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.

In spite of the large amount of criticism written about T. S. Eliot, no attempt has been made to point out the great debt that Eliot owes to Dante Alighieri, and the pervasive influence of The Divine Comedy on Eliot's poetical works. This thesis endeavors to illustrate the extent of that debt and influence.

The entity of Lucifer has long been an area of study and confusion throughout history. Among notable literary minds, Dante Alighieri stands out as an illuminating poet who brings to light the essence and nature of this nefarious character and his influence on mankind. In his revelatory work, the Commedia, Dante touches on but does not explicitly detail the scope and importance that music and specifically, song, has on the redemptive purgation of the soul. This work provides a more in depth investigation into the generally overlooked issue, that is, the origin and initial intent of song, the perversion of which, by whom and why, and Dante’s perception of the subject revealed in his missive to mankind. Along scientific theory, along with other works by Dante to provide a link between Lucifer, music, the sin of pride, and the corruption of the divine. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

Given the importance of Paul for Dante's characterization of the pilgrim, and his invocation of the Pauline Epistles throughout the Commedia, this thesis began by asking how important Paul was to Dante's fourteenth-century readers. It examines the use of the Pauline Epistles by the Trecento commentators of Dante's Commedia in order to contribute to our understanding of how both were read in late medieval Italy. Part One examines reading practices in the Middle Ages, and introduces commentary writing as a genre. The fourteenth century commentators are then described, with a focus on personal circumstances that may have influenced their interpretations. Part Two examines the use of Paul in the commentaries, differentiating between different forms of citation, such as when the commentators used Paul because they identified Pauline references or allusions in the poem, or when they included Paul in their interpretations for other reasons. This produced close readings of selected commentaries which reveal how the commentators read Paul and understood Dante. Jacopo della Lana used Paul when copying Aquinas, and his knowledge of the Epistles themselves, it is argued, was often confused and inaccurate. Pietro Alighieri repeatedly used Paul in combination with other sources in order implicitly to link canti. Guido da Pisa viewed the Commedia as a prophetic dream vision, and equated Dante with Biblical figures, including Paul. This comparison allowed Guido to justify his use of Dante as a life model for his dedicatee. The commentators acknowledge the importance of Paul when Dante clearly alludes to the Epistles, but in general, they simply use Paul as an authoritative voice. Finally, this thesis demonstrates their understanding of Dante not just as narrator/character, but also as reader.

