This dissertation offers a narrative reading of Dante’s use of the poetic form of the tenzone. I frame Dante’s tenzoni within the history of the form’s use in the Italian vernacular tradition, beginning with Giacomo da Lentini and the scuola siciliana. The practice of writing tenzoni in the Italian tradition ends with Dante, contemporaneous to the beginnings of the Commedia. Through close readings of Dante’s tenzoni, I explore how Dante shapes culture and issues social criticism dialogically. Ultimately, I argue that the form of the tenzoni was fundamental both to Dante’s ethical development and to the codification of the vernacular, leading to the first epic poem in the Italian language.

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Esta pesquisa propõe um mergulho no Convívio texto que Dante Alighieri redigiu nos primeiros anos do século XIV de modo a destacar a sua importância dentro da obra dantesca e das letras italianas. Para isso, em um primeiro momento, são apresentados e discutidos alguns dos problemas que envolvem a obra, como, principalmente, a língua de sua composição, as odes à filosofia como salvadora do homem, e o combate ao senso comum a respeito da nobreza do indivíduo. Optou-se por privilegiar a perspectiva do autor, que estrutura o texto a partir de um autocomentário a três de suas canções doutrinárias compostas na juventude e reapresentadas por ele nos primeiros anos de exílio político. Num segundo momento, este trabalho apresenta uma tradução integral do Convívio, sempre com a intenção de que prevaleça a suposta voz de Dante na maior parte das questões acima mencionadas. Por ser esse o texto dantesco que mais provoca discussões quanto ao seu estabelecimento, a tradução se dá a partir da edição crítica de Franca Brambilla Ageno (1995), mas destacando em nota as principais variantes textuais defendidas, principalmente nos séculos XIX e XX, por outros estudiosos e editores. Assim, tal trabalho visa sugerir a importância da discussão filológica no campo dos estudos dantescos feitos no Brasil, discussão essencial pela ausência de testemunhos originais que atestem o verdadeiro teor das palavras de Dante. / This reasearch proposes an in depth analysis of Convivio a work which Dante Alighieri wrote in the first years of the XIV century in order to show its importance in the Dantesque work and in the Italian literature. In a first moment, some problems concerning the work are presented, such as the language of its composition, the odes to philosophy as mans saviour and the battle against common sense in respect to the nobility of the individual. We chose to give privilege to the authors perspective, which builds the text from a self-comment to three of his doctrinal songs composed in his youth and brought back to the public eye in his first years of political exhile. In a second moment, this work presents a full translation of Convivio, always aiming at keeping Dantes supposed voice in most part of the matters stated above. Since this is the Dantesque text that brings more discussions as far as its establishment is concerned, the translation is carried out from the critical edition of Franca Brambilla Ageno (1995). However, notes were written to show the main textual variations defended by other students of Dantes work and editors, especially in the XIX and XX centuries. Therefore, the present work aims at suggesting the importance of the philological discussion in the field of the Dantesque studies carried out in Brazil, which is essential due to the absence of original statements that confirm the real intention of Dantes words.

A presente pesquisa aproxima a personagem Ciacco, glutão punido na terceira vala do Inferno da Comédia, como a figura da personagem Ulisses, herói grego que atravessou a literatura ocidental antiga até chegar à Idade Média e ser condenado, também no Inferno, pelos seus crimes de fraude. Essa aproximação se realiza pela análise da transgressão de incontinência alimentar, descrita pelo filósofo grego Aristóteles na Ética a Nicômaco, pelo fato dessa transgressão manter uma explícita relação com o pecado do guloso Ciacco, além de ser aplicável à sede de conhecimento que a personagem Ulisses reflete no relato da sua última viagem. Mediante o estudo de obras de Dante Alighieri, como o Convivio e a Comédia, procura-se estabelecer uma conexão entre o desenfreado ato de se nutrir e a falta de moderação na busca pelo conhecimento, sendo essa última aquela que gera a eterna oposição entre ciência e fé, tão importante no contexto religioso no qual a Comédia foi escrita. / This research compares Ciacco, the glutton character punished in the third ditch in Inferno in Dantes Comedy, with Ulysses, the Greek hero who was brought from Ancient Western Literature to the Middle Ages and condemned also in Inferno for his fraud crimes. This comparison is drawn through the analysis of the eating intemperance transgression, described by the Greek philosopher Aristotle in Nicomachean Ethics, since this transgression maintains an explicit relation with Ciaccos greediness and is also applicable to the greed for knowledge which Ulysses reflects in the account of his last trip. Through the study of Dantes works, such as the Convivio and the Comedy, an attempt is made to establish a connection between the unstoppable act of eating and the lack of moderation in the search for knowledge; the latter being what causes the eternal opposition between science and faith, so important in the religious context in which the Comedy was written.

