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This thesis investigates the narrative models in Dante's Commedia with the aim of opening up the poem to alternatives to the dominant narrative embedded in the text, which it terms Dante's masterplot. This is the teleological trajectory which allows the poet to subjugate earlier works or earlier parts of the poem to the revisionist gaze of its endpoint. The thesis analyses the masterplot's workings in the text and its role in the interpretation of the poem, and documents its overwhelming success in influencing readings of the Commedia. It then explores three competing narrative models that resist and counter its monopoly, which are enacted by (i) paradoxes, (ii) alternative endings and parallel lives; and (iii) the future. Paradoxes are used to neutralise the teleological hierarchy and thus allow Dante to represent contradictory ideas and experiences in the temporal medium of language. Through counterfactuals and twin episodes, Dante establishes in his poem a number of storylines that detour from and run parallel to the main narrative; this allows him to make room for an affective space within the text, which suspends narrative necessity and moral normativity. The future tense poses a problem case for the masterplot in that it indefinitely postpones the endpoint on which teleology relies, and thus exposes the poem, and its author's, vulnerability to time and circumstance. By focusing on non-linear modes of storytelling, the thesis questions interpretations of the Commedia that favour one normative master-truth, and highlights instead the manifold poetic, theological and ethical tensions which, due to the masterplot's influence, are often overlooked. The thesis concludes with a proposal that, alongside the traditional notions of Dante's characteristic plurality of linguistic registers and styles, Dante's narrative pluralism can and should come to play a key role in contemporary and future readings of the Commedia.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-09-19T12:33:51Z No. of bitstreams: 1 Rodrigo Pucci Müller.pdf: 1794538 bytes, checksum: 477feae67b138127814e1f36a93cd3de (MD5) / Made available in DSpace on 2017-09-19T12:33:51Z (GMT). No. of bitstreams: 1 Rodrigo Pucci Müller.pdf: 1794538 bytes, checksum: 477feae67b138127814e1f36a93cd3de (MD5) Previous issue date: 2017-09-05 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Dante Alighieri writes, between the years 1312 and 1313, a political treaty entitled “De Monarchia”. This was result of Dante’s experiences as a member of the political elite from his hometown, Florence, and, posteriorly, when he was exiled, of reflections about the two greatest Universalists powers of the time, the papacy and the empire. As he writes this treaty, Dante introduces himself in a current of thinkers that, since the late 1290s, were producing political treaties that descant about this theme, searching, in the ancient texts of authority, for solutions to the conflicts that are unfolding in the political scene. Thus, this research investigates Dante’s steps by the spheres of power, looking for the dialogues that your treaty establishes with the other political discourses of your time, reconstructing a screen of the cultures of power of the Late Middle Ages / Dante Alighieri escreve, entre os anos 1312 e 1313, um tratado político intitulado “De Monarchia”. Este foi resultado da experiência de Dante como membro da elite política de sua cidade natal, Florença, e, posteriormente, quando foi exilado, de reflexões acerca dos dois grandes poderes universalistas da época, o papado e o império. Ao escrever este tratado, Dante se insere em uma corrente de pensadores que, desde o final da década de 1290, vinham produzindo tratados políticos que discorriam sobre a mesma temática, buscando, nos antigos textos de autoridade, soluções para os conflitos que se desenrolavam no cenário político. Assim, esta pesquisa investiga os passos de Dante pelas esferas do poder, buscando os diálogos que o seu tratado estabelece com os outros discursos políticos de seu tempo, reconstruindo um quadro das culturas do poder da Baixa Idade Média

This dissertation aims to show that the Commedia develops an original and coherent philosophy of human nature. Deploying the methodologies of two separate disciplines, the history of philosophy and literary criticism, it places the poem’s ideas in the intellectual context in which they developed, and analyzes the learnedness, freshness and validity of its conclusions. The topic is divided in three themes, discussed in the same number of chapters: 1) Love and desire. After following Arendt in tracing a tension in Augustine’s works between the theological primordiality of dilectio Dei and the biblically endorsed importance of love for one’s neighbor, I argue that the Commedia develops a concept of social charity that seeks to reconcile that seminal Christian paradox. 2) Free will. Based on a study of the theory of free will advanced by Purgatorio and Paradiso, I advance the idea that Dante’s metaphysics and psychology of human freedom, particularly in regards to his description of the workings of absolute and relative will, contrast in a fundamental way with Aquinas’ in the Appendix of the Summa theologica; and based on that conclusion, and on an analysis of the example of Piccarda Donati, it is possible to conclude that the Commedia not only postulates a hierarchy of volitions as a necessary condition for human freedom, but also defines free will as the ability to formulate a self-forming action. 3) Body and soul. Based on the account of the creation of the universe found in Paradiso XXIX, I argue that the Commedia’s cosmos is strictly hylomorphic, and postulate that this theory also applies to the relationship between body and soul. Thus the transumanar depicted by the last canticle, far from a rejection of worldly existence, rather implies a reencounter with those inalienably human characteristics, but on a higher plane.

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Th. Etat : Lettres : Lyon 3 : 1987.

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This thesis is grounded in philosophy and in literature. It is concerned with the recognized human need for self-affirmation and with the consequences of its denial caused by exile. For the victim this means the loss of social interaction and public moral agency within his natural community through which self-affirmation can be actualized. / In certain types of exilic literature constructive reactions were found to counteract this loss of freedom of choice of action and place, which entails potential annihilation of the exile's personal integrity. / In the exilic text of Dante as my chosen case study, I investigate the use of philosophical and literary means admitting of various kinds of self-referential expressions and of similacra of moral agency as substitutes for self-affirmation by public acts. Stimulated by these means, an intellectual and moral 'self-portrait' of the poet eventually emerges in the reader's consciousness. This 'portrait' is no static image of a pre-existent character, but a dynamic presence of an evolving human person of intellectual and moral integrity, as a reflection of the poet's self-perception. / By sample analyses and comparisons, my exposition substantiates the claim that Dante's text exemplifies the distinct and identifiable literary mode to which I refer as 'Exilic Discourse'.