"Italian Readers of Ovid: From the Origins to Dante" studies the reception of Ovid's writings in medieval Italian prose and poetry, from the first vernacular poems composed in Sicily to Dante's "Divina Commedia." Starting from the very beginnings of a new literary culture, I show how the increasing availability of Ovid's texts is mirrored in the increasing textual presence of Ovid in the vernacular writings of the period. Identifying the general traits common to this Ovid-inspired literature, I discuss how medieval Italian authors used Ovid's works and his characters to address questions of poetics, openly debating the value of Ovid's poetry for their own writings. I then illustrate how, in his lyric poetry and the "Commedia," Dante inserts himself into this vernacular practice of discussing poetics through the medium of Ovid. Ultimately, I argue that Dante's reading of Ovid in the "Commedia" is deeply rooted in his own lyric poetry and that of his predecessors. Chapter 1, "Medieval Italian Readers of Ovid, Modern Readers of Reception," describes the material and cultural contexts of the reception of Ovid during the thirteenth and early fourteenth centuries in Italy, challenging existing notions about Ovid's reception in medieval Italian scholarship. Previous studies mostly treat Dante's "Commedia" as the starting point of this reception history, neglecting the preceding and equally important lyric tradition. Questioning this approach, I reconstruct the increasing availability of Ovid's works in the thirteenth and fourteenth centuries in Italy and specify in which formats (commentaries, translations, anthologies, mentions in treatises, other works of literature) and contexts (schools, universities, courts, monasteries) contemporary readers could have encountered Ovid's works. By outlining these texts and contexts, I depict a growing community of Italian readers of Ovid, many of whom not only read Ovid but also incorporated the Latin poet's work in their writings. Chapter 2, "Readers Turned Writers: From the Sicilian School to the dolce stil novo," focuses on a first series of these Ovid-inspired Italian writings. This chapter explores the poetic implications of including Ovid in their works--a trait found in the poetry of Pier della Vigna, Guido Cavalcanti, and Guido Guinizzelli, among others. During this period, poets debate with their contemporaries about how to write poetry, openly addressing and even attacking fellow poets while defending their own poetics. The Italian poets explicitly evaluate their readings of Ovid's love poetry in their poems and single out his poetry as an emblem of the kind of poetry they write, or no longer wish to write. The vernacular poets treat Ovid's "Metamorphoses" similarly. By means of the simile, the Italian poets feature a select group of Ovidian characters to underline their own exceptionality: for example, the poet is similar to the male Ovidian character (but better), his lady to the female (but more beautiful). The third chapter, "Readers Turned Writers: Dante Alighieri and Cino da Pistoia," focuses on the exceptional position of Dante and Cino among this group of vernacular writers. Both Dante and Cino integrate Ovidian material in their poetry with more complexity. Including similes in their poetry, Dante and Cino radically revise this common practice by associating themselves with the female Ovidian character--a gender switch that later Petrarch will adopt. Both poets also go beyond comparing their world with that of the "Metamorphoses" (what all the vernacular poets discussed in Chapter 2 did), but truly integrate Ovidian material into their poetry, blending Ovid's world into theirs. Furthermore, this chapter challenges the notion of two phases of Dante's writing posed in Dante scholarship: one phase when he is exclusively interested in vernacular poetry, and the second phase when he turns to classical literature. Finding Ovid featured in one of Dante's earliest poem exchanges, I illustrate that it is precisely in his vernacular lyric poetry that Dante slowly starts to experiment with Ovidian material. The petrose, a series of four poems written around 1296, are central in this development. These poems test out some new techniques that Dante will use more frequently in the "Commedia": the integration of both central and peripheral elements from a larger passage in Ovid's text, and the combination of different Ovidian sources at the same time. Chapters 4 and 5 trace the development of these techniques from Dante's lyric poems to the "Commedia," where for the first time we encounter Ovidian material in a Christian context. While it is not my aim to de-allegorize Dante's reading of Ovid, I stress that the most radically allegorizing and Christianizing commentaries on Ovid are not part of the cultural context of Dante's time and, instead, illustrate how much Dante's reading of Ovid is rooted in the lyric tradition. Chapter 4, "Metapoetics in Ovid and Dante's Commedia," focuses on the role Ovid's writings play in Dante's definition of his poetics. Looking at metanarrative moments in the "Commedia" (Inf. 24-25, Purg. 24, the poetic invocations in Purg. 1 and Par. 1), I illustrate how Dante repeatedly discusses poetics through the medium of Ovid, just as the Italian lyric poets did. Chapter 5, "Shifting Shapes of Ovidian Intertextuality: Ovid's Influence in Purgatorio and Paradiso," proposes to categorize Ovidian allusions in the "Commedia" by the kinds of elements Dante drew from his Ovidian sources. The primary method with which Dante incorporates Ovidian material in the "Commedia" is the rhetorical trope of the simile, which was also repeatedly used by the vernacular lyric poets. Focusing on the Purgatorio and Paradiso, the two canticles where the poet compares himself most often with certain characters from the "Metamorphoses," I illustrate how Dante adopts and transforms this vernacular lyric practice. Of these vernacular poets, Dante is certainly the Italian reader of Ovid who integrates Ovidian material in his poetry most frequently and with the most complexity: he combines the methods of the vernacular lyric poets with other classical or theological sources and conforms these methods to the poetics of the "Commedia." But this complexity, I ultimately argue, can only be fully understood in connection within the cultural context of the reception of Ovid: an Italian literary culture that from its very beginnings reflects on Ovid's texts.