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.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-01-12T14:46:50Z No. of bitstreams: 2 Tese - Mariana Amorim Romero - 2016.pdf: 5655363 bytes, checksum: 0fd64c5019c42642b345ccfd028af310 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-01-12T14:47:03Z (GMT) No. of bitstreams: 2 Tese - Mariana Amorim Romero - 2016.pdf: 5655363 bytes, checksum: 0fd64c5019c42642b345ccfd028af310 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-01-12T14:47:03Z (GMT). No. of bitstreams: 2 Tese - Mariana Amorim Romero - 2016.pdf: 5655363 bytes, checksum: 0fd64c5019c42642b345ccfd028af310 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Christian society has always imagined a paradisiacal reward in the afterlife and with Dante Alighieri was not different. In this search for paradise in this life, as in the afterlife, the Florentine poet wrote one of the most studied and recited poems in the world, Commedia. Amid political quarrels within Florence, which Dante considered his paradise, the poet was exiled and through his writing roamed the Italian courts in search of a paradise in this life. In this work, we try to demonstrate how this process hapened, either by the political disputes in which Dante became involved, as well as in his defense to the Empire and oposition to the Papacy. The choices of the guides during their imaginary journey and the inspiration in the Byzantine mosaics of Ravenna, were also of fundamental importance for the composition of the Commedia. Thus, we seek to follow the trail and paths traveled by the poet in his incessant search for a paradise, still in this life. / A sociedade cristã sempre imaginou uma recompensa paradisíaca na vida após a morte e com Dante Alighieri não foi diferente. Nesta busca pelo paraíso, tanto nesta vida, quanto na vida após a morte, o poeta florentino escreveu um dos poemas mais estudados e recitados no mundo, a Commedia. Em meio a disputas políticas dentro de Florença, que Dante considerava seu paraíso, o poeta foi exilado e por meio de sua escrita vagou pelas cortes italianas em busca de um paraíso nesta vida. Neste trabalho procuramos demonstrar como se deu este processo, seja pelas disputas políticas em que Dante se envolveu, bem como na sua defesa ao Império e oposição ao Papado. As escolhas dos guias durante sua viagem imaginária e a inspiração nos mosaicos bizantinos de Ravena, também foram de fundamental importância para a composição da Commedia. Assim, procuramos seguir as trilhas e os caminhos percorridos pelo poeta em sua busca incessante por um paraíso, ainda nesta vida.

Texte remanié de: Thèse de doctorat--Littérature comparée--Paris 3, 2004. Titre de soutenance : Questions de poétique : la voix de Dante dans l'écriture de Valéry et de Borges. / Bibliogr. p. 479-524. Index.

A presente pesquisa aproxima a personagem Ciacco, glutão punido na terceira vala do Inferno da Comédia, como a figura da personagem Ulisses, herói grego que atravessou a literatura ocidental antiga até chegar à Idade Média e ser condenado, também no Inferno, pelos seus crimes de fraude. Essa aproximação se realiza pela análise da transgressão de incontinência alimentar, descrita pelo filósofo grego Aristóteles na Ética a Nicômaco, pelo fato dessa transgressão manter uma explícita relação com o pecado do guloso Ciacco, além de ser aplicável à sede de conhecimento que a personagem Ulisses reflete no relato da sua última viagem. Mediante o estudo de obras de Dante Alighieri, como o Convivio e a Comédia, procura-se estabelecer uma conexão entre o desenfreado ato de se nutrir e a falta de moderação na busca pelo conhecimento, sendo essa última aquela que gera a eterna oposição entre ciência e fé, tão importante no contexto religioso no qual a Comédia foi escrita. / This research compares Ciacco, the glutton character punished in the third ditch in Inferno in Dantes Comedy, with Ulysses, the Greek hero who was brought from Ancient Western Literature to the Middle Ages and condemned also in Inferno for his fraud crimes. This comparison is drawn through the analysis of the eating intemperance transgression, described by the Greek philosopher Aristotle in Nicomachean Ethics, since this transgression maintains an explicit relation with Ciaccos greediness and is also applicable to the greed for knowledge which Ulysses reflects in the account of his last trip. Through the study of Dantes works, such as the Convivio and the Comedy, an attempt is made to establish a connection between the unstoppable act of eating and the lack of moderation in the search for knowledge; the latter being what causes the eternal opposition between science and faith, so important in the religious context in which the Comedy was written.

