This study examines the importance of geographical ideas in Dante’s Commedia and develops a historically sensitive geocritical methodology to analyze the function of real world geography within Dante’s poem. I aim to expand our understanding of the importance of the poet’s use of geography beyond the consulation of geographical sources and consideration of place names. In the first chapter case studies of geographical references with connections to the Islamic world show how historicized approaches open up new possibilities of understanding the medieval significance of the poet’s references. Subsequent chapters explore the relationship of the Commedia’s geography to medieval mapping technologies; comparing the parameters and borders of Dante’s world to the genre of medieval mappaemundi as well as putting this worldview into conversation with the emerging field of portolan charts and the developing navigational technology of the thirteenth century. This project further expands our definition of the stakes of geographical knowledge and traces the the social, political and cultural implications of the various modes of representing the world and how these implications are evident in the scholarly responses to the worldview represented within the Commedia. Ultimately, this project shows how a geocritical historicized reading of the Commedia opens up new directions for Dante studies and puts the geographical material of Dante’s work into conversation with other disciplines. The conclusion ends with a proposal for future digital directions for this research.

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Esta dissertação de mestrado é resultado da apreciação crítica de seis gravuras de Salvador Dalí para os livros Inferno e Paraíso, da Divina Comédia de Dante Alighieri. Para o Inferno selecionamos: Canto XIV - Os Blasfemos; Canto XXIII - Os Hipócritas; e Canto XXIX - Os Causadores de Discórdias. Para o Paraíso optamos por: Canto XI - A Poeira das Almas; Canto XII - São Boaventura Fala a Dante; e Canto XX - A Constelação dos Espíritos Abençoados. As gravuras foram selecionadas de modo a proporcionar o melhor cenário possível para a comparação, uma vez que a proposta de Salvador Dalí para a narrativa de Dante mostra-se específica para cada livro da Comédia. Com o propósito de tornar a comparação efetiva, optamos por uma análise formal alicerçada em manifestos, diários e produções em outros suportes que não somente o da gravura. Esperamos contribuir com um debate ainda em formação sobre significados, bem como contribuir para a produção de conhecimento acadêmico sobre a circulação dessa obra em território nacional. / This dissertation represents the results of a critical appraisal for six prints by Salvador Dalí of Hell and Paradise books from Dante Alighieri\'s Divine Comedy. For Hell we have selected: Canto XIV - The Blasphemers; Canto XXIII - The Hypocrites; and Canto XXIX - The Causing of Disagreements. For Paradise we have chosen: Canto XI - The Dust of Souls; Canto XII - St. Bonaventure Speaks to Dante; and Canto XX - The Constellation of Blessed Spirits. The pictures were selected to provide the best possible scenario for the comparison, since Salvador Dalí\'s proposal to Dante\'s narrative appears to be specific to each book of the Comedy. In order to do an effective comparison, we have chosen not only engravings, but a formal analysis based on manifests, journals and other media productions. We intent to improve with discuss about meanings of Dali\'s work as an illustrator for the Divine Comedy, as well as contribute to the production of academic knowledge of the circulation of its content in Brazil.

Dante Alighieri foi poeta medieval que escreveu para a mulher versos amorosos em um período de profunda misoginia. Muitas são as presenças femininas nas suas poesias da fase lírica anterior à criação da Divina Comédia. Este estudo centra com especial atenção a visão que o poeta constrói da mulher durante a sua fase experimentalista e de escambo poético com amigos da escola poética florentina, o doce estilo novo, apontando que a linguagem e a visão da mulher são construídas durante esse período e estão presentes também na composição da Comédia, em particular no Inferno, Canto V, onde figura Francesca da Rimini, e no Purgatório com Matelda. Estas mulheres fazem com que o poeta recorde os pressupostos da escola poética fundada com seus jovens amigos. / Dante Alighieri was a medieval poet who wrote his lines to the woman living during a very deeply misosynist age. There is a lot of feminine presence in his juvenile lyric poetry´s creation, before the Divina Commedia. This work focuses especial attention to the construction of the role playing of the women during his exprementalist fase with his florentines youthful friends of dolce stil nuovo, pointing for the language and the representations of women continuous presents in his magnum opus, showing that language as the vision of the women, both contructed during this period, presents on the Cantic V, Inferno, with Francesca da Rimini and, on the Purgatorio with Matelda. This woman brings the memories of the beginning of Dante´s school founded with his friends.

Zugl.: Tübingen, Universiẗat, Habil.-Schr., 2003.

Esta dissertação de mestrado é resultado da apreciação crítica de seis gravuras de Salvador Dalí para os livros Inferno e Paraíso, da Divina Comédia de Dante Alighieri. Para o Inferno selecionamos: Canto XIV - Os Blasfemos; Canto XXIII - Os Hipócritas; e Canto XXIX - Os Causadores de Discórdias. Para o Paraíso optamos por: Canto XI - A Poeira das Almas; Canto XII - São Boaventura Fala a Dante; e Canto XX - A Constelação dos Espíritos Abençoados. As gravuras foram selecionadas de modo a proporcionar o melhor cenário possível para a comparação, uma vez que a proposta de Salvador Dalí para a narrativa de Dante mostra-se específica para cada livro da Comédia. Com o propósito de tornar a comparação efetiva, optamos por uma análise formal alicerçada em manifestos, diários e produções em outros suportes que não somente o da gravura. Esperamos contribuir com um debate ainda em formação sobre significados, bem como contribuir para a produção de conhecimento acadêmico sobre a circulação dessa obra em território nacional. / This dissertation represents the results of a critical appraisal for six prints by Salvador Dalí of Hell and Paradise books from Dante Alighieri\'s Divine Comedy. For Hell we have selected: Canto XIV - The Blasphemers; Canto XXIII - The Hypocrites; and Canto XXIX - The Causing of Disagreements. For Paradise we have chosen: Canto XI - The Dust of Souls; Canto XII - St. Bonaventure Speaks to Dante; and Canto XX - The Constellation of Blessed Spirits. The pictures were selected to provide the best possible scenario for the comparison, since Salvador Dalí\'s proposal to Dante\'s narrative appears to be specific to each book of the Comedy. In order to do an effective comparison, we have chosen not only engravings, but a formal analysis based on manifests, journals and other media productions. We intent to improve with discuss about meanings of Dali\'s work as an illustrator for the Divine Comedy, as well as contribute to the production of academic knowledge of the circulation of its content in Brazil.

Dante Alighieri foi poeta medieval que escreveu para a mulher versos amorosos em um período de profunda misoginia. Muitas são as presenças femininas nas suas poesias da fase lírica anterior à criação da Divina Comédia. Este estudo centra com especial atenção a visão que o poeta constrói da mulher durante a sua fase experimentalista e de escambo poético com amigos da escola poética florentina, o doce estilo novo, apontando que a linguagem e a visão da mulher são construídas durante esse período e estão presentes também na composição da Comédia, em particular no Inferno, Canto V, onde figura Francesca da Rimini, e no Purgatório com Matelda. Estas mulheres fazem com que o poeta recorde os pressupostos da escola poética fundada com seus jovens amigos. / Dante Alighieri was a medieval poet who wrote his lines to the woman living during a very deeply misosynist age. There is a lot of feminine presence in his juvenile lyric poetry´s creation, before the Divina Commedia. This work focuses especial attention to the construction of the role playing of the women during his exprementalist fase with his florentines youthful friends of dolce stil nuovo, pointing for the language and the representations of women continuous presents in his magnum opus, showing that language as the vision of the women, both contructed during this period, presents on the Cantic V, Inferno, with Francesca da Rimini and, on the Purgatorio with Matelda. This woman brings the memories of the beginning of Dante´s school founded with his friends.

The Master's thesis is focused on research of the Italian academic discourse from the years 1891-2008 dealing with the influence of the visual culture of Ravenna on Dante's Divine Comedy. One of the scholars that can be placed in the context of Italian discourse is the philologist and aesthetician Jaroslav Hruban, the only Czech scholar who occupied himself with the relationship between Dante and Ravenna and continuously followed up the development of the interwar Italian Dantology. The thesis puts forward two questions: how the scholars of the Italian academic discourse and Jaroslav Hruban reflect the relationship of Dante and Ravenna, and if we can trace the influence of the visual culture of Ravenna (especially of the mosaics from the 5th and 6th centuries) in the text of Dante's Divine Comedy. The questions are solved by application of the historiographic methods that were used to examine Italian Dantology, the methods of literary studies and art history by which analysis and comparison of the text and imagery were performed, and also the methods of visual culture that were used to reconstruct the image of Ravenna during the time of Dante's stay in the town and his "period eye". The scholars believe that the inspirational influences of the Ravenna mosaics and visual culture on Dante's Divine...

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More than any other period in the history of Western Europe, the Middle Ages were informed by translation. Practices of translation pervaded and underlay every aspect of medieval culture and politics. Yet, our understanding of how medieval writers thought about translation remains profoundly lacking. Most contemporary histories of translation theory choose to neglect the Middle Ages entirely, or to turn them into a footnote to Jerome’s distinction between “sense-for-sense” and “word-for-word” translation. Consuming the Word offers a new approach to medieval translation theory by considering texts, genres, and forms that have been largely neglected by scholars. While most research in this field has concentrated on texts that are regarded as explicitly “theoretical,” such as prefaces, commentaries, and treatises, Consuming the Word extends this investigation to the figurative language of “literary” works: poetical texts written primarily for moral and intellectual edification, aesthetic pleasure, and entertainment. By analyzing an archive of four 14th-century devotional poems composed in Spanish, Italian, and Middle English, this dissertation demonstrates that the writers of the Middle Ages articulated arguments on language, interpretation, and translation whose complexity and originality greatly surpassed the arid and derivative thinking about translation that is generally attributed to this period. Consuming the Word further demonstrates that, by the late 14th century, Christian devotional writers tended to deploy a particular figure to construct arguments on translation, interpretation, and vernacularity: the figure of gluttony. In the first chapter of this dissertation I examine the theories of language and translation conceived by Dante Alighieri in the first decades of the 14th century. I argue that the figures of consumption and gluttony that appear in the last section of Purgatorio are meant to convey a theoretical justification for his use of the vernacular, bringing to fruition several contradictory arguments that are only outlined in his two previous works on the subject: Convivio and De Vulgari Eloquentia. In the second chapter I concentrate on Cleanness, an anonymous and generally overlooked Middle English poem in which the poet ostensibly eulogizes the virtue of purity. By examining its figurative depictions of cooking and feasting, I contend that, rather than as a casual assortment of disparate scriptural episodes, Cleanness should be interpreted as a coherent argument in favor of vernacular translation. On the contrary, in the third chapter I show how a contemporary Middle English poem, the more famous Piers Plowman, relies on the personification of gluttony to disclose an almost antithetical argument. In Piers Plowman, vernacular translation is described as a losing bargain, morally and intellectually detrimental. In my fourth and final chapter, I turn to the celebrated Libro de Buen Amor, to analyze how its figures of eating and overeating convey an argument on the endlessness of all interpretation and on the importance of choice in the act of translating.