniger-Passigli, Donato
Cadmus (Trieste, Italy),
06/2021, Letnik:
4, Številka:
4
Journal Article
Recenzirano
Odprti dostop
Albert Einstein said that art and science are branches of the same tree. Indeed, there is no dichotomy between art and science: they are an integral part of the same nucleon. Art is the ability to ...create, which implies inspiration and learning. Liberal arts, from medieval tradition till date, include humanities and physical, biological, and social sciences. There is no dichotomy here but a knowledge that is inextricably interlinked. Dante Alighieri, the supreme poet, summoned future generations thus: "Consider well the seed that gave you birth: you were not made to live like brutes but to follow virtue and knowledge." Ars Cognoscendi cannot be better explained.
This essay uses the constellation writing of Ovid and Aratus to gain comparative perspective upon Dante’s constellation writing in Paradiso 13. Though Dante did not know the Greek poetry of Aratus, ...the two authors share the goal of bringing the heavens into human view. For Aratus, the constellations are tools for enabling celestial observation. The constellations give form to the firmament. They enable observers to distinguish between stars and therefore to perceive and track celestial structure and motion. But the constellations do not leave a mark upon the sky. Rather, as Ovid’s poetry also helps show, they must continually be rediscovered and reformed through guided observation. The essay explores how these aspects of constellations help Dante to imagine unique forms of literary creativity in Paradiso 13. For Dante, the heavens need to be divided up by fictions in order to be described by poetry. But Dante’s constellation writing suggests how such fictions might not be etched onto the world once and for all. Instead, like constellations, they emerge in the moment of being perceived. In this sense, constellations help Dante to imagine creativity without impact; that is, human art that does not mark or change a preexisting environment. Dante’s constellations gain a sense of immediacy from their ephemerality and their reliance upon a perceiving viewer or reader. Constellation writing helps Dante to bridge the gap between human and divine art by turning human perception into a mirror of divine creation.