Esta pesquisa propõe um mergulho no Convívio texto que Dante Alighieri redigiu nos primeiros anos do século XIV de modo a destacar a sua importância dentro da obra dantesca e das letras italianas. Para isso, em um primeiro momento, são apresentados e discutidos alguns dos problemas que envolvem a obra, como, principalmente, a língua de sua composição, as odes à filosofia como salvadora do homem, e o combate ao senso comum a respeito da nobreza do indivíduo. Optou-se por privilegiar a perspectiva do autor, que estrutura o texto a partir de um autocomentário a três de suas canções doutrinárias compostas na juventude e reapresentadas por ele nos primeiros anos de exílio político. Num segundo momento, este trabalho apresenta uma tradução integral do Convívio, sempre com a intenção de que prevaleça a suposta voz de Dante na maior parte das questões acima mencionadas. Por ser esse o texto dantesco que mais provoca discussões quanto ao seu estabelecimento, a tradução se dá a partir da edição crítica de Franca Brambilla Ageno (1995), mas destacando em nota as principais variantes textuais defendidas, principalmente nos séculos XIX e XX, por outros estudiosos e editores. Assim, tal trabalho visa sugerir a importância da discussão filológica no campo dos estudos dantescos feitos no Brasil, discussão essencial pela ausência de testemunhos originais que atestem o verdadeiro teor das palavras de Dante. / This reasearch proposes an in depth analysis of Convivio a work which Dante Alighieri wrote in the first years of the XIV century in order to show its importance in the Dantesque work and in the Italian literature. In a first moment, some problems concerning the work are presented, such as the language of its composition, the odes to philosophy as mans saviour and the battle against common sense in respect to the nobility of the individual. We chose to give privilege to the authors perspective, which builds the text from a self-comment to three of his doctrinal songs composed in his youth and brought back to the public eye in his first years of political exhile. In a second moment, this work presents a full translation of Convivio, always aiming at keeping Dantes supposed voice in most part of the matters stated above. Since this is the Dantesque text that brings more discussions as far as its establishment is concerned, the translation is carried out from the critical edition of Franca Brambilla Ageno (1995). However, notes were written to show the main textual variations defended by other students of Dantes work and editors, especially in the XIX and XX centuries. Therefore, the present work aims at suggesting the importance of the philological discussion in the field of the Dantesque studies carried out in Brazil, which is essential due to the absence of original statements that confirm the real intention of Dantes words.

This dissertation examines the literary depiction of physical disability in Dante’s Commedia, Convivio, and his other works using a two-pronged approach: answering Barolini’s call to historicize and incorporating disability theorists’ models of and approach to investigating medieval disability. Blameless Defect: A Dantean Model of Disability thus follows the theological, philosophical, medical, and legal aspects of disability in Duecento and Trecento Florence and within the broader context of Europe and the Mediterranean. This broad historical context, as well as contemporaneous writers’ treatment of disability, is used to contextualize Dante’s own attitude and representation of physical disabilities, specifically deafness, blindness, and mobility disabilities. Dante’s representation reflects and engages with the medieval concept of virtue or vice that can be read on the body; specifically, Dante’s engagement with deafness in the Convivio reveals a Dantean category of blameless physical defect that indicates separation between disability and sin and exonerates those who have impediments that limit their knowledge, such as those with lived experience of disability. This treatment of blameless deafness is contextualized through its philosophical sources. The dissertation considers whether blindness and mobility disabilities fit into what I term the Dantean category of “blameless defect.” Mobility disabilities are represented throughout the Commedia; their presence is tied to sin largely within metaphorical contexts or as the lesser of a hierarchy of sins. Similarly, blindness is present throughout the Commedia and is even included among the divine punishments, albeit in a temporary manner. Further, Dante, often using simile or metaphor, represents blindness in the Commedia to illustrate both spiritual and human understanding. Finally, Dante’s own blindness is read within the theoretical framework of “disability gain” as an approach which sees the author’s text open to greater possibilities. Blameless Defect, on the whole, demonstrates a sympathetic and non-normative Dantean attitude to the physically disabled, whom Dante represents vividly and with great accuracy. Dante’s portrait of the physically disabled thus stands in contrast to the attitudes, practices, and laws of his